Ninja Vol 4 Hayes

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N[N}Ahe Night WarriorText and versesby Stephen K. HayesEditor: Mike LeeGraphic Design: Karen MassadArt Production:Junko Sadladpour,Amy Goldman Koss

@1985 Ohara Publications, lnc.All rights reservedPrinted in the United States of AmericaLibrary of Congress Card Number:84-61831Thitd Printing 1985

;'*{F&**.* OHARA PUBLICATIONS, INC.BUBBANK o CALIFORNIA


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DEDICATIONThis book is dedicated with love toChristine and Jane,fellow seedlings on the forest floor of lifegrowing toll togetherin the sunshine of our days.

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ABOUT THE AUTHORNow recognized as the Western world's foremost authority on the artand practice of the legendary Japanese art of ninjutsu, author StephenK. Hayes began his quest for warrior enlightenment as a teenager insouthwestern Ohio. His years of personal sacrifice and determinedsearching throughout his young adulthood have subsequently earned him

a unique role in the world martial arts community. As the one Westernerresponsible for introducing the authentic teachings of the shinobi nightwarriors to the English speaking world, Stephen K. Hayes is a living bridgebetween the timeless wisdom of the East and the fresh vigor of the West,between the past and the future.As the first American ever to be accepted as a direct disciple of ninjut-su grandmaster Masaaki Hatsumi of Noda City, Japan, Stephen K.Hayes was exposed to an art that was, until the early 1970s, totallyunknown to all but a handful of practitioners who had managed to gainentrance to the grandmaster's dojo. In September of 1978, Stephen K.Hayes became the first non-Japanese person in the history of the art ofninjutsu ever to be awarded the title of Shidoshi, (teacher of the warriorways of enlightenment).Subsequently, the author was granted the permission to establish hisown family branch of Dr. Hatsumi's Bujinkan dolo system in theWestern world. Teaching a universally oriented adapthtion of the art thatgenerations of Japanese warriors have sheltered from extinction over thecenturies, Stephen K. Hayes' worldwide network of training halls pro-vides students all over the globe with the opportunity to become a directaud activc part of living nin-po tradition and history.


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AGKNOWLEDGEMENTAs a black belt instructor of the martial arts, with my own school anda large group of students, I had spent years in pursuit of the ultimatesystem of warrior knowledge. I had an idea of what that knowledgemight look like when I finally found it, and how it might be manifestedthrough my own life once I had embodied it. My anticipations could nothave been further from the eventual truth I was to experience as a studentof the grandmaster of ninjutsu.The ninja warrior's abilities far exceed the limits of crude bone andmuscle speed and strength that I had worked so diligently to cultivate

before meeting the teacher who would eventually be the guidepostpointing towards the invincibility I sought. In the end, it took me yearsof unlearning just to be able to approach the basics of the awesomeskills that my teacher could casually embody in his own effortless flow ofpowers.This book is then an acknowledgement of the warrior teacher, Dr.Masaaki Hatsumi. In apology to the grandmaster, it must be noted thatthis volume can only hint at the ultimate application of the warrior's in-fluence on his own universe. However, perhaps even that small reflectionof Dr. Hatsumi's art will serve as an inspiration towards continuedgrowtli ['or' lltose irr Lirc worid sccking rnarriai rruth.


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CONTENTSCHAPTER ONETHE UNFOLDING STORY: ln ancient times, heis a military advisor, a bringer of good fortune 11CHAPTER TWO

THE FIVE ELEMENTS OF ESGAPE: His closecommunion with nature gives him the wisdomto survive 23CHAPTER THREEFLOWING ACTION: Living in the flow of ac-tion, his success is the most natural outcomeof combal 47CHAPTER FOURKUNOICHI, THE DEADLY FLOWER: She fightsalongside her brother ninja, defeating eventhose of greater strength 1OTCHAPTER FIVETHE FORCE OF INTENTION: Using esotericsensitivity training, he learns to feel the inten-tions of others 149AFTERWORDAN INTERVIEW WITH STEPHEN HAYES: ThEauthor speaks on the state of his ninjutsu artin Western society 181


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CHAPTER 1THE UNFOLDING STORY

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NINJAYours is a legacy of service to those in need,protection to those in distressand strength to those who are overpowered.Your guide is nin-posilent means of working your will without uctions.Your reward is spiritual growthand an active role in the scheme of totolity.

he historical art of Japan's invisible ninja warriors of the nighthas its roots woven deep in the ancient past of the enigmaticisland nation of the Rising Sun. Unlike the more conventional

and easily accessible sport and recreation martial arts that are so popularin our modern society, it is almost impossible to determine an exact time orplace or founder associated with the birth of ninjutsu. Korean tae kwon docan be traced back to its founding in the 1950s. Japanese judo can betraced back to its origins in the late 1800s. Even the majority of the tradi-tional sword arts and sports of Japan have documented founders andbirths traceable to the 1500s.

ANCIENT HISTORYThe art of ninjutsu, however, reaches back over a millenium to an ageirr .lapan's antiquity that prcdates even the history of the famous elite


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NINJAof their ancestor Daisuke Togakure in the late I100s. The Gyokko ryu nrn-ja system of koshijutsrz (unarmed combat), the oldest of all the ryu thatnow make up the training curriculum of the Bujinkan Dojo of grand-master Masaaki Hatsumi, evolved for many generations in the Iga regionof Japan before the members of that particular martial tradition decidedto narne their method after the Chinese refugee warrior Cho Gyokko, whohad first introduced his revolutionary concepts of unarmed fighting to therural Japanese locals aiding him in his new country of political exile.

Formation of RyuOther ninjutsu ryu came into existence as the tides of Japanese eco-nomics and politics became more turbulent from the 1300s onward. Ryuwere often formed as families found themselves outside the mainstream ofrurilitary and political developments, where creative thinking and actionwere the last remaining possiblities for guaranteeing survival. Other ryuwere only temporarily established for the purpose of aiding the cause of aspecific regional lord, military group, or religious order and then later dis-banded when no longer needed. Some ninjutsu ryu were regional innature, and came together as a result of geographical politics. Still otherryu were based around extensive bodies of knowledge, experience, andwisdom collected by one specific individual.

The documented historical ninja ryu of Japan varied in size and intpor-tance from small collections of a few family members to vast regional net-works involving hundreds of people who often did not even know eachtlther and were connected only through their common loyalties to a singleoverseer. The following narnes are a partial listing of a few of the more in-t'luential or historically significant ninjutsu ryu and their founders, regionsof operation, or military and political affiliations:o Nakagawa ryr.r ninjutsu was based in Aomori Prefecture, organized by

Nakagawa Kohayato.. Haguro ryu ninjutsu was based in Yamagata Prefecture, and was said tohave been developed by the warrior ascetics of Haguro Mountain.. Uesugi ryru ninjutsu was established for Uesugi Kenshin as a militaryespionage organization by Usami Suruganokami Sadayuki in NiigataPrefecture.t Kqjirya ninjutsu was founded by Kaji Ominokanri Kagehide, a studentof the founder of Uesugi ryu, but was also linked to the roots of Iga'sI I a I I rt r i ryz ninjutsu.. M(ttsuntoto ryu ninjutsu was based in Tochigi Prefecture.t Mulsurlo rur nin jutsu was based in Ibaraki Prefecture.

samurai warrior caste. The basic body of knowledge that later came to becalled ninjutsu, or nin-po in its higher order, was at first regarded as mere-ly an unconventional way of handling life situations and accomplishing thenecessary. What eventually went on to become a highly systematic andscientific method of combat, espionage, and danger prevention, began as ashadowy counterculture, a forced reaction against the mainstream ofJapanese political, military, economic, and social traditions.

Forerunners of the NinjaThe art seems to have developed from an entwining of religious and mil-itary backgrounds to produce a uniquely Japanese approach toward using

nature, cosmic laws, human psychology and physiology, and the inevitablecycles of history as a means of ensuring physical and spiritual survival. Theforerunners of the ninja included sennin and gyoja (warrior hermits),yamabushi and shugenja (mountain mystics), refugee Chinese taoist sagesand military officers, as well as unfortunate Japanese busfti who foundthemselves homeless and masterless after their forces had been routed byothers.

The First NinjaThe original people who were later referred to as ninja filled adivsory

roles in the camps of military rulers vying for control over the various re-gions of Japan. The true ninja was a "bringer of good fortune" to thosewho had the power and influence to assist the ninja's families in findingpeaceful and stable lives. Because of the original ninja's closeness withnature and inclinations toward what others described as "occult" powers,they could provide valuable perspectives and counsel to those who weremore familiar with conventional politics and warfare. The ninja hadtrusted contacts or direct subordinates who could move into areas closedto conventional forces for reconnaissance, and also possessed an insightfulmind that could see into the future to evaluate any currently formulatingplans.

