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Be Incomplete!

From Shiro Kuma by kumablog

A class with Nagato sensei is never easy, even after training with him for 35 years. I know his taijutsu, I understand his movements, but I cannot get his flow.

That is what many practitioners often fail to understand. The Japanese Sōke and Dai Shihan will not teach you techniques; they will convey the essence of Bujinkan Budō. If you want to collect Waza, don’t come here. 

You should do your homework in your dōjō before coming and be prepared. As I often write, I invite you to learn your basics and study the Tenchijin intensively. When all the fundamentals are acquired, it is easier to adjust your knowledge base to what the teachers demonstrate here. If you don’t do that, then basics and advanced movements are the same for you, and you miss the objectives of the classes. The teachers here are demonstrating advanced Budō. There is no basic training at Honbu!

Nagato sensei asked a student to perform a movement. Then, they used it to demonstrate his usual style of Budō, which includes many subtle elbow movements. Playing a lot with distance, he always found a way to wrap up and control him with his elbows. 

He spoke a lot about doing “half-cooked techniques”, a concept we studied a few years ago with Hatsumi Sensei. The idea is never to finish a waza but to use the opponent’s body reactions to initiate a new, natural movement. (1) That way, uke cannot read our intention as our moves originate from his reactions. That isn’t an easy task. You never finish a technique because uke’s moves trigger your actions. 

After class, speaking with a few friends, we concluded that it was similar to when Sensei taught us the concept of the skipping stone, as seen in Ishitobashi. (2) We use the air pockets created and the uke’s reactions to move. Each point of contact with the uke is like a stone hitting the water. It is the start of a new movement.

Another detail Nagato sensei insisted on was not holding firmly at all times. When holding the wrist of the attacker, you grab him with very little strength and control him by letting your “C-shaped” grip slide around his wrist. (3) Because of the soft grip, there is no strong reaction on the uke’s part. That is very common, but we often tend to put force when it is not necessary.

During the break, Nagato sensei reminded us that “there’s nothing secret in Budō”, quoting Hatsumi sensei. Our egos would love to learn secrets, but there are none. The secret, if there is one, is to train your taijutsu well enough through the basics to extract as much as possible when here. We continue to learn in every class; tonight’s lesson was to “be incomplete” to create more opportunities. When you come here, you have to be half empty if you want to fill your head with new understandings. During the break, my friend Luis Bermejo from the Dominican Republic asked a question about the length of the path of Budō. And Nagato sensei answered, “The path never ends”. 

PS: On the humorous side, Shiva was there with Nandi, and a Koi member, asked for a picture with me. While taking the pose, he saw Shiva. He said, “I think I saw him on Koimartialart”, not knowing that we created it together in India! (4)

PS 2: Don’t forget to register for the Paris Nagato Taikai at the end of the year. That is an opportunity to train with a great teacher. https://facebook.com/events/s/nagato-taikai-paris/1682157225737627/

____________________

  1. 中途/chūto/in the middle; half-way; 半端/hanpa/remnant; fragment; incomplete set; fraction; odd sum; incompleteness
  2. Ishitobashi 石飛ばし; skipping stones. Each contact with water creates an air pocket (the arch between the water and the flying stone), in which our Budō manifests. That is not visible to uke and, therefore, is impossible to counter.
  3. “C-shaped” grip: This is when you hold the wrist between your thumb and your forefinger. It is à common way to hold in many military self-defence courses.
  4. www.koimartialart.com: Online streaming platform in English with 160 Gb of videos.

History of Ninjutsu: Ninja History

From 武神館兜龍 Bujinkan Toryu by Toryu

History of Ninjutsu: Ninja History

Excerpt about Ninja History from the book Ninjutsu Sono Rekishi To Ninja by Heishichirō Okuse.

Ancient Ninjutsu (600-700)

The Beginnings of Ninjutsu: A Chinese Origin. Ninjutsu did not originate in Japan. Between the 6th and 7th centuries, the knowledge of Chinese military strategy, specifically the “Art of Espionage” (Yōkan-jutsu) from Sun Tzu’s The Art of War (Sunzi), was imported into Japan. This became the “seed of ninjutsu,” which, over many centuries, evolved during the Warring States period (15th–16th centuries) into Japan’s unique “ninjutsu,” distinct from military strategy (Heihō) and martial arts (Bujutsu).
This section, therefore, naturally focuses on tracing when, by whom, and how this “seed of ninjutsu”—the Yōkan-jutsu from Sunzi—was brought to Japan and put into practical use. The five chapters of this section all address this central theme.

Ninjutsu in the Nara Period (710-794)

The Nara period (710–794 CE) was a time when Japan’s ancient indigenous culture (Shinto culture) and the newly imported Chinese culture (Buddhist culture) intermingled and began to integrate.
Due to the necessities of religious conflicts, the Chinese military strategy of espionage (Yōkan), inherited from previous eras, was further developed by Shugendō practitioners (mountain ascetics) into what became known as Yamabushi Heihō (Yamabushi Military Strategy). This development is a significant event in the formation of ninjutsu and must be thoroughly explored.
Additionally, the introduction of esoteric Buddhism (Mikkyō) and the propagation of Buddhist teachings (Fukyō), which strongly influenced this process, are indispensable elements in the formation of Yamabushi Heihō that cannot be overlooked.
This chapter focuses on tracing the historical successors of The Art of War (Sunzi)’s military strategy (espionage), examining the Shugendō tradition and its founder, En no Gyōja, and exploring how esoteric Buddhism, ancient Shinto, and Sunzi’s military strategies were blended in the hands of Yamabushi ascetics, evolving into something new.

Ninjutsu in the Heian Period (794-1185)

The “seed of ninjutsu,” known as Yamabushi Heihō (Yamabushi Military Strategy), spread across Japan during the Heian period (794–1185 CE) as it absorbed Yin-Yang philosophy (Onmyōdō) and expanded alongside the growth of esoteric Buddhism (Mikkyō), marked by the construction of Mikkyō temples nationwide. As these temples began employing warrior monks (Sōhei) to protect and develop their estates, Yamabushi Heihō spread from the Yamabushi to the warrior monks. Over time, interactions between warrior monks and samurai (Bushi) emerged, resulting in the transmission of Yamabushi Heihō techniques to the samurai class. This phenomenon was not limited to specific regions but became a nationwide trend. Notably, the rising Genpei clans—particularly the Genji (Minamoto clan)—developed a special relationship with Yamabushi Heihō.
This section focuses on these historical developments, examining how figures such as Yin-Yang masters (Onmyōji), Genji warriors, Fujiwara Chikata, Kōga Saburō, the Hattori clan, and Heian-period bandits mastered Yamabushi Heihō, emerging as early inheritors of these techniques. Readers should pay particular attention to the frequent appearance of individuals from Iga and Kōga in these phenomena, as this highlights their significant role in the early development of ninjutsu.