In most cases, ninjutsu rya (traditions or systems) came to be formed asone generation after another carried on the stealthful methods of survivalhanded down from the elders of the family to the younger members. Theryu would not be "founded" as such, but rather, would evolve itself upfrom seemingly unrelated fragments of history in the making. TheTogakure ryu of ninjutsu, for example, was well into its third generationbefore its members began to refer to their body of developing knowledgeand tradition as a documented ryu based on the experiences and teachings

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NINJA. Koyo ryu, Ninko ryu, and Takedq r.yr.r ninjutsu, founded by Takeda

Shingen for intelligence gathering, used wandering monks and mer-chants as agents.. Fuma nin-po, based in Kanagawa Prefecture, established by FumaKotaro, specialized in guerrilla warfare.c Akiba ryu, Ichizen ryu,based in Aichi Prefecture, were established byHachisuka Koroku Masakatsu who was a famous ninja from this area.o Mino rya ninjutsu, based in Gifu Prefecture, was developed during therule of Saito Dosan, and included the Kurokawa ninja group of Koga.o Echizen ryr.r ninjutsu was established in Toyama Prefecture by lga ninjafleeing the attack of Oda Nobunaga.c Yoshitsune ryu ninjutsu, based in Fukui Prefecture, was developed forYoshitsune Minamoto as a blend of espionage methods taught by IseSaburo and yamabushi teachings.o Kogq ryzz ninjutsu was a regional tradition made up of over fiftyfamilies.. Iga ryu ninjutsu was a regional tradition made up of several keyfamilies, most notably the Hattori and Momochi clans.o Negoro rya, founded by Suginobo Myosan, firearms master; Soiga ryu,firearms and explosives specialistsi Nqtori r7u, founded by Natori San-juro Masatake, author of S/zo Nin Ki ninjutsu reference work; andKishu ryu ninjutsu-were all based in Wakayanta Prefecture.o Bizen rya ninjutsu was based in Okayama Prefecture.o Fukushima ryu ninjutsu, transmitted by Nojirijiro Jirouemon Nari-masa was based in Shimane Prefecture.o Kuroda rya ninjutsu was based in Fukuoka Prefecture, in support ofKuroda family government.o Nanbqn rya ninjutsu was based in Nagasaki Prefecture.. Sqtsuma nin-po was based in Kagoshinta Prefecture in support ofShimazu family government.The vast majority of ninjutsu ryu*, all save a small handful, died outlong before the Meiji Restoration in 1868. Once unification and enforcedpeace came to Japan in the 1600s, the need for extensive intelligence

* Author's Jrnlnote:The foregoing list of ninjutsu ryu names are a part of the past history of Japan, just as the names Sitting Bulland "swampfox" Marion are parts of American history. Anyone claiming to be teaching the methods ofany of these ryu will of course have to have extensive documentation to prove that the scrolls donated to themuseunls are actually frauds, and that he has indeed inherited the authority ol the ryu which Japanesehistorians and scholars have verified as dead. Students beware Would you really want to model your lifeafter that o[ a person who would lie to you about his crcdentials in order to coerce your rcspcct or get somcol- your money'i

gathering networks and thorough training in the brutal arts of life or deathall but vanished. As the need for the skills of ninjutsu dwindled, so did thenumbers of practitioners who devoted their energies to living the shinobiarts. Just as there is no French underground resistance movement nowthat there are no longer German occupation troops holding French terri-tory, the urgency of the original ninja families also faded with time andwith the establishment of new Japanese governmental policies.Today, the only authentic historical ninjutsu ryu still surviving in Japanhave been inherited by grandmaster Masaaki Hatsumi of Noda City,Japan. The remains of the other ryu can be seen on public display infiluseums and galleries throughout Japan. Scrolls of grandmaster authori-ty, weapons, and even battle garb, in some rare cases, can be found assilent testimony to their system's demise.Once a ryu died out, the last remaining grandmaster was expected todestroy the tradition's scrolls and manuscripts to prevent the ryu's nameand reputation from being dragged into disrepute. In some cases, thematerial was left behind, or sold off by heirs who did not understand thesignificance of the contents.

MODERN HISTORYIn the middle of the l9th century, the island nation of Japan opened upto foreign trade and influence. The once-powerful Tokugawa family, whohad ruled Japan as military dictators for over 200 years, relinquished theircontrol over the governfllent, and the duties of ruling the country were

returned to the imperial family. The elite samurai class that had providedlaw, order, and stability to Japanese life for almost 700 years was abol-ished, and Japan raced to adopt the newly discovered western modes ofculture.During the Meiji Era that followed the opening of Japan in 1868, twoimportant government slogans changed the face of life in Japan. Thel;ukoku kyohei stated the new governrrent's aim was to "Enrich the na-tion and strengthen the military." The second slogan of Bunmei kaika pro-vided the means of building up the country by ''opening up the culture" tothe influence of foreign ways. The old traditions like the warrior skills ofindividual combat came to be seen as yaban (barbaric) and the militarylcaders of Japan turned to Europe for guidance in modern military tactics.As one result of this cultural upheaval, the martial arts were stripped oftltcir martial significance and transformed into sports and personaltkrvclol.rrttctt( cxcrcise systcrns. Battlefield methods of life-protecting com-

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bat were fractionalized into pieces of ritual movement with one specificweapon, or games of skills with a limited set of body movernents. Compre-hensive warrior training covering a broad scope of applications was seen asa relic from the dead past, sornething useless in the modern age.Those martial artists who pioneered the change from warfare to self-improvement are now legendary. Judo's Kano, aikido's Uyeshiba, andkarate's Funakoshi captured the hearts of their nation with their new,safer, limited, and sanitized versions of what had once been rough-and-tumble combat methods in which injury was quite often a part of the train-ing. The new martial systefiIs were heralded as "gentlemanly" adaptationsof the old and obsolete warrior methods.Not all master teachers of the martial arts embraced this change in ap-proach, however. Many of the old warriors cautioned against the rush toabandon what had been their legacy for generations. For the large part,however, their pleas fell on deaf ears and they gradually faded intoobscurity with progress into the 20th century.

Ishitani Trains TakamatsuSuch was the case of Takakage Matsutaro Ishitani, whose ancestors

had been high-ranking chunin ninja in the troops of Iga ryu ninjutsu jorirHanzo Hattori three centuries earlier. As the 26th grandmaster of the KukiShinden ryu happo hiken (secret weapon arts) of ninjutsu, a systernoriginally founded by lzumo Kanja Yoshiteru, Ishitani refused to dilutehis method to appeal to the masses now nlore interested in sporting compe-tition or zen nlovernent.Obscurity for lshitani was being relegated to doing security work at theTakamatsu family's nlatch factory in Kobe, the closest thing he could findfor application of the clandestine specialities he had inherited from anolder and less secure age. Without students or a dojo, the grandmaster ofKuki Shinden ryu resigned himself to living out the rest of his life as ananachronism from another time. He was prepared, like other ninja mastersbefore him, to destroy all his secret scrolls and weapons before his death sothat no unqualified impostors would later defame the name of his ryu byposing as a master teacher of the Kuki Shinden ryu. If there were no wor-thy heir, the legacy would be taken to the grave with him.Through his work at the Takantatsu match factory, Ishitani came tomeet the young son of the factory's owner. A special relationship soon de-veloped, and Takakage Matsutaro Ishitani knew that he had found theheir he had been seeking in the young Toshitsugu Takamatsu. Already anexperienced practitioner of Koto ryu koppoiulsu and Shinden Fudo ryu

tlttl;r'rrttri.f tttsu, lrs llrrrglrt lo lrirtr by lris grancllathcr Shinryuken Masanritsulotlrr, llrc yorrng'l'akarnatsrr lcapcd art the chance to learn the specialitiesol tlrc Krrki Shinclcn ryu f'ront his new mentor Ishitani. Inanagethat had()ulgr'owr) thc truc warrior ways, it was a perfect matching of student andIr'lrcltcr'.

Book covers of antique ninja books, coufiesy of the lga Ryu Ninja YashikiMuseum in Ueno-Shi, Japan.Ishitani first taught Toshitsugu Takamatsu the eight-part happctmethod that included:l. Taijutsu (unarmed combat), hichojutsu (leaping), nawanage (ropethrowing).2. Koppojutsu (bone smashing technique), jutaijutsu (grappling).3. Yarijutsu (spear technique), naginatajutsu (halberd skills).4. Bojutsu (long staff fighting), jojutsu (cane technique), hanbojutsu(stick fighting).5. Senban nage (shuriken star throwing), tokenjutsu (blade throwing).6. Kajutsu (fire and explosives), suuutsu (water techniques).7 . Chiku jo gunryaku heiho (rnilitary tactics and for[ress design andpenetration).8. Onshinjutsu (art of invisibility), hensojutsu (disguise).Next, the young disciple was taught the hiken (secret sword) method,which included the Kuki Shinden ryu approach to handling ker (swords),

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NI]'IJAkodachi (short blades), and jutte (anti-sword truncheons).