Ninjutsu in the Genpei Period (1180-1185)

By the end of the Heian period (794–1185 CE), with signs of nationwide turmoil emerging, Yamabushi Heihō (Yamabushi Military Strategy) reached a stage of completion. This is exemplified by the Kurama Eight Styles (Kurama Hachiryū), a system in which military strategy (Heihō), martial arts (Bujutsu), and ninjutsu (Ninjutsu) were still grasped as a unified whole, not fully independent, but internally beginning to diverge into specialized fields.
Through the efforts of Minamoto no Yoshitsune and Ise Saburō Yoshimori, the first “ninjutsu manual” known as Yoshitsune-ryū Ninjutsu was written. While its contents are not yet fully separated from military strategy, the fact that ninjutsu emerged in a distinct, albeit incomplete, form from its foundation in the Kurama Eight Styles is noteworthy.
Another significant development of this era is the clear emergence of ninja clans in Iga. The fully developed form of Yamabushi Heihō was being passed down to the local warrior families (Jizamurai or Dogō, local chieftains) of Iga and Kōga. From this period onward, Yamabushi Heihō began to gradually transform into what would be recognized as “ninjutsu.”

Ninjutsu in the Kamakura Period (1185-1333)

During the Kamakura period (1185–1333 CE), the introduction of Zen Buddhism, which rapidly spread among the samurai class, had a significant impact on the later development of ninjutsu—a point worth noting.
In Iga and Kōga, the samurai groups that emerged internally, while operating in different environments, adopted a strict isolationist stance toward external forces. Internally, they began to advance their governance through a coalition of local chieftains (Dogō), employing a policy of direct military resistance against external enemies (through samurai unity) and a strategy of coexistence internally (balancing power among factions). It’s notable that the methods they adopted during the chaotic Sengoku period were already taking root at this time.
Additionally, two key developments influenced the later evolution of Iga and Kōga ninjutsu: the Iga ninja clan leaders, the Hattori (and Momochi) clans, reconciled with the newly arrived Ōe clan (from Kawachi), extending their influence into Yamato and Kawachi; and the Kōga ninja clans came under the control of the Sasaki clan, the provincial protectors, establishing a communication route to Kyoto (Kyōraku).

Ninjutsu in the Nanbokuchō Period (1336-1392)

During the late Kamakura period (1185–1333 CE), amidst the turmoil surrounding the fall of the Hōjō regime, a military genius, Kusunoki Masashige, rose to prominence. Masashige emerged as a master of unconventional tactics (Kihenpō), the foundation of ninjutsu, completing the framework for both offensive and defensive unconventional strategies that had been initiated by Minamoto no Yoshitsune during the Genpei period. Additionally, he established an independent organization for espionage and stratagem, advocating for the necessity of intelligence and covert operations during peacetime—what he termed Dakkōnin (political ninjutsu)—within the field of military science (Heigaku).
The ninjas of Iga and Kōga, alongside the Yamabushi, became a faction supporting the Southern Court through Masashige’s mediation.

Ninjutsu in the Sengoku Period (1467-1615)

The Sengoku period (1467–1615 CE) marks the era in which ninjutsu reached its full maturity.
It is only in this period that we can finally encounter “complete” ninjutsu.
During this time, “ninjutsu-like” practices emerged in various regions across the country, but apart from the ninjutsu of Iga and Kōga, no other form can be considered truly complete.
In this sense, Iga and Kōga ninjutsu represents the pinnacle of Japanese ninjutsu, far surpassing the hastily developed, naturally occurring ninjutsu of other regions in terms of sophistication. This is precisely why Iga (and Kōga) ninjas were so highly valued during this period.
It would not be an exaggeration to say that among the military commanders who best utilized ninjutsu, Tokugawa Ieyasu stands as the greatest and most significant. The influence of ninjutsu and ninja organizations in his rise to dominance cannot be overlooked.
Another notable fact is the significant impact that the introduction of gunpowder had on Iga (and Kōga) ninjutsu during this period.
Additionally, a key characteristic of this era is the emergence of distinct schools (Ryūha) in military science (Heigaku), martial arts (Bujutsu), and ninjutsu (Ninjutsu), with these disciplines developing a high degree of artisan-like specialization (Artisan-sei) while also becoming professionalized.

Ninjutsu During the Oda-Toyotomi Period (1568-1615)

The Oda-Toyotomi period (roughly 1568–1615 CE, spanning the reigns of Oda Nobunaga and Toyotomi Hideyoshi) was the era in which ninjutsu, perfected during the Sengoku period, flourished most vibrantly.
As mentioned previously, Japan’s largest and most formidable ninjutsu organizations—Iga-ryū and Kōga-ryū—were almost exclusively under the control of Tokugawa Ieyasu during this time.
Consequently, the history of ninjutsu in this period cannot be examined independently of Ieyasu’s policies and actions. The activities of ninjas during this era are directly tied to the establishment of the Tokugawa regime.
This section explores the adversarial relationship between Iga and Kōga ninjas and Oda Nobunaga and Toyotomi Hideyoshi, focusing on the events surrounding the Tenshō Iga Rebellion (1579–1581 CE), which was a major cause of this enmity. It also examines the movements of Iga and Kōga ninjas during this period, their nationwide dispersal, the origins and evolution of the Iga Dōshin (a ninja unit) within the Tokugawa Shogunate, and the history of the shogunate’s ninja management system within Iga.

Ninjutsu During the Tokugawa Period (1603-1868)

Overview of Ninjutsu’s Decline. Up until the early Tokugawa period, ninjutsu reached its peak, but as the demands of the era shifted, it rapidly entered a period of decline. The techniques and organizations of ninjutsu began to disintegrate swiftly, transitioning from political espionage to judicial espionage. It was during this time that ninjutsu’s secret manuals started to emerge publicly—a natural phenomenon given the changing times.
As the era of judicial espionage began, the rise of talented figures like Ōoka Echizen-no-Kami (Ōoka Tadasuke), who became the town magistrate, marked the entry of Kishū-ryū ninjas into the ranks of covert operatives.
The Shimabara Rebellion Chronicle (Shimabararanki) serves as a valuable record, casting a faint light on ninjutsu during its extinction phase alongside the last of the ninjas.


Excerpt above about Ninjutsu History from the book Ninjutsu Sono Rekishi To Ninja by Heishichirō Okuse.