Toshitsugu Takamatsu trained hard and assimilated the teachings, andwas eventually granted the scrolls, weapons, and title of 2'7th grandmasterof the Kuki Shinden tradition. Ishitani had found his heir.As a child, Toshitsugu Takamatsu had been shuttled through a zucces-sion of nine foster mothers. His childhood had not been a happy one, andsecurity was but a fleeting concept in his young life. Takamatsu had grownup tough and determined, as evidenced by a Kobe newspaper report of thel4-year-old having soundly thrashed a gang of older attackers in analleyway. The young Takantatsu therefore came to rely on his grand-parents as the single point of stability in his life.Shinryuken Masamitsu Toda, Toshitsugu Takantatsu's grandfather,had been supervisor of sword teachers for the Tokugawa shogun's govern-ment school in their home region. Much less well-known was the fact thatToda was the 32nd in the line of grandmasters of the Togakure ryu nin-jutsu tradition. Following his instruction of the Koto ryu and ShindenFudo ryu methods, the grandmaster began to train his grandson in theesoteric art of the Togakure ninja warriors; climbing, stalking, and eva-sion techniques were introduced along with the weapon and unarmed skillsthat the young Takamatsu had been practicing since late childhood.

Ineligible for military service because of a ruptured eardrum which hecarried as a souvenir of fight during his teen years, Takantatsu took off onhis own when he was 21. A career at the match factory paled in com-parison with the thought of the adventure that waited across the sea inChina, then considered to be the land of fortune in Japan's future. Journey-ing from north to south through the vast country. Takamatsu foundnurnerous opportunities to rely on his warrior skills for the protection ofhis life.After the rough and tumble years in China and a period of living in thewilderness of the mountains in Japan, Takamatsu returned to his honte inl9l9 to study and be ordained as a mikkyo (secret doctrine) priest of theTendai-shu on Kyoto's Mt. Hihei. By age 30, Toshitsugu Takamatsu hadstraddled the two realms of warrior invincibility and spiritual power as arecognized master of both.

Takamatsu Trhins HatsumiMasaaki Hatsumi began his martial arts training at the age of seven,when he began practicing with his father's bokuto (wooden sword). Frontthat point he went on to train in all of the popular Japanese martial arts ofthe wartime era, eventually earning teaching ranks in karate, aikido, and

irrtlo. 'l'lrc rrurrliirl irrls uncl thcalcr ilrts wcrc thc passions of his life in hislccn rrrrtl yorrng aclult ycars.l)trring lhc 1'losl.war years in -lapan, however, the young Hatsumi wasslrockcrl to scc how quickly and skillfully the American occul;ation soldierslrc lirrrght pickcd up the technique of judo. The huge Americans used theirsizc and natural athletic inclinations to learn in months what it took the.liryrarrcsc ycars of training to obtain. What was the use of training in asyslorn il-others could surpass your efforts by mere size alone? There hadIo lrc some sort of ultimate warrior system for all situations, thought theyotrng martial arts teacher.'l'hrough his kobudo (ancient weapons) teacher, Masaaki Hatsumi learn-ecl ol'a teacher named Toshitsugu Takamatsu, of Kashiwabara City to thewcst ol the Iga region in Japan. As a last hope at finding someone whocorrld teach a living warrior art and not a recreational sport or system ofrigid lifeless kata, the young Hatsumi traveled across Honshu island toseck out the teacher he had been seeking for a lifetime.The veteran battler Takamatsu was well into his 60s when he met they()ung man who would eventually become his spiritual heir and the nextglandmaster of ninjutsu. For Takamatsu, that first meeting was more of arcunion than an introduction. In a poem to Masaaki Hatsumi, Takamatsuwrote:

Long ago, I was an accomplished warriorof the koppojutsu trqdition.I was courageous and qs intense as the flame,even in battle againsl violent animals.I have a heqrt lhat is like the wildflowers of the meadows,and yet straight and true ss the bamboo.LIot even ten thousand enemies cqn cause me fear.Who is there in lhe world who would keep olivethis will of the warrior's heart?There you qre, this one sent to me by lhe warrior gods.I hqve been waiting for youthrough all the ages.For years, Masaaki Hatsumi suffered his rough apprenticeship underthe direction of the ninja grandmaster with the heart like wildflowers and

hands like a tiger's. Eventually, Dr. Hatsumi went on to inherit the title ofgrandmaster of the nine warrior traditions carried by his teacher Toshitsu-gu Takamatsu.

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GHAPTER 2THE FIVE ELEMENTS OF ESCAPE

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NINJAI tt l ltt' lt'.s.srtn.\' t).f uut ut'(tlrcn'i.s n,i.s'tlrtrtt litr tltc ttitrju.I lrt' rrt.y,slicuI cttrrrItuIurtI becorncstltc n,lri.s:lx,r ol tltc leavestlra ,srrrcll ol' lhc earthlltc la,tlt, o./ lhe seairt ordcr lo accomplish whut must be doneurttl live lo celebrate

.t,cl anolher day.

he legendary Japanese warrior art of ninjutsu developed inmountain and marsh wilderness territories far remote fromthe feudal emperor's capital in Kyoto. Because the historicalninja had to face overwhelming odds, with the enemy often beinggovernment troops who were far better equipped, stronger in numbers,and official representatives of the legal establishment controlling thercgion, physical survival often entailed a working familiarity with thef'orces of nature and the cycles of the seasons as a means of increasing thelikelihood of success for these outlawed economic and religious rebelswho developed the shinobi arts.As a means of passing on skills to younger family members and pre-serving the knowledge in a manner that would allow seasoned operatives

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l{rilJAto recall vital instructions even in momenl-s ol'extreme life-threatcningstress, the ninja of south central Japan developed a series of workingmodels from nature. The models were used as codes to simplify the pro-cess of understanding and remembering. They were not employed in at-tempting the impossible task of classifying all potential methods with alltheir physical details.In the nature lore of ninjutsu, there developed two distinct systemsthat today are commonly referred to as five element theories.

Go-DaiOf great importance in understanding the ninja combat method, onetheory, the ninja's go-dai (five major elemental manifestations), derivedfrom the nin-po mikkyo Himalayan tantric spiritual teachings, includesthe following codes:Chi-earlh (solid matter)Szi-water (liquid$Ka-fir e (energy transformation)Fz-wind (gasses)Ka-primordial ether (subatomic source of all elements)

Go-GyoAnother five element theory, lhe go-gyo (five element transforma-tions), stemmed from Chinese taoist teachings that found their way intofeudal Japan by way of authorized cultural exchanges, as well as covertinstruction provided by refugee Chinese generals and priests seekingsanctuary in Japan following the destruction that accompanied the col-Iapse of China's Tang Dynasty in the Tenth Century. Unlike the go-daisystem that cataloged the elements during the ever-continuing formationof the universe, the go-gyo system stems from the in and yo $,,in and yangin Chinese) polarity theory and catalogs the cycle of transformation thatcontinuously takes place in the realm of material objects. The fiveelemental transformations include the following contraction and expan-sion codes:Szi-water (dissolving)Moku-wood (growing)Ka-fire (evaporating)

D o-earth (solidifying)Kin-metal (hardening)It should be emphasized that these five elemental codes were developedas symbols typifying the stages through which all matter passes. They are

n()l nrc{ull ltl lrc lakcn as lilcral classil'ications of trees, rocks, water, andrrr lirllh. All 1'llrcnonrcntr continuc to pass through these transformationsitr ir cyclical pattcrn, for which the five codes were assigned as a means oflrrl lel undcrstanding. The five do not exist as five separate entities inlltcrnsclvcs, but rather reflect the quality of blending or emerging from()nc sltrtc into another. The cycle has no real beginning or end, either.'l'ltc observer will note that the cycle seems to begin at that stage in ther isc and fall of energy wherever he or she happens to first direct atten-liott.liach stage of the transformation process can be seen to lead naturallyirrlo the next in a series of never-ending supporting relationships. Water(sinking condensation) produces wood, wood (up-reaching growth) pro-tlrrccs fire, fire (expanding free energy) produces solid earth, earth (com-llacting) produces metal, and metal (hardening) in turn produces water.'l'his natural five-element code system works equally well whether usedlirr medical healing and strengthening purposes or applied as a means ofluralyzing the destinies of nations.

Goton-poRationally, the symbols can also be followed in a series of destructiveor inhibiting relationships by altering the perspective or progress of thel'low. Water (melting) can put out fire, fire (rising energy) can softenrnetal, metal (hardening) can cut down wood, wood (growing) can breakup earth, and earth (solidifying) can dam up water. This subduing sym-bolism is in turn the basis for the historical ninja's goton-po (five-clement escape method).Because the ninja families of ancient Japan were part of an under-ground counterculture that existed at the annoyance of the establishedsamurai bureaucracy power structure, self-protection and the preventionof danger often entailed covert actions by mere individuals opposing themight of major troop formations. These tremendous odds made conven-tional honorable warfare not only illegal but impossible as well.Therefore, all approaches to survival, from psychological deception tohomemade black powder to blending with the elements of nature, had tobe considered by the ninja.At face value, the ninja's goton-po could, of course,'serve as a guidefor vanishing from the sight of the enemy. The night warrior could im-itate or blend in with the rocks and earth, trees, bodies of water, orutilize fire and smoke or metal objects as a means of enhancing his or herchances of successful escape. This is the more obvious application of the

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DOTONJUTSU(Use of Earth)

Concealment ina Rock FormationUsing a rock and theshadow it casts is a gooduse of dotonjutsu (earthescape method). (1) Blend-ing in with the desert sur-roundings, you can avoiddetection. (2) The severecontrast of light and shad-ow also helps to hide youfrom sight even when you

begin to move out if youare wearing dark clothing.Dark shapes are difficultfor the eyes to distinguishin a shadow if the sur-rounding light is stark andintense. (3&4) ln this way,you can remain hidden un-til it is safe to leave yourhiding place entirely.

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Concealmentlrom a Guard(1-4) ln this example ofdotonjutsu (use of earth asa means of concealment)you become a part ofsomething familiar to thebored guard, such as arock grouping. He haswalked this route manytimes before without inci-

dent, and his attention isnot attracted to benignlandscape features he isaccustomed to taking forgranted. Such boring ob-|ects make excellent coverln which to conceal your-eelf .

B;,.ir

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Concealment inLow VegetationUsing dotonjutsu earth escape method), 1-4) you canuse a washed out area on aslope as a place to remainout of sight, staying closeto the ground and allowingthe low vegetation to con-ceal you in the same way itconceals the ground, until

llte proper time comes tottttlvo. Blending in and be-r,{Jtillng part of the environ-rIHnt so as to remain unde-lautod is also a matter ofrurnoldering the nature oflhc particular element youlteve chosen to use as yourmthod.

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Climbing a Rock FaceTo scale a rock face, the body (1) isf lattened out and allowed to relax intothe surface of the rock. The limbsstretch out so that bone as well asmuscle carries the load of the shiftingweight. (2) You must hold three pointssecured while you (3-6) move a fourth,either hand or foot, into higher posi-tion. That way, your body will have abetter chance of holding f irmly shouldthe new hand or foot position prove tobe unstable. The three-point methodalso aids in quieter climbing.

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Scaling a Wall(1) To escape capture, oravoid a needless confrontation, the dotonjutsu(earth escape) method canbe used to run right up awall in order to evade a pur-suer. (2-4) By generatingenough speed, the momen-tum of your body carries

you lnto the wall, givingyou onough force againstll lo nable you to use yourhal to propel your bodyUpwards along the surfaceof the vertical obstacle,rnd (5) facilitate your es-arap0.

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SU'TONJUTSU(Use of Water) KATONJUTSU(Use of Smoke and Fire)

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Concealment in a Pond(1&2) To avoid detection, oras a means of escape, water can be used as a hidingplace. Again, because onedoes not normally think ofwater as a good hidingplace, it makes an excel-lent one. You are able tohide below the surface of apond by breathing througha thin tube that has the ap-pearance of a reed, becom-ing yourself a part of thewater by being calm, andtherefore not creating anymovement that would dis-turb the natural appear-ance of the water underthose particular con-ditions.

Distractionand lntimidation(A) The use of smoke andliro created terror in anBge when all structureswore comprised of wood,rlce paper, and straw. (B)The use of firearms andaxplosives was also a cru-olal aspect of the ninia'sllre approach to escapernd avoidance.

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MOKUTONJUTSU(Use of Wood)

Climbing a ColumnAs a means of evading discovery,proper tree and column climbingtechniques from the ninja's use ofwood for escape are taught tocontemporary age students. Notethat (1&2) your body is held uprightand close to the tree trunk so that thefeet can wedge in by using the body'sweight, and not muscle tension, tohold the position while (3&4) yourhands reach up for a higher hold.Then (5) the feet are brought up to ahigher position.

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KINTONJUTSU(Use ot Metal)Tools and Weapons(A) The kaginawa (thcninja's rope and grapplinohook) is used as a climbing aid, or for transportinogear and equipment. (B)The Togakure ryu ninja'sshuko (hand claws) arehooked over objects to beclimbed, and never slam-med straight into solidsurfaces. Contrary to

modern belief, the shukowere not tools common tomost ancient ninjutsu ryu,but rather were secret in-ventions of lga ProvinceTogakure family ninja. (C)

lha shuriken (throwingtrlerlonl, perhaps the mostlltrrous of the legendarytil[la tools, are a primeerarrrllle of the ninia'sfttdllve thinking in applylrrll the principles of thehlrrlonlutsu. (D) Iefsublshl(iron spikes) are yet an-ullror oxample of the kin-lotrJutsu principles ofuEln0 metal to aid escape.I lursc are on display in thelger-Ueno City Ninia Muse-rrrrr. Thrown in the path oflrtrrBuers, the spikes im-lrerlo the enemy's pursuit.

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GHAPTER 3FLOWING ACTlOl,l

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NINJA,\tt'r.l ltta,s.s ttl ./i,s'Il)t)tu(r ltchind lhe kick-llrc vu,sl t'ollec'lion of lechniques.I ltt,s'c are but lhe firsl stept4/' lhe journey to waruior invincibility.ll'lr.v lhen qre so mqny content to stop learning

urtd put down rootsul lhe entrance to the path?

nce a student of the warrior arts completes his or her trainingin the fundamentals of physical self-protection combat, it isthen time to go on and personalize the art so as to make thefundamentals an integral part of the personality-in effect, "forgotten"as special and separate in and of themselves.This process can work in two ways. The student can adapt his or herways of moving so as to conform to the art. The movements are inter-nalized and the body ends up with a new way of moving, as in the kqta(form) method of training. On the other hand, the student can adapt theart to fit his or her ways of moving. The purpose and details of thetechniques are internalized and the body ends up with additionalpossibilities for ways of moving, as in the waza (technique) method oftraining.

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NINJA'l'lrc kata rucl h()d ol'dramatically altering the way the student's bodynrovcs l'rorrr thc insidc can cause frustration because of the rigid manner

irr wlrich thc body's natural movement patterns are ignored or disrupted.'l"hc waza method of quickly altering the way the body moves from theoutside by supplying new ways to handle familiar situations can providel'rustration through the unstructured manner in which the body's learnedlnovement patterns are expected to adapt freely to the new material.For balanced growth through training in the warrior arts, one mustchange frorn the inside as well as the outside. To restrict training to onlyone of the two methods is to encourage only half the growth possible.Although for a brief period results do seem to appear more quickly, thisis simply because the contrasting half of the training process is not pres-cnt to cause doubts in the body or mind.

KotsuThe key to progress in the self-protection methods that characterizethe art of ninjutsu is a kotsu (essence) approach to training. By combin-ing aspects of training in both movement principles and application con-cepts, the student can develop a balanced ability that blends skills of ef-fective body dynamics with practical responses to attacks. With that kindof training approach, even from the first few instruction sessions, thestudent will come away with some useable concrete results that he or shecan rely on while at the same time begin on a lifetime of personal refine-ment of natural body movement that will continue to unfold as he or sheprogresses through all the stages of growing older.