Heishichirō Okuse (奥瀬 平七郎, おくせ へいしちろう) was a Japanese novelist, researcher, and politician born on November 13, 1911, in Ueno, Japan. He passed away on April 10, 1997.​

Okuse graduated from Waseda University and studied under the renowned author Masuji Ibuse. He developed a particular interest in ninjutsu (the art of stealth and espionage), contributing to its study and preservation. Professionally, he worked for the Manchurian Telephone & Telegraph Company.​

In addition to his literary and research endeavors, Okuse served as the mayor of Ueno from 1969 to 1977. His multifaceted career reflects a deep engagement with both traditional Japanese martial arts and public service.

The post History of Ninjutsu: Ninja History appeared first on 武神館兜龍 Bujinkan Toryu.…

History of Ninjutsu: Seven Scabbard Cord Techniques

From 武神館兜龍 Bujinkan Toryu by Toryu

History of Ninjutsu: Seven Scabbard Cord Techniques

下緒七術 SHITAO SHICHIJUTSU (Seven Scabbard Cord Techniques) Page 201-204.

Seven Scabbard Cord Techniques. The scabbard cord (sageo) is a flat, woven strap attached to a protrusion called the chestnut shape (kurigata), located seven or eight sun (21–24 cm) from the scabbard’s mouth, on the outer side when the sword is worn. Typically, the sageo secures the scabbard to the waistband to prevent it from slipping, with a standard length of six shaku (about 1.8 m). However, ninja swords use longer cords, ranging from eight to twelve shaku (2.4–3.6 m), designed for versatile applications.

1. 座探しの術 ZAGASHI NO JUTSU (Technique of Searching While Seated)

As noted in the Art of Probing the Seat, the sageo is held taut in the mouth to keep the sword secure while probing in darkness, making it one of the seven sageo techniques.

    2. 止血・縛技の術 SHUKKETSU / SHIBARI-WAZA NO JUTSU (Technique for Hemostasis and Restraint)

    During combat, if the waistband or belt is cut, or when rising abruptly at night and unable to find the belt, use the sageo as a substitute. For wounds, cut the sageo to an appropriate length and tightly bind above the injury (closer to the heart for limbs) to temporarily stop bleeding. To restrain a captured enemy, use the eight-to-twelve-shaku sageo as a quick-binding rope.
    The “Finger-Lock Rope” or “Six-Inch Rope” method involves crossing the enemy’s hands behind their back, overlapping the fingers, and tying the thumbs’ joints in a cross pattern—six inches of cord suffice. A twelve-shaku sageo can bind six or seven enemies in a chain-like formation.

      3. 用心縄・通路仕掛の術 YŌJIN-NAWA / TSŪRO-JIKAKE NO JUTSU (Caution Rope / Corridor Trap Technique)

      As detailed later in the six articles on caution ropes, use the sageo as a low tripwire (set at knee height) stretched horizontally across a bedroom entrance. An enemy stepping in trips over the rope and falls, allowing the ninja, half-risen from the room’s center, to strike with a surprise slash (see illustratio

        4. 釣刀の法 TSURIGATANA NO HŌ (Sword-Hoisting Method)

        When scaling a wall, plant the ninja sword’s scabbard tip into the ground, using the sword and scabbard as a step. Place a foot on the guard to leap upward, grabbing the wall’s top. Hold one end of the sageo in the mouth while climbing, then pull the sword up by the sageo from atop the wall. This is called the Sword-Pulling Method.

          5. 幕張りの術 MAKUHARI NO JUTSU (Curtain-Pitching Technique)

          During wilderness camping, ninja tie four standing poles with sageo, drape oiled paper over them to form a tent, and shelter from rain, dew, or snow. For snow camping, gather dozens of fist-sized stones, arrange them in a layer, and build a fire atop them. After extinguishing the fire, lay dry grass on the warm stones, warm yourself with a dual-purpose matchlock tube (described later) tucked inside your clothing, and sleep.

            6. 旅枕の法 TABIMAKURA NO HŌ (Travel Pillow Method)

            For sleeping while traveling, tie the sageo of the long and short swords together, lay the taut sageo under your body, place the two swords upright, and lie atop them. The sageo runs horizontally under your back, with the long sword on the left and the short sword on the right, your body between them. Sleep hugging the long sword with your left arm.
            If a thief or enemy tries to steal the swords during deep sleep, the sageo’s movement under your back wakes you. Instantly, while still lying, fling the scabbard toward your feet, draw the blade toward your head, and thrust at the enemy. Ninja draw their swords by throwing the scabbard in the opposite direction, halving the time needed to unsheathe compared to standard methods.
            When pursuing an enemy or fleeing in haste without time to retie the waistband, tie the swords’ sageo together, loop it around your neck, let the swords dangle in front, and run while retying the waistband to secure them at the waist.

              7. 鑓止めの術 YARIU-DOME NO JUTSU (Spear-Stopping Technique)

              This sword technique immobilizes an enemy wielding a long weapon like a spear or long sword, rendering it useless, and allows a thrusting strike. Draw the ninja sword with its scabbard from the waist, quickly tie one end of the sageo to the hilt, and unsheathe the blade, holding it in the left hand with the scabbard’s mouth facing you. Extend the scabbard in the right hand toward the enemy at eye level, raise the blade in the left hand to an upper stance, with the sageo taut vertically along your right side. Wait calmly in this stance.
              If the enemy’s spear thrusts low toward your abdomen, cross the blade and scabbard to catch it, press it to the ground, kick the shaft to pin it, and thrust the blade to fell the enemy. If aimed high at your face, cross the blade and scabbard upward to parry the shaft, ready the blade forward, and thrust to kill.
              If the spear aims at your chest and passes to the right of the sageo, step slightly left-diagonal forward, parry the spear tip rightward, raise your right elbow to clamp the shaft under your right arm, swiftly swap the blade and scabbard between hands, and open your arms to wrap the sageo around the shaft, binding it. Restrict the spear’s thrusting or pulling, step in at the right moment, and thrust the flat blade into the enemy’s chest to kill. If the spear passes to the sageo’s left, step right-diagonal forward, parry the spear leftward, clamp the shaft under your left armpit, swap blade and scabbard, wrap the sageo around the shaft to immobilize it, and thrust as before to kill.

                These are the Seven Scabbard Cord Techniques, fully utilizing the sageo’s potential.


                This above was just one section translated from Japanese to English from the book…

                忍術の研究 Ninjutsu no Kenkyū by 名和弓推 Yumio Nawa

                First published on November 1, 1972. It contains approximately 85,000 words across 377 pages, including around 50 pages of illustrations and index. The work explores historical ninjutsu, martial strategies, and their relevance to contemporary life.