NagareOne of the fundamental principles emphasized in the Bujinkan dojoninja training method is the concept of nagare (flowing) action. The ideaof a flow refers equally to the movement from one action to the next, thebody dynamics that deliver the movement, the physical logic that deter-mines the appropriate movement, and the actual course of progresstowards the desired outcome of the conflict.For those students to whom the concept of nagare is foreign or evenconfusing, it is perhaps an effective educational device to reverse the con-cept and examine the results derived. Without an overall flowing quality,the student finds his or her moves to be unrelated single units quite inde-pendent structurally from other moves in the string of actions making upany given technique. Without flow, the student can often find himselfstruggling to force a technique to fit a situation that somehow seems

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NINJAln(l l()rtll ol'l)roicctillg and receiving that resembles the mechanics oflrlctrtlring.Ititsudo is an awareness of rhythm at several levels. At one level, therlclcndcr must fit in with the movements of his attacker in order to gaincorrlrol of the direction of the fight. Another level of rhythm ischaracterized by the emotional fluctuations of both parties from secondlo sccond. Another rhythm is evidenced in the movements and muscularcontractions that propel the bodies of the combatants. Perhaps ultimate-ly, this ritsudo manifests itself as the progressing interplay of cause andcl'l'cct in a fighting encounter. Your initial attack causes the effect of hisangling back away with a counterstrike or grab which then becomes thecause of the effect of your attempting a follow-up lunge which is then thecause of his next move as an effect. . . . and the rhythm of the opposingl'orces continues until stillness is once again reached.

Total TrainingIn learning to handle a fighting situation well, and thereby ultimatelylearning how to transcend the limitations of needing to rely on physicaldefensive action, the student of the warrior ways can observe a triangularinter-relation of three major aspects of winning a conventional fight.Though each of the single aspects themselves could possibly be relied onas a total point of training focus, such narrow approaches will ultimatelyfall short when compared with total training.Mechanics-the most efficient ways of moving the body in response toattacks; includes proper physical fundamentals such as footwork, an-gling and distancing, proper employment of body weapons' and effectivetechniques and strategies.Dynamics-the most efficient means by which the mechanics areemployed; includes proper applications of energy, rhythm and flow,strength and flexibility, speed relationships, and the ability to "feel andfit into" the action of the technique exchange.Intention-the total commitment of the mechanics and dynamicstowards the clearly recognized goal of victory; includes proper motiva-tion for the application of violent methods, will to win that transcendsnormal fears or limits, and a mind-set that not only sees victory as thesingle possible outcome, but also has no concept of the possibility of los-ing.As a means of training to apply this awareness of three-way interac-tion, the student can practice with two distinct methods of approach-training drills and fighting scenarios.

awkward, or find that the conflict has ended up in areas or shapes thathad not been counted on. The absence of flowing grace forces fightingmovements to rely on the muscle and bone power of the limbs alone,which is a dangerous habit for the student who could find him or herselfthe less stronger contender in a combat clash.

RitsudoClosely related to the quality of flowing adaptability is the concept offitting in with or riding along with the ritsudo (rhythm) of the actionsthat make up the fight. This rhythm is an inherent part of any activitythat involves the inter-related body dynamics of two or more individualsin motion. The rhythm of the actions of a conflict can also be describedas the "breath" of the fight, as one phase leads into another in a back

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TRAINING DRILLSTraining drills isolate a particular movement, limb, or feeling and thenallow the student to repeat the desired experience over and over againwithout concern for danger or the possibility of his or her technique be-ing interrupted. Drills are purposely abstract, so that the student canconcentrate on the piece of the action to be perfected without being dis-tracted by the grander scope of what would happen in the totality of anactual fight. These abstract training drills allow the development of skillsnecessary for the application of techniques through the second trainingmethod of fighting scenarios.

Single Action RepetitionThe trainee repeats a single action from a potentialf ighting response, workinrrat eventual masterythrough continuous experience. Again and again, thr,trainee works at blastinrlhis training partner's al

lar;klng arm out of itsr;nurse towards him. (1-3)As the attacker lunges witha trlow towards the face, (4)llro trainee steps to therlde, intercepting the at-lacking arm, (5) deflecting

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the blow, and (6) knockingthe arm completely out olthe way. (7) The exerciseisolates and repeats thesame attack with no attempt at follow-up or coun-ter (8) as the attacker again

r;ornes forward with a blowlow616 16" face, (9) and therkrfender blocks it, (10)lrrrnches the attacker'sarrn, and ('l 1) drives it outol the way.

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Defense and Gounter RepetitionAny given technique series can bepracticed for perfection through drill.(1&2) As the attacker attacks, (3) hispunch is knocked away with a strike tothe arm, and then (4-7) the defenderfollows up with an open-hand strike tothe neck. The attacker assists his de-fender by supplying the standard at-tack each time, and makes no attemptto trick or overthrow the response ofthe defender.

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2-Strike and Delense Exchange

The defender and his attacker taketurns exchanging an identical kickingattack and counter back and forth incontinuous flowing succession. Strikesor punches could just as easily bedrilled with this method. (1&2) As theattacker kicks, (3&4) the defenderintercepts with his own leg, and kicksthe attacking leg aside. (5&6) The de-fender in turn provides a counterkickto the other side, (7) which the at-tacker parries; (B-1 1) and the exchangeis repeated over again.

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Multiple Strike Succession ExchangeBoth training partners take turns re-peating an identical multiple-part flowof attacks and counters. As the at-tacker (1&2) leads with a left jab, (3&4)the defender knocks it away, then (5-8)parries another lunge punch to the

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face, (9-11) sweeps aside an uppercutby guiding it away from his body and(12&13) counters with his own bodypunch. (14-'16) He immediatety divesright back with the same attack pat-tern, this tirne as the aggressor, andthe exchange continues on with theroles reversed.

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Grappling Flow ExchangeWith a f low drill using a wrist twist asthe technique to be perfected, bothtraining partners take turns applyingthe throw and rolling out as a meansof escape. Note that each time one ofthe partners is thrown, he retains con-trol of the thrower's hand (as shown inthe detail of step 4) by squeezingdown on his fingers to hold him inplace for the counterthrow. (1-2) Thedefender applies a wrist twist, and (3)throws the attacker. (4) The attacker,by squeezing down on the defender,shand to retain control and rolling (5)back up to a standing position, (6)reverses the situation by applying awrist twist on the defender, and (7) thedefender falls, (8) rolls out of the wristtwist, trapping the attacker,s fingersin his hand, and (9) standing up, re-

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verses the hold. (10) The defenderthrows the attacker again. (1 1 &12) Theattacker rolls out of the wrist twist, re-taining control of the defender's hand,and (13) comes back up to a standingposition with the grip reversed. (14&15)He throws the defender on his back.(16&17) The defender roils out of thewrist twist, and (18) reverses the holdon the attacker, and the procedure isrepeated again.

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Weapon Grappling Flow ExchangeA continuous flow of grabs andthrows uses the ninja's hanbo (cane).(1) The attacker thrusts, and (2) the de-fender steps to one side, and inter-cepts the attacker's lunge. Then (3-6)he uses arm and leg leverage to exe-cute a defensive throw and disarm theattacker. (7) With roles now reversed,

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(B) the original defender becomes theattacker, and executes a thrust, (9)which the defender sidesteps and in-tercepts. (10-12) The defender then ex-ecutes a defensive throw and disarmsthe new attacker. (13&14) The roles areagain switched as the original at-tacker, now once again in possessionof the hanbo executes a thrust, andthe drill is repeated.

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FIGHT SCENARIOSThe fight scenario recreates thefight in full detail, with accurate-ly acted out body dynamics.Though fight scenarios can bedrilled, and abstract drills canresemble the action of a fight, thetwo types of exercise serve dif-ferent purposes.Delense Against a Knife Lunge

(1&2) The attacker advances with astab to the defender's midsection,which (3) the defender avoids with alast-second body shift and counter-strikes against the attacker's weaponhand. (4&5) The defender then con-tinues with a punch to the ribs to un-balance his attacker, and then (6&7) acounterpunch against the attacker,s

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attempt to punch. (8&9) The defenderthen steps under the attacker's heldarm while applying a rising forearmstrike to the attacker's chin. (10&11)The defender's body movement pro-vides the windup for a throw thatstuns the attacker and (12&13) holdshim in place for the defender's knee tothe face and (14) disarm.

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Flowing Actionin an Unarmed DelenseWith motion flow, the defender, (1-3)avoids his attacker's punch. (4&5) Theattacker grabs the defender'sshoulder and (6&7) attempts a kickwhich (8&9) the defender btocks.(10&11) As the attacker then moves in

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with a punch, (12-17) the defendercounters with attacks of his own tothe limbs. (18) As the assault con-tinues, the attacker manages to gaincontrol once again and attempts (1g)to throw the defender to finish thefight. The defender does not try toforce the technique, but instead(20-22) goes along with the throw whilesecuring the attacker's arm, using hisrear body drop to propel the attacker,sface into the ground and knocking himout.