                About the Author
                Yumio Nawa (real name: Sadatoshi Nawa) was born in 1912 (Meiji 45) into a samurai family of the Ogaki-Toda domain. He was the Sōke (headmaster) of Masaki-ryū Manrikigusari-jutsu and Edo Machikata Jitte-jutsu. His other works include A History of Torture and Punishment, Studies of Jitte and Hojō, and Weapons of the Shinobi, among others. He served as an executive director of the Society for the Research and Preservation of Japanese Armor and Arms, and a standing director of the Japan Writers Club. At the time of publication, he resided in Asagaya-Minami, Suginami Ward, Tokyo.

                The post History of Ninjutsu: Seven Scabbard Cord Techniques appeared first on 武神館兜龍 Bujinkan Toryu.…

                History of Ninjutsu: Ninja Running Techniques

                From 武神館兜龍 Bujinkan Toryu by Toryu

                History of Ninjutsu: Ninja Running Techniques

                Ninja Running Techniques, the importance of running for ninja is evident from the escape story of Nikuruma Inosuke, as mentioned earlier. Terms like “swift-footed” or “fast-footed group” are entirely fitting for ninja.

                横走り Yoko-bashiri (Side Running)

                A distinctive ninja running technique is side running. With their back against a wall, holding a sword facing forward toward an enemy, ninja run sideways. This method is ideal for navigating narrow spaces, such as those only chest-width wide.
                The legs cross deeply in a zigzag pattern, then spread wide to the right or left in a large X-shape, repeating to move sideways, either running or hopping. In side running, even cutting through the wind, the mouth avoids air resistance, and there’s no worry of dust entering the eyes. One can eat, shout to communicate with allies, or even urinate while running. Once mastered, side running is said to be far more convenient than normal running.

                斜め走り Naname-bashiri (Diagonal Running)

                When ascending steep slopes, running straight up is less efficient than running diagonally. Zigzagging by running diagonally right, then diagonally left, is easier and helps evade enemy gunfire or arrows. Slightly lowering the face during diagonal running reduces air resistance at the mouth. Arm movement is crucial: crossing both arms broadly in front of the chest and swinging them wide imparts momentum, propelling the legs diagonally as if leaping, increasing speed and reducing fatigue.

                後ろ走り Ushiro-bashiro (Backward Running)

                While backward walking is possible, backward running is slow, and the terrain ahead is hard to see, making it frightening and impractical. I believe backward running is a ninja trick.
                Experiments in dim light show most people fail to notice this ruse, supporting my hypothesis. Backward running is used when pursued and at risk of being cut down from behind. The ninja turns to face the approaching enemy, holding the sword in a seigan (eye-level) stance or spewing fire and smoke from the mouth, then flees backward at high speed while maintaining this posture (see frontispiece illustration).
                During infiltration, ninja carry a demon or tengu mask preloaded with fireworks in their chest. When pursued closely, they ignite the firework’s fuse, place the mask on the back of their head, and, while holding the sword backward, run forward. To the enemy, it appears the ninja is retreating backward while facing them with a sword. As noted in the attire section, sandals must have heel-stop fittings.

                暗闇を疾走する法 Kurayami o Shissō suru Hō (The Method of Running Swiftly Through Darkness)

                The infamous “Sermon Bandit” from Taisho-era crime history, who broke into homes, assaulted women, stole valuables, and stayed from midnight to dawn, offers a relevant example. He preached to households, advising them to brighten the outside and darken the inside for safety or to keep dogs, biding time until just before the first train, then fleeing at high speed through the dark, breaking through police cordons before they tightened, escaping beyond their reach. His knack for sprinting through darkness kept him elusive. This ninja-like figure, Tsumaki Matsukichi, claimed to be from the mountains.

                When captured and asked how he ran through darkness, Tsumaki Matsukichi’s response mirrored ninja techniques, prompting me to ponder the connection between mountain life and ninjutsu. He explained: Holding a bamboo sword or long bamboo staff straight ahead horizontally, he lowered his face (since the dark obscured vision) and ran. When hitting a wall or obstacle, he bent his arm to absorb the impact, changed direction, and continued running in the same posture. The bamboo acted as an antenna.

                Ninja used the same principle to sprint through dark paths, but instead of a bamboo sword or staff, they employed the Zasaguri no Jutsu (probing technique) from the seven sageo arts. Holding the sword and scabbard horizontally forward, with the sageo’s end in their mouth to suspend the sword, they lowered their face and ran. When the scabbard’s tip hit an obstacle, it snapped back onto the blade, cushioning the impact as the scabbard slid. Ninja swords had sturdy iron kojiri (end caps), a reinforcing band, a ring-shaped kurigata (cord loop), and a robust koguchi (scabbard mouth) fitting, making scabbard damage highly unlikely.


                This above about Ninja Running techniques was just one section translated from Japanese to English from the book…

                忍術の研究 Ninjutsu no Kenkyū by 名和弓推 Yumio Nawa

                First published on November 1, 1972. It contains approximately 85,000 words across 377 pages, including around 50 pages of illustrations and index. The work explores historical ninjutsu, martial strategies, and their relevance to contemporary life.

                About the Author
                Yumio Nawa (real name: Sadatoshi Nawa) was born in 1912 (Meiji 45) into a samurai family of the Ogaki-Toda domain. He was the Sōke (headmaster) of Masaki-ryū Manrikigusari-jutsu and Edo Machikata Jitte-jutsu. His other works include A History of Torture and Punishment, Studies of Jitte and Hojō, and Weapons of the Shinobi, among others. He served as an executive director of the Society for the Research and Preservation of Japanese Armor and Arms, and a standing director of the Japan Writers Club. At the time of publication, he resided in Asagaya-Minami, Suginami Ward, Tokyo.

                The post History of Ninjutsu: Ninja Running Techniques appeared first on 武神館兜龍 Bujinkan Toryu.…

                History of Ninjutsu: Ninja Jumping Techniques

                From 武神館兜龍 Bujinkan Toryu by Toryu

                History of Ninjutsu: Ninja Jumping Techniques

                Ninja Jumping often need to escape by leaping over obstacles or walls, grabbing onto house eaves, or dodging sideways in the blink of an eye to hide from enemies. They may also have to jump across rivers too wide for pursuers or leap from low to high places to evade capture. When infiltrating enemy castles or houses, the ability to fly like a bird would render defenses and ambushes nearly irrelevant.

                Ninja techniques include the Six Jumping Methods, encompassing six types of jumps:

                1. Forward Jump (Mae-tobi)
                2. Backward Jump (Ushiro-tobi)
                3. High Jump (Taka-tobi)
                4. Long Jump (Haba-tobi)
                5. Side Jump (Yoko-tobi)
                6. Diagonal Jump (Naname-tobi)

                The standards are a high jump of 9 shaku (2.7 m), a long jump of 18 shaku (5.4 m), and a downward jump of 50 shaku (15 m). These figures likely represent ideal targets for ninja training. Beyond these, jumps were performed in pairs or trios or with tools.

                忍びの跳躍訓練 Shinobi no Chōyaku Kunren (Ninja Jump Training)

                To leap effectively, one must be light. Ninja regularly used slimming medicines made from wild coix seeds, ate tofu as a staple to maintain nutrition without gaining fat, and underwent rigorous, balanced daily training. This reduced excess fat, tightened muscles, and developed a flexible, resilient, steel-like physique.

                During intense physical training, ninja reportedly wore deer leather undergarments. Sweating from vigorous movement wetted the leather, causing it to cling and constrict the body. Enduring this discomfort during training gradually slimmed the body and reduced sweating, as body odor could betray a ninja’s presence.

                Jump training involved sowing hemp seeds in a plot of land and waiting for germination. Hemp grows rapidly, stretching taller daily. Ninja practiced jumping over it—forward, backward, sideways, and diagonally. Initially easy, the task grew harder as the hemp grew. Such training for about three years was necessary to become a competent ninja.

                二人組人馬興業停止令 Futarigumi Jinba Kōgyō Teishi Rei (Two-Person Horseback Technique)

                The term “ninba” (human horse) refers to a mid-Edo period spectacle, akin to modern circus acts, but I believe it originated as a ninja technique for leaping over high walls. Historical records claim it was devised in the Genroku era (1688–1704) for performances, but I suspect it’s older.

                In Kyoto, a performer named Numa from Kinbuya Tabee, during the Genroku era, went to Edo, joined the equestrian Sasaki Heima’s school, and allegedly created the ninba technique inspired by equestrian skills. However, equestrianism and ninba share no technical similarities.

                The Rakushu Genbun Taiheiki, Volume 4, mentions Sasaki Heima’s fame and ninba’s ability to astonish audiences. On July 24, Genbun 5 (1740), ninba performances were banned again. Though presented as derived from equestrianism, I believe destitute ninja, no longer receiving stipends, used their trained ninba skills in performances. Records show ninba was banned three times.

                The Seihōroku, in an entry for April, Hōei 4 (1707), notes: “Recently, various acrobatics called ninba have gathered crowds, leading to imitators and potential misconduct, so ninba and other acrobatic performances are henceforth prohibited.” Another ban was issued in Genbun 5 (1740), and on May 11, Kanpō 2 (1742), the Asakusa-ji Diary records the dismantling of an acrobatics booth at Asakusa Temple due to concerns that “undesirable people learning and using it could lead to trouble.” The bans were issued because ninba could be misused by thieves if publicly displayed.

                Was ninba such a shocking technique to warrant such scrutiny?

                二人組人馬の技法 Futarigumi Jinba no Gihō (Two-Person Ninba Technique)

                Jumping over a 10-meter-high wall or obstacle without tools is difficult, but with the two-person ninba technique, ninja could soar like birds (see frontispiece illustration).

                One person stands with another on their shoulders, facing a high wall. For stability, the upper person places their feet on the lower’s shoulders, firmly grips the lower’s head, and crouches to avoid falling, timing the takeoff. The lower person holds the upper’s legs for stability. Both synchronize their breathing, sprint toward the wall or obstacle at tremendous speed, and at the optimal distance, the upper person kicks off the shoulders to leap, while the lower throws the upper’s legs upward. With the momentum of the sprint and elastic body movement, the black shadow arcs through the air like a projectile, clearing the obstacle.

                For house infiltration, once one ninja lands inside, they throw a climbing rope outside, easily pulling the other over the wall (see illustration).

                三人組人馬の技法 Sanningumi Jinba no Gihō (Three-Person Ninba Technique)

                For obstacles over 10 meters that a two-person ninba cannot clear, a three-person technique is used. One person sits on a stone 4–5 meters from the obstacle, facing away, knees aligned horizontally. A second person stands naturally on the seated person’s back. The jumper starts a sprint from as far as 10 meters away, steps onto the seated person’s knees as a launch platform, and leaps upward. Just before, the seated person supports the jumper’s soles or thighs, and the standing person grips the jumper’s torso, all synchronizing to hurl the jumper high over the obstacle (see frontispiece illustration).

                These flight techniques are most dangerous during landing, and until mastered, they reportedly cause frequent fractures, sprains, and bruises. I once saw the Soviet Russian Ballet perform a Cossack dance where dancers leaped high from the stage’s back, soaring over others to land at the front, using a method nearly identical to the three-person ninba. This technique likely originated in mainland China, spread north to the Cossacks, and eastward to Japan with ninjutsu. The claim it was devised from equestrianism in the Genroku era is likely a ninja cover story or jest.

                Hop, Step, Jump

                With a four-person team, jumping onto a 3–4-meter wall is simpler. One person leans against the wall, hands on it, head lowered, standing naturally. A second person firmly grasps the first’s waist, braces their feet, tilts their head right or left, and flattens their back. A third person hugs the second’s legs, crouches low, and flattens their back. The jumper sprints, using a triple-jump approach, stepping on the first, second, and third person’s backs, then leaping from the third to grab the wall’s edge (see frontispiece illustration).

                Tool-Assisted Methods

                Using a sturdy long board and a stone, create a seesaw. The jumper stands on one end, and another person jumps from their shoulders onto the raised end, launching the jumper over the wall. Pole vaulting with a spear or pole, or swinging across with a climbing rope like a pendulum, were also used.


                This above about Ninja Jumping techniques was just one section translated from Japanese to English from the book…

                忍術の研究 Ninjutsu no Kenkyū by 名和弓推 Yumio Nawa

                First published on November 1, 1972. It contains approximately 85,000 words across 377 pages, including around 50 pages of illustrations and index. The work explores historical ninjutsu, martial strategies, and their relevance to contemporary life.

                About the Author
                Yumio Nawa (real name: Sadatoshi Nawa) was born in 1912 (Meiji 45) into a samurai family of the Ogaki-Toda domain. He was the Sōke (headmaster) of Masaki-ryū Manrikigusari-jutsu and Edo Machikata Jitte-jutsu. His other works include A History of Torture and Punishment, Studies of Jitte and Hojō, and Weapons of the Shinobi, among others. He served as an executive director of the Society for the Research and Preservation of Japanese Armor and Arms, and a standing director of the Japan Writers Club. At the time of publication, he resided in Asagaya-Minami, Suginami Ward, Tokyo.