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2-Body in Motion to CreateKnockdown power

(1-6) The defender uses her attacker,spull on her arm to propel her body for-ward with a shoulder slam to theupper arm of the attacker. (7) Her el-bow lock arm bar holds the attacker inplace for (B-10) a rear sweeping throwthat forces the attacker face down tothe ground. (11) The defender thenstretches the attacker's arm betweenthe top of one knee and the bottom ofthe other to create arm-breaking lever-age.

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Evasive Flowing Body Actionwith CounterblowsThe defender evades his attacker'skicks and punches by means of f low-ing footwork and body angling, whilesimultaneously applying counter-strikes. (1-3) As the attacker kicks, (4)the defender steps to the side and (5)counters with a blow to the face. (6&7)The attacker's follow-up strike to theface (8&9) is sidestepped by the de-

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fender. (10&1.1) The defender punchesthe attacking arm out of the way.(12-15) The defender then grabs the at_tacker behind the ears, uses histhumbs to gouge the attacker,s eyes,and (16-17) gaining a superior positionby flipping him, (18) gouges his facewith clawing hands.

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Flowing from High to Lowwith Defensive CountersOn rough terrain, (1-3) the defenderdrops below his attacker's clubbingswing and (4&5) rises to punch the at-tacking arm, and again (6&7) dropslow to avoid the attacker's round-house kick. (8) From his low vantagepoint, the defender moves in and (9)tackles the attacker's knee, and '.vwi;i;.'{iat.i:lr .n,i:i;:,: t);;;:.

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(10&1 1) drives him down onto theground. (12-1gfo prevent the attackerfrom kicking with his free leg, thedefender pulls back and down on theattacker's captured leg, dragging himacross the surface of the rocks. (15_17)A sharp kick to the face and (18&19) aknee wrenching twist to the held legthen prevent the attacker from contin.uing the fight.

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Flowing Along witha Technique lnterruption(1&2) The defender evades the attack-er's leading hand punch by shiftingback and to the inside with his entirebody. (3&4) The defender then shifts tothe inside of the stronger follow-uppunch by the attacker while (5&6) exe"cuting a counterpunch to the attack-er's exposed wrist. (7-10) A similar re-sponse then handles the third punch.

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(1 1&12) The defender counterattackswith a shlkanken (extended knucklepunch) into the shoulder joint and(13&14) a forearm slam into the side ofthe head, stunning the attacker andsetting him up for ('15-17) a shoulderdamaging arm twist. (18) When the at-tacker attempts to pull out of the armtwist, (19&20) the defender goes with

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that flow of action and follows alongwilh a kitenken (hand edge strike) tothe attacker's neck and then (21&22) aknee slam to the ribs. (23-25) As the at-tacker drops to the ground, the de-fender braces the extended arm and(26-28) steps across the falling body,(29&30) using his hips in motion tobreak the attacker's shoulder.

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Use oI Environmentto Assist Flow(1&2) The attacker stabs at thedefender, who is up against a rock. (3)The defender fades inside the lungeand pulls him into (4) an elbow slamto the chin. (5-7) He steps under the at-tacker's arm and directs his head intothe rock with an arm bar body slam. (8)He twists the attacker's arm with anarm lock and hits him with an elbowstrike to the temple before (9-11) drop-ping his weight onto the attacker's legto damage his knee and disarm him. ,$,i#,,,,1ii :

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Arm Entrapping Delense(1&2) The attacker grabs the defenderto hold him in place for a punch to theface. (3) The defender slips to theinside of the punch while executing adistracting shakoken (palm-heelstrike) to the underside of the at-tacker's jaw. (4-6) The defender thenapplies an arm bar and (7-9) a leg kick-out to force the adversary to theground. Body weight pressure acrossthe attacker's outstretched armbreaks his elbow.

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Striking and Grappling Flow(1-3) The attacker attempts a leadingpunch, which the defender knocksaway with an outside clubbing strike.(4&5) The aggressor follows with afront kick. The defender evades to theoutside, (6) with a simultaneous kickto the attacker's leg. (7&8) The at-tacker grabs the detender to pin himdown. (9&10) The defender leaves theattacker's hand in place to facilitate alunging kitenken (hand edge strike) tothe neck. (11) Grabbing the attacker's

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hand, (12&13) the defender then ap-plies an uragyaku (inward wrist twist)to the attacker's trapped arm, (14&15)The attacker tries to free his hand, but('16) the defender flows right on to anomotegyaku (outward wrist twist) and(17&19) a hooking kick to knock the at-tacker down. (20-22)The defender thendrops his weight on the bent wrist todamage the arm.

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GHAPTER 4KUNOIGHI, THE DEADLY FLOWER

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NINJA'l'hcre are limes whenyielding is power,lattghter is strength,and a gentle touch isthe blow that subdues the assassin.These too are great lessonsto be learned by even the mightiest of wariors.

he Japanese warlord Moritoki Mochizuki was killed in thefamous battle of Kawanakajima in 1561, and his widowedwife Chiyome was left in the care and custody of her hus-band's uncle, the powerful Shingen Takeda. Rather than retire to thesecluded life of a nun as might have been expected under the situation,Mochizuki's widow went on to play an active role in support of the great) dgimyo Takeda. At Takeda's request, Chiyonre agreed to undertake theestablishment of one of the most effective and yet undetected networksof kunoichi (female ninja) agents in the history of thq.Sengokujidai(Warring States Period) of Japan.

Shingen Takeda's idea was to have Chiyome Mochizuki set up a groupof trained miko (female shrine attendants) who would act as spies,observers, and messengers throughout Takeda's Kai region (present-day

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}IINJAYamanashi), as well as the Shinano territory (present-day Nigata) whiclrwas the prime target of conquest for both Shingen Takeda and his rivrrlKenshin Uesugi. Takeda had always made good use of ninja in his owrrdomain as well as those of other lords. The kunoichi would be ycranother rneans of gathering needed intelligence, or verifying reporlsfrom other sources and agents. The young female shrine attendanlscould easily travel around the area and interact with the local residentswithout arousing much suspicion at all, thereby adding to the overallstrength of the Takeda family.Chiyome established her underground academy in the village of Nazu,in Chiisa-gun of Shinshu (present-day Nagano), and went to work as thcheadmistress of her school for female ninja agents. Since the miko wercalways young unmarried girls, Chiyome Mochizuki began recruiting ap-propriate candidates from the ranks of the countless children rendereclhomeless by the all-consuming civil war that raged throughout the islanclnation of Japan. Takeda's kunoichi trainer became foster mother to anyorphaned, abandoned, runaway, or lost girls who found themselves inthe Shinshu region without anyone to turn to. To the citizens of theregion, Chiyome appeared to be nothing more than a kindly compas-sionate woman who was working to provide some comfort and spiritualvalue to the lives of certain young girls who would have otherwise beenrelegated to a life of misery and wretchedness.The girls were instructed in the duties, manners, and knowledge of themiko vestal virgins who served the priests of the Shinto shrines of theland. In addition to the standard training, however, the young charges ofChiyome Mochizuki were also given a thorough grounding in a mind-setperception that would later guarantee their loyalty in all situations. Bycontinuously prompting and reminding the girls of the source of theirsalvation from a life of misery, Chiyome worked to bind the girls to her.The girls were encouraged to examine their previous lives over and overin the same way. What had led them to their misery? Who let themdown? Who found them and saved them when all seemed lost? The girlseventually came to believe that the only way to survive in the world wasto depend on their strong ties with their fellow sisters from the academyand to demonstrate total loyalty to Chiyome Mochizuki.As a third step in the girls' educdtion, Chiyome taught them how toobtain information valuable to her, how to analyze and evaluate situa-tions, how to cause confusion and dissention through the planting ofrumors, how to recruit reliable messengers who could pass on informa-tion to other kunoichi miko in the network, how to disguise themselves,

110 'l 11


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NIl{JA'llrc lrisloly ol l'ctrilal .lalrarr is l'illccl with such stories as that of theIt'rrurlc rrin.jir ol'Koga ryu's Mochizuki family. All members of the familyrvcrc rcacly to do whatcver was required to ensure the security and safetyol' llrcir clan, women as well as men, and each person had his or her roles

lrrrcl spccialties. Women could often move undetected and unsuspected incirclcs where male agents would find it difficult or impossible to fit in,which made them especially valuable for purposes of espionage thatwould better enhance the family's chances for survival.Kunoichi TrainingHistorically, the kunoichi was trained in a manner similar to her malecounterparts, although the instruction of the female ninja did emphasizellrc more subtle aspects of personal one-on-one warfare. Small unit bat-tlcfield tactics that would be taught to her brothers would have been lessirrrportant than skitrls of psychology and the manipulation of another'spcrsonality or perspective through behavior modification, and the chan-neling of her intuition, all of which were ernphasized in the historicalkunoichi training. The preparation of kunoichi for active field work didol'course include basic instruction in the ninjutsu combat methods of rai-