                The post History of Ninjutsu: Ninja Jumping Techniques appeared first on 武神館兜龍 Bujinkan Toryu.…

                History of Ninjutsu: Evolution of Ninja Terms

                From 武神館兜龍 Bujinkan Toryu by Toryu

                History of Ninjutsu: Evolution of Ninja Terms

                Ninjutsu history begins with terms like 忍者 Ninja and 忍法 Ninpō, the most commonly accepted in modern times, which are newly coined words from the 昭和 Shōwa era (1926–1989). The term 忍術使い Ninjutsu Tsukai (Ninjutsu user) is a newly coined word from the 明治 Meiji (1868–1912) and 大正 Taishō (1912–1926) eras. In the 江戸 Edo period (1603–1868), the representative terms were 忍び Shinobi or 忍びの者 Shinobi no Mono (Shinobi person), and the techniques were called 忍術 Ninjutsu.

                Using the term お庭番 Oniwaban (garden guard) in the same way as Shinobi no Mono is a mistake. Oniwaban is a job title in the shogunate, but since Shinobi were assigned to this role, the shogunate’s covert agents were called Oniwaban. However, it is strange for television or movies to feature Shinobi as the Oniwaban of the 上杉家 Uesugi family or the 伊達家 Date family. The names for Shinobi varied across different domains and regions.

                In general, even in China, the homeland, the names for Shinobi varied across different regions with various designations.

                • 遊子 Yūshi (In 大橋 Ōhashi, Shinobi are called Yūshi. Does this mean one who travels between enemy and ally, or one who takes the form of a playful figure?)
                • 行人 Kōjin (In 陰経 Inkyō, Shinobi are called Kōjin. Like Yūshi, it likely means a person who goes back and forth between enemy and ally.)
                • 遁形 Tongyō (In 五雑爼 Gozassho, they are called Tongyō. Shinobi are not combatants; their essence is to gather information and escape, meaning a person who masters the form of passing through.)
                • 間 Kan (In the state of 具 Chu, they were called Kan. The meaning of Kan is as previously described, and from this, Japan created the term 間者 Kanja [spy].)
                • 課 Saku (In the 春秋 Spring and Autumn period, they were exclusively called Saku. The literal meaning of Saku includes “to spy.” It refers to the role of spying on and probing the enemy’s situation.)
                • 遊偵 Yūtei, 細作 Saisaku, 姦細 Kansei, 好細 Kōsei (After the Warring States period, in China, Shinobi were called Yūtei, Saisaku, Kansei, Kōsei, etc. This likely means traveling between enemy and ally in a playful form to spy on the enemy’s situation, probing the enemy’s situation in detail and reporting to the general, who then uses this to devise detailed strategies. Additionally, calling Shinobi 森細 Seisai or 妊細 Ninsei likely means a job that appears ordinary on the surface but involves deep, cunning schemes behind the scenes.)

                In ancient China, they were called as above, but after being introduced to Japan, from the Muromachi period (1336–1573) to the early Warring States period, they were called:

                • 草 Kusa (Grass)
                • かまり Kamari (Spy)
                • 水彼 Suppa (Water Other)
                • 乱破 Rappa (Chaos Breaker)
                • 突破 Toppa (Break Through)
                • 出抜 Denuki (Exit Pull)
                • うかみ処 Ukami Dokoro (Spy Place)

                武田玄 Takeda Shingen called Shinobi the 三つの者 Mittsu no Mono (Three Types of People). He divided them into three roles, and collectively referred to them as the 三つの者 Mittsu no Mono (Three Types of People).

                … and so on.

                1. —間見 Kanmi (observer),
                2. 見分 Mikewake (inspector), and
                3. 目付 Metsuke (overseer)

                上杉謙倍 Uesugi Kenshin called Shinobi 猿 Nokizaru (roof monkeys).

                織田長 Oda Nobunaga called Shinobi 製談 Kyōdan (conversers).

                In the Tokugawa period, Shinobi themselves used the characters 獺盗 kawai nui (otter thief) to read as Shinobi, or, seemingly disliking the sound of the word Shinobi, they tried to avoid using the character 忍び Shinobi as much as possible. They used terms like:

                • 早道の者 Hayamichi no Mono (fast path person)
                • 早足組 Hayaashigumi (fast-footed group)
                • 忍び目付 Shinobi Metsuke (Shinobi overseer)
                • 物聞き Monokiki (listener)
                • 黒はばき Kurohabaki (black leg guards)
                • 小隼人組 Kohayato Gumi (津軽藩 Tsugaru Domain, a Shinobi group led by 中川小隼人 Nakagawa Kohayato, a 200-koku retainer)
                • 鳥組 Tori Gumi (Sendai Domain, a guerrilla unit led by Shinobi 細谷十大夫 Hosoya Jūdayū)

                These names make it hard to think of them as groups of Shinobi. Even in modern times, people from Shinobi lineages strongly dislike announcing that their family has Shinobi blood.

                If a Shinobi is known to be a Shinobi, they can no longer fulfill their role. In other words, they become useless, and simply being a Shinobi led to discriminatory treatment by ordinary samurai, being shunned, and even having marriage proposals rejected—a dark past they carry. Why this happened will be explained later, but the essence of a Shinobi is inherently such, a matter of fate, and nothing can be done about it.


                This above was just one section translated from Japanese to English from the book…

                忍術の研究 Ninjutsu no Kenkyū by 名和弓推 Yumio Nawa

                First published on November 1, 1972. It contains approximately 85,000 words across 377 pages, including around 50 pages of illustrations and index. The work explores historical ninjutsu, martial strategies, and their relevance to contemporary life.

                About the Author
                Yumio Nawa (real name: Sadatoshi Nawa) was born in 1912 (Meiji 45) into a samurai family of the Ogaki-Toda domain. He was the Sōke (headmaster) of Masaki-ryū Manrikigusari-jutsu and Edo Machikata Jitte-jutsu. His other works include A History of Torture and Punishment, Studies of Jitte and Hojō, and Weapons of the Shinobi, among others. He served as an executive director of the Society for the Research and Preservation of Japanese Armor and Arms, and a standing director of the Japan Writers Club. At the time of publication, he resided in Asagaya-Minami, Suginami Ward, Tokyo.

                The post History of Ninjutsu: Evolution of Ninja Terms appeared first on 武神館兜龍 Bujinkan Toryu.…

                Ninjutsu and Shugendo: A Shared Mystical Legacy

                From 武神館兜龍 Bujinkan Toryu by Toryu

                Ninjutsu and Shugendo: A Shared Mystical Legacy

                Ninjutsu and Shugendo are two enigmatic Japanese traditions that blend martial skill with spiritual mysticism. Their roots trace back to the fall of 百済 Baekje in 663 AD, when refugees, including 姚玉虎 Chō Gyokko (Yao Yuhu), fled to Japan. Chō Gyokko, a historical figure, brought martial techniques and Taoist practices from 唐 Tō (Tang China), influencing early Ninjutsu schools like 玉虎流 Gyokko-ryu and 虎倒流 Koto-ryu. Around the same era, 役行者 En no Gyōja (En the Ascetic) established 修験道 Shugendo, a path of mountain asceticism. This article explores their shared origins and practices, featuring direct insights from 山田雄司 Yamada Yuji (Professor Yuji Yamada) and 長谷川智 Hasegawa Satoshi (Yamabushi Satoshi Hasegawa) in their original Japanese kanji.

                The Baekje Influence on Ninjutsu and Shugendo

                The collapse of Baekje spurred a wave of cultural exchange as exiles introduced combat skills and spiritual traditions to Japan. Figures like Chō Gyokko played a pivotal role in shaping Ninjutsu’s foundations. Meanwhile, Shugendo emerged as a unique spiritual discipline. Professor Yamada highlights a critical link between the two:

                「九字護身法は元々中国の道教のもので、それが修験道で入山する時に自分の身を霊的に守護するための作法になりました。忍者も印を結んだり九字を切ったりしますが、これらは修験道由来です」
                (Translation: “The nine-syllable kuji-in came from Chinese Taoist practices, adopted by Shugendo to spiritually protect oneself in the mountains, and later passed to Ninjutsu”).

                This statement underscores how Baekje’s legacy influenced both traditions through shared esoteric practices.

                Shared Practices: Kuji-in and Mountain Training

                The 九字印 kuji-in hand seals represent a profound connection between Ninjutsu and Shugendo. In Ninjutsu, these gestures served both practical and mystical roles. Yamada explains:

                「忍者が印を結ぶのは、命がけの任務に臨む際に神仏の加護を得て、自身のメンタルを安定させるという実用的な面も大きかった」
                (Translation: “Ninjas used kuji-in to gain divine protection and mental stability before life-or-death missions”).

                In Shugendo, the seals carried a deeper spiritual weight. Hasegawa elaborates:

                「修験道は密教の影響が強いので、密教で重視される「三密(身・ロ・意)」の「身=身体」で、ある種の形を作ることで精神的な影響を起します」
                (Translation: “In Shugendo, influenced by esoteric Buddhism, the ‘three secrets’—body, speech, mind—are used, with the body forming seals to create spiritual effects”).

                Mountains also played a central role in both disciplines. Yamada notes:

                「忍者は山中で修行を積んで、肉体的な鍛錬と同時に「何があっても大丈夫だ」という精神性を身に付ける」
                (Translation: “Ninjas trained in mountains to build endurance and a resilient mindset”).

                Hasegawa complements this:

                「山を歩くのは感性を磨くのに重要で、どんな此細な変化も見過ごさずに察する」
                (Translation: “Walking in mountains sharpens the senses, teaching one to notice subtle changes”).

                These quotes reveal how kuji-in and mountain training bridged the martial and mystical aspects of Ninjutsu and Shugendo.

                A Lasting Connection

                The contributions of Baekje exiles like Chō Gyokko shaped Ninjutsu, while En no Gyōja forged Shugendo’s path. Despite their differences, both traditions share rituals like kuji-in and a reverence for mountain training, as evidenced by the exact words of Yamada and Hasegawa. This fusion of martial and mystical elements highlights their intertwined heritage.

                References

                The full article 忍者と修験道 was published in Hiden Magazine June 2022.

                長谷川智 Hasegawa Satoshi, a Yamabushi and Hitotsubashi University lecturer, has studied yoga, martial arts, and bodywork for 38 years. He leads Shugendō training, teaches at Asahi Culture Center, and serves as a senior “Hone Navi” director. His works focus on physical health, mountain asceticism, and traditional training methods.

                山田雄司 Yamada Yuji, born in 1967, is a professor at Mie University specializing in medieval Japanese religious history and ninja studies. A martial arts enthusiast, he has authored books on ninjutsu and ninja history. He studied at Kyoto and Tsukuba Universities and previously worked in historical research and academia.

                The post Ninjutsu and Shugendo: A Shared Mystical Legacy appeared first on 武神館兜龍 Bujinkan Toryu.…

                NINJA SWORD FIGHTING TECHNIQUES

                From Budoshop.se by BUDOSHOP.SE

                NINJA SWORD FIGHTING techniques with MATS HJELM. During the first two months of 2022, we at Kaigozan Dojo studied the “hidden secret sword techniques” within our Bujinkan Dojo system transmitted from Masaaki Hatsumi Sōke to Mats Hjelm. 秘剣術 Bikenjutsu (Hidden Sword Techniques). There is six fundamental sword techniques from the Togakure-ryū Ninpō-taijutsu school in the Bujinkan Dojo.
                Happō-biken, eight directional secret sword means: generating an infinite secret sword from the posture of divine mind – divine eyes (心身心眼 SHIN SHIN SHIN GAN). Masaaki Hatsumi

                Download NINJA SWORD FIGHTING techniques with MATS HJELM

                On this video Mats show all 6 Sword techniques from the Togakure-ryū in the Bujinkan system. The basic form, many variations and very important concepts in sword fighting was covered. These are the eight postures.

                忍者秘剣術 NINJA BIKENJUTSU

                NINJA SWORD FIGHTING techniques with MATS HJELM. Each technique is demonstrated and explained from different camera angles. The instructions are in English.
                1. 飛龍之剣 HIRYŪ NO KEN
                2. 霞之剣 KASUMI NO KEN
                3. 無想之剣 MUSŌ NO KEN
                4. 打扣之剣 DATŌ NO KEN
                5. 一閃之剣 ISSEN NO KEN
                6. 雷光之剣 RAIKŌ NO KEN
                NINJA SWORD FIGHTING TECHNIQUES
                Click on the button above to buy the 32 minute video download HD1280x720, MP4, QuickTime Text, AAC, H.264. Download size 845Mb
                This video is from a Seminar in 2022. Recorded in Sundbyberg, Stockholm in February 12’th 2022. The seminar was organised by Bujinkan Kaigozan Dojo.

                About the instructor

                Mats Hjelm started training in Bujinkan for the first time around 1983. It wasn’t until 1986 when he had the opportunity to start training more seriously under a Shidōshi. He has taught at numerous seminars all around the world, gone to Japan 3-5 times every year. After he started training he never had a training break. He takes his budo training very seriously! If you want to sponsor a seminar or course, please don’t hesitate to contact him. For more information see his web site kesshi.com or come and train with him at Kaigozan Dojo.…

                Jūjiro Or The Indirect Fight

                From Shiro Kuma by kumablog

                jujiro application

                In the Kukishin ryū, there is one central concept that many don’t know, and it is called “Jūjiro”. (1) With the pandemic, everyone experiences difficult times, and it seems that many of us should be reminded of some basic concepts. Jūjiro is one of them.