.jutsu (unarmed self-protection), bojulsu and hanbojul.sa (staff and canel'ighting), tantojutsu (knife techniques), yarijulsa (spear usage), and nin-1to kenjutsu (sword methods). The tactics, however, were designed to fitthe specific situation of a smaller female contending with and-escapingI'rom larger male adversaries, rather than situations of commando-typeattacks against guard positions or sentry outposts.This same emphasis on pragmatic approaches toward using the body'sstructure and dynamics in a scientific manner continues to guide thetraining of current-day female members of the authentic Japanese nin-jutsu tradition. With a working ability to apply the principles ofnaturalness of motion and adaptability to the elements of the situationthrough taijutsu, female practitioners of the shinobi art can use theirgenerally smaller stature and natural grace to successfully handle anylife-threatening or potentially injurious situation. As with all otheraspects of niniutsu, what more conventional thinkers would label as"weaknesses," the ninja sees as tools.Accommodations must of course be made for the realities of femaleself-protection in the current age, just as was true in eras past. Footworkdynamics must be adjusted to the normal daily dress and footwear of thefemale practitioner. Skirts and dresses that wrap around the legs in abinding manner and shoes with straps or elevated soles pose the same

and how to use their femir-rine charrn l.o rnanipulatc nlcn wlrcrr irlrpropriate. Once completing the course of indoctrination ancl truinirrg ;rlthe ninja academy in Nazu village, the girls were sent out (o bccorrrc rrpart of Chiyome Mochizuki's female agent group.Chiyome gathered her intelligence from all over the two target pr()vinces, also picking up knowledge from travelers who had journeyed itrfrom outlying areas, and passed her findings on to Shingen Takcclrrdirectly. To protect the efficiency and integrity of the kunoichi ring,,Chiyome Mochizuki's role in Takeda's scheme was disclosed to nobody,and remained a secret for the life of the great general.

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NI}IJAwornauts potcntial l'or cnrploying what seem to be brutal tactics against al'clklw hunran being. In the contemporary Western world, just as it wasin ancient Japan, female members of society are subtlely taught that theirdemeanors ought to be gentle and refined. Stereotypically, little boys aretaught to be tough and competitive on the sports field, while little girlsare taught to be accommodating and sociable in the home. From ancienthistory right up to today, males have generally been regarded as the con-tending breadwinners, while females have generally been regarded as theappeasing peacemakers. This cultural or perhaps biological-hormonalorientation towards uniting tendencies can often interfere with the re-alization that a life threat from an attacker has materialized in all itsmalevolent darkness. Unfortunately, all too often it takes the civilizedvictim, whether female or male, too long to come to the realization thatthe attack is indeed real, and that protective action is demanded. Thatdeadly hesitation for the thought, "It really is happening to me " to passthrough the conscious mind is all it takes for the attacker to gain com-plete control of the situation.The teachings of the historical Togakure ryu ninjutsu traditionrecognize a dangerous attacker as having given up the right to be regard-ed as a sentient being worthy of loving consideration, and suggest thatsuch attackers be regarded as non-human demonic forces or crazedsavage animals that must be dealt with by any means required for a suc-cessful outcome to the unfortunate encounter. They have relinquishedthe right to be considered as human by means of their descent into in-human behavior. Just as any human body is capable of producinghealthy cells that ensure the growth of the body, as well as deadlycancerous cells that threaten to destroy the body if unchecked, thegreater part of humankind seems to produce its own images of "growth"and "cancer" beings. Each such being must be recognized for itsinherent value and handled with appropriate means. Any person con-sidering himself or herself worthy of living a happy and healthy life ofmeaning must realize the deadly folly of regarding dangerous killers andmaimers as fellow humans worthy of consideration. Such vicious entitiesare "fellow" only to other such cancerous beings.

Nin-po Taijutsu Methods of Kunoichi".The following examples show a few of the nin-po taijutsu methods ap-propriate for one of smaller stature, of less relative strength, occasionallywearing restrictive clothing-typical in a situation where the female ninjamust contend with a larger male assailant.

problems that wraparound kimonos and eori (slip-on sandals) and geta(wooden clogs) once created for the historical female ninja. Strengthratios between average female defenders and male attackers must also beacknowledged, rendering self-defense tactics that rely on powerpunching, kicking, or throwing virtually useless in realistic life-threatening encounters.Another crucial aspect of self-protection for female ninja is the

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Delense Against a Rear Arm Choke(1) ln this example of Bujinkan dojonin-po taijutsu training for women, thedefender is attacked from behind byan assailant who applies a rear fore-arm choke to cut off her air and pullher backwards onto the ground. (2&3)She responds by stabbing backwardsover her shoulder with her straight-ened fingers to distract her attackerfrom the pressure of his choke. (4) Asthe attacker reaches up to move thedefender's hand away from his eyes,(5) the defender uses the moment to


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shift her body into a more stable po-sition. (6&7) She immediately lowersher weight down and back onto the at-tacker's extended leg, (8) either break-ing the knee or forcing the attacker tothe ground. (9-11) The defender thenshifts her body weight behind an el-bow arm bar in order to drive her at-tacker's face into the ground.

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Knite Retention in a Clash(1&2) A stronger attacker attempts towrest away the knife that the defenderhas taken up in her defense. His great-er strength prevents her from employ-ing any sort of wrist leverage move,and her kimono prevents her fromfreeing her leg for any sort of kickingdefense. (3) The defender allows herarm to be held in place and shifts herhips back and down with a crouchingpivot away from her own knife. (a) Thisaction causes the knife to cut acrossthe attacker's wrist without the de-fender having to apply any greatpower, and at the same time, takes herout of range of any possible retalia-tory kicks. Again shifting laterally oncrouching knees, she moves acrossher attacker to capture his power andcontinues to direct his movements insuch a manner that he cannot get toher" (5) As the defender moves, sheallows the back of her blade to cap-ture the attacker's wrist while shepulls back and across with her bodyweight in motion for power, slammingher elbow into the attacker's temple.(8&9) A palm-heel strike directing herbody weight into the back of the at-tacker's outstretched arm breaks hiselbow and forces him to the ground insubmission.

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Delense Against WristRestraint and Choke(1-3) The attacker has grabbed the fe-male defender by the wrist and throatin an attempt to choke her. (4-8) Ratherthan resist his strength and leverageas he might have expected, the de-fender charges in with an urashutokitenken (knife-edge hand attack) tothe attacker's throat, using her assail-ant's pulling motion to her own ad-vantage. The nin-po taijutsu shutostrike uses the thumb to brace the ex-tended fingers for more support, al-lowing the hand increased strength.Unlike the conventional straight-fin-gered "judo chop" as shown in mostself-defense books, the ninja's klten-ken (angled-finger strike) pops openfrom a closed fist upon impact with


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the target. (9) The defender then takesadvantage of the momentarily stun-ning blow to free her arm from the at-tacker's gripping hand (10) and movesher body into position for relief of thechoke. (11-.14) The defenderthen pivotsback towards the attacker whilepunching up into the underside of hisarm and peeling his weakened handloose. (15&'16) A rising forearm striketo the attacker's groin then knockshim back and away to allow her to es.cape.

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Delense Against aWrist Restraint and Slap(1&2) The female defender is held inplace by her male attacker, who holdsboth of her smaller wrists in his largerhand and slaps across and down ather face. (3) She responds by leavingher wrists in place while droppingaround to the side of the assailant'sgripping arm to avoid the strike. (4-6)Once in place behind her attacker, thedefender slams her knee into the backof the enemy's knee with a sinking

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leverage action, (7) forcing him to theground in an effortless manner. Thedefender allows her back to remainerect so that the attacker will have torelease his hands to break his fallrather than hit his face or shoulder onthe floor. (B-12) The female defenderimmediately follows up her escapewith a swinging shin kick to theattacker's face.

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Hanbo Delense Against aRoundhouse Kick(1) The defender confronts an assail-ant with her hanbo (cane) poised for astrike. (2&3) The attacker attempts toavoid the cane by using his superiorsize and reach in a karate-style round-house kick. (4) Rather than resist theshock of the impact, the defenderdrifts in towards her attacker's centerwith a cane tip strike to the undersideof her assailant's chin, eluding thekick. (5) She then lifts the trailing endof the cane from beneath the kicker'sextended leg (6&7) to topple him withassistance from a footsweep. (8) For-ward binding pressure from the canethen damages the attacker's leg toprevent him from regaining his footingto continue the fight.