                Bujinkan practitioners often do not understand or never heard of what is Jūjiro. 

                Let me refresh your memories about the Kukishin Ryū. When you receive an attack, you must pivot at a 90-degree angle with the body, weapon or both. Staying in line with the opponent is the fastest way to lose a fight. Sport is different as you don’t die in it. If you are defeated in a championship, only your ego is killed, momentarily. 

                Olympic fencers fight in line, Kendōka always remains in line. My Mandalorian friends would say, “That is not the way.” Lines are direct; therefore, they are never the best. Fencing and Kendō would get more exciting and realistic the day fencers and Kendōka are allowed to turn around each other. Because that is what you would do in a real encounter. But if sport can be a “way of life” for some, it is definitely not a real-life and death situation. Budō is not a sport, rather an ancient military system.

                In Japan, Sensei teaches that Jūjiro is used in the Kukishin when possible. Jūjiro consists of moving perpendicular to the attack or using the weapons perpendicular to the target. You apply Jūjiro against a human or a weapon. If you test it in your next training, you will see how powerful it is. Jūjiro creates more freedom in your actions and opens up more possibilities for your taijutsu.

                But there is more to this concept. When you think about the movements, you limit yourself to the physical world, and the material world is only the Omote. 

                There is also an Ura aspect we can use in the mental world. And to explain this, I will need the support of my old friends Laozi and Sunzi.

                In the art of war, Sunzi says that “In battle, there are not more than two methods of attack – the direct and the indirect; yet these two in combination give rise to an endless series of manoeuvres. The direct and the indirect lead on to each other in turn, and it is like moving in a circle – you never come to an end. He adds that “the meeting takes place head-on, and the victory is obtained from an angle”. This direct vs indirect can be related to the cultural differences between the East and the West. In the East, indirect actions are always preferred to direct ones. That is why the Japanese never say “no” but always find a positive way to be negative. For example, when I asked a question to sensei, he would do one of two things: he would answer my question or say something like “step by step.” That was his way to say “no” without being negative (even though he is being negative). 

                This Asian vision of life is beautifully explained in a book by Francois Jullien, a French sinologist. In one of his books titled “Detour and Access: Strategies of Meaning in China and Greece,” he gives a few examples of direct vs indirect action. (2) By not confronting Uke’s actions head-on, you can redirect his intent in other directions. We are tempted to confront the other in a verbal argument instead of accompanying his vision and tilting it. This is the art of negotiation. Nothing good comes from confrontation. This is the “no fight” attitude or “tatakainai.” (3)  

                In the famous Taoteching, Laozi says, “don’t do anything and nothing will be left undone”, which you can understand as “when you oppose someone or something, your actions influence the outcome of the encounter. By not going head-on, you don’t create any unforeseen consequences. Direct confrontation is the opposite of the teaching of Tao. One day I had the chance to speak with the Dzogchen master of the Dalai Lama told me that “Opposing In and Yō is creating duality instead of unity, this is not the Madhyamaka.” (4) (5)

                In battle, this is the direct approach that has to be avoided. Sunzi adds, “by rectitude, we make order reign, we use the troops at an angle. ”Both the direct and the indirect approaches are in use; the timing is different and should not be mixed. This no-confrontation defines Hatsumi Sensei’s Budō, and it is a very profound lesson for our lives. 

                Avoiding direct opposition with others is the best way for negotiating. The Covid has dramatically changed the way we live. On the planet, many groups are fighting each other violently. This is the time of direct confrontation and thus of duality. Please consider going indirectly with the flow instead of rebelling uselessly. The way of Budō is a way of wisdom. Fight what you can change by yourself and what is beyond your possibilities. 

                Ninpō Taijutsu teaches us the way of adaptation. 

                So, constantly adapt to the situation, and use Jūjiro a little more at your dōjō and outside in real life. 

                _____________________________________________

                1 Jūjiro 十字路, crossroads or intersection

                https://www.amazon.com/Detour-Access-Strategies-Meaning-Greece/dp/1890951102/ref=sr_1_4?crid=1HD1R3XXBOZI1&dchild=1&keywords=francois+jullien&qid=1635441571&s=books&sprefix=francois++jullien%2Cstripbooks%2C287&sr=1-4

                3 戦い無い, tatakainai: non existent fight, no fight

                4 In-Yō is the Chinese for Yin-Yang

                5 中觀見, Madhyamaka: https://en.wikipedia.org/wiki/Madhyamaka

                A Secret 九字 Kuji for Defeating 100 Enemies

                From Bujinkan Santa Monica by Michael

                Hidden Alcove at 戸定邸 Tojō-tei. photo by Michael Glenn
                Within the 九法の力 Kyū-hō no chikara, or the power of the 9 methods, there is a kuji that holds the 秘技 higi or secret technique to overcoming a hundred enemies:

                「護攻虚変争精神不動」GoKoKyoHenSeiShinFudo

                This kuji, or gokui, repels any method of capture or defeat. You protect yourself by changing the attack itself with an immovable spirit. This is the time to do or die. You are prepared for death, but you’d rather do the enemy in.

                How do you do instead of die? In that single moment of life and death you remain unmoved in the middle. That middle place is the key to ninjutsu.

                On a very hot day in June, I learned about this. The air was loud with the harmonic drone of 蝉 semi (cicadas). But we were training anyway. Hatsumi Sensei told us to train in accordance with the temperature.

                Two opponents attacked and Soke slipped behind the first attacker. He did this while trapping the second guy in his own attack. Then Hatsumi asked the uke to give his impression of what just happened. The confused student described his inability to get a fix on Hatsumi Sensei as a target.

                Soke replied that this is not the movement of sports or the “so called” martial arts. This is something far above that.  This is true ninjutsu. Make your techniques transparent. Make them see through.

                Hatsumi Sensei told us not to just punch on the surface, but to strike through the body. He said when your arm goes through their spine it makes the sign of the cross.

                Soke gave us a warning
                「九字を許すも十字を許すな」kuji are permitted but not juji.
                If you go beyond kuji and allow juji then you have “crossed the line.” Maybe you cross the line of life and death. You could end up facing 十王 Jū-ō  the ten judges of the dead.

                In Buddhism, there are nine states from Hell to Bodhisattva. The highest level, the tenth level, is becoming Buddha. But the 仏 hotoke (Boddhisatvas) are the souls of the dead, to be commemorated by their descendants.

                I toweled the sweat away and scribbled my notes after training. What did I learn that day?
                • Make yourself and your technique transparent;
                • Go to the line but don’t cross it;
                • Remain unmoved by life or death in that spot. 
                This is the secret to 心中を突く也 Shinjū o tsuku nari,  piercing the heart of the enemy.