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Delense lromAgainst the Wall

(1) The defender is restrained by bothwrists and shoved toward a wall. (2) lnresponse, she lowers her hips andquickly pulls her leg up to aim at theassailant's rear leg, (3&4) which sheknocks out with a forward heel stompkick. (5) As the attacker falls forward,the defender meets his face withshakoken (palm-heel strikes) to thejaw, (6) which turn into thumbnail ripsalong the attacker's upper gums and

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then (7&B) a two-handed thumb hooktearing action across the assailant'smouth. As the enraged attacker liftshis head to relieve the pain, the femaledefender executes a zutsukl (foreheadsmash) into his nose and upper lip. ltis important to note that the headsmash action is derived from the en-tire body in motion, and not a merenodding snap from the neck muscles.(9) The defender then plants her footon top of the attackefs leading foot topin it in place, (10) and uses a kneeram action against the attacker's im-mobilized knee (1 1&12) to topple himwith a fall that will cause his pinnedankle to break.

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Defense Against a Body pin(1-3) The defender is restrained with atackling action that works to hold herin place. (4&5) Bracing the attacker,shead with one hand, she uses herother hand to apply a fingernail cut-ting action (6) into the cartilage foldsin the attacker's ear. (7) As the assail-ant lifts his head in response to thepain, (8&9) he is met with an elbow

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smash to the temple. (10-14) The de-fender then pulls back against thebone and cartilage of the nose withfinger hooking action to expose the at-tacker's throat (15"17) for a hand edgestrike that collapses the assailant'swindpipe, (18) and knocks him to theground.

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Delense Against anArm Twist(1) An attacker grabs tlrtsdefender ond twists lrlrarm up behind her back r,,an effort to control an(l (llrect her. (2) She shifts lorward with the foot on llr,,side of the twisted arnr 1,,relieve the pressure by ;rltering the angle, as well ;rrrpull the attacker off b;rtance. (Note that this mov,,would probably be appr,,priate only for persons witlrsuff icient training in llroninia's iunan laiso (warrrrup exercises) limberirrUmethods or some othoryoga-like system th;rlemphasizes suppleness olthe body. Self-protectiorr

s with good health.)The defender suddenlyher body in the op-e direction, trappingattacker's guiding armlifting what was herhand. (4) She thens f orward with ashift of her kneenst the attacker's leg,his knee, and (5)ng him to the groundthe twisting pressureher body weight againsttrapped leg. (6) Onceattacker is down, theender now has the ad-rtage. Keeping her eyesthe attacker at all times,6


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(7) the defender stands rr1,(8) steps in just as tho ,rrtacker is about to try r,,recover, (9) raises her 1,,,1before he has a chancc t,,do anything, and (10) r:x,,cutes a heel stomp kick 1,,

attacker's face. (11)ing sure to f ollowon the blow forximum ef f ectiveness,(12) puts an end to theruggle.

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Defense Against a Two.Handed Choke(1&2) The attacker grabs the defenderin an attempt to choke off her breath-ing. (3) She responds by dropping thepoint of her knee onto the bridge ofthe attacker's leading foot, bringingall her weight down to damage thesmall bones beneath her knee. (4-6)The defender then uses her head tostrike against the underside of theassailant's arm as she rises andmoves to the outside of the attacker,sreach. (7) A ramming knee strike then

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(8) stuns the attacker's leg to preventhim from readily following the defend-er's escape. (9) The defender thenplants her foot behind the attacker'sweakened leg, (10) and uses clawingfingers to grab the attacker's hair andlower lip (11-14) for a throw onto hisback.

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THE FORCE OF INTENTION


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NIl{JAll/lrt:tr lltc ruc sceker oJ' wisdomltturs o.f lhc nyslerious powers of the shinobi warriors,

hc J'eels compelled lo study them actively.lUhen lhe ordinary mqn hears of those teachings,he discusses them with other intellects.When lhe idiot hears of the teachings,he smirks and laughs and shakes his head.

any of the ancient legends concerning the historical ninja offeudal Japan are woven around tales of ninjutsu's incrediblemystical powers that supposedly afforded the night warriorsof Iga and Koga Provinces vast capabilities far beyond the conventionalfighters of the time. Various other martial arts in addition to ninjutsu arealso said to employ mysterious qualities that seem to transcend the mun-dane limits of the physical realm. Tales of internal powers (ki, chi), anduniversal forces are indeed inspiring and fascinating to many martial art-ists today.Unfortunately, for all too many martial artists it is often true that thesearch for supernormal forces is actually a symptom of a seeker's refusalto accept his or her birth-given role in physical reality. If there were somesort of "force" that could come down into our bodies to make us in-

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NIl{JAf'or thc student to relax his or her focus of attention and expand theawareness to take in more and more of the subtle factors that influencethe potential outcome of any given conflict or confrontation.The development of fighting skill in the ninja combat arts could beseen as a process of progressing through several distinct stages. Eachstage is a level of ability that opens up even more possibilities for the stu-dent practitioner. These stages are in no way set with boundaries ordegree licenses, nor are they easily definable with clearly marked pointsof transition. Instead, they can be seen to overlap considerably, and inreality can be recognized only after several have been grown through tothe point where they can be looked back upon.

First StageThe first stage is best defined as one of concentration on your ownphysical capabilities. During this training period, strong emphasis isplaced on learning the fundamental principles of the ninjutsu armed andunarmed combat methods with an eye towards gaining personal profi-ciency in the body skills that make up the kihongala (basic foundation)of the art. This stage is a time to focus on the way your body picks up,adapts and adapts to, and learns to perform all the mechanical aspects ofgetting a solid grounding in the art. Though effective self-protection isever a concern of personal development in the ninja combat method, thisfirst stage of training is a time to pay particular attention to how yourbody is operating and how much your body is capable of. There is lessemphasis on being expected to generate specific results in relation to thevaried moves an attacker could execute against you.Second StageThe second stage is best defined as one of concentration on yourresponsive relationship with an attacker and his advances against you.Once you have developed a reasonable level of skill in performing the

mechanical fundamental movements of the art to the point where youcan deliver kicks, throws, strikes, cuts, and so forth, with confidence intheir effectiveness, you next begin to focus on applying those movementprinciples in response against an attacker. This stage is a time to focus onthe distancing, spontaneous decision making, and fitting in with an at-tacker's techniques that will make your techniques effective and ulti-mately superior. Proper response that facilitates effortless countertech-nique is the goal of this stage of personal development in the ninja com-bat arts.

vulnerable, then we could effortlessly gain control ovcr our w.r.lrlwithout having to do any work or make any investment in efl'ort, it nrigrrrbe stated. The shortcut does sound tempting, and is alruring to many, brrlultimately cannot exist independently of the physical.If indeed there is any sort of "mysterious force,' that can be utilized bythe common man or woman to enhance combat capabilities, its sourccwill undoubtedly be found in the hard realities of the physical dimensiorr.only by first cultivating and working your way through a firm undcrstanding of how your own body and its energies operate, relate witlrothers, and create new realities can you ever hope to attain the keys l,transcending the physical realm. As attractive as the seemingly cosmicmethods may be, it is impossible to gain any control over the mental, lcralone the spiritual, realms of power without first honestly coming t.grips with all the aspects of our "physicarness." Unfortunately, thisreality is often ignored or repressed in the methods of many martiar,religious, and intellectual systems.It should be noted that there is indeed a realm of power that somehowlies accessible beyond the normal physical skills. This reality is oftenoverlooked by a vast majority of contemporary martial artists who strug-gle on with the hopeless futility of relying on crude bone and musclespeed and strength despite the obvious warnings of advancing age. Thepoint being emphasized here, however, is the fact that this supiafhysicarability cannot be studied as a system of training in and of itself withoutfirst gaining competency in the physical techniques that make up theninja's combat art. Just as you cannot get to work on the fifth story of abuilding without first constructing a foundation and the first four floors,diving into a study of spiritual power or ethereal forces without a firmfoundation and internalized experience in physical training is merely put-ting off a cold reality that must eventually be faced.Progressively Expanding Awareness

As an initial point of awareness when first exploring the possibility ofthere being something "beyond technique," it should be noted that oneof the most difficult aspects of developing true skill in the ninja warriorarts is the ability to let go of personal individual focus when it is necessaryto be more in touch with a broader iange of influencing factors. The newstudent is primarily concerned with the performance of his or her ownmechanical defensive movements, and often finds it difficult to concen-trate on, or even see, anything beyond immediate arm,s reach. As yearsof training experiences accumulate, however, it becomes easier and easier

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NINJAtlris lcvcl whcrc thc warrior seems to become a wizard, capable of tran-sccnding and leaving behind the conventional limitations and ap-pcarances of the martial arts as most practitioners know them.To the consternation of many Western world students, there is no wayto shortcut the process and go directly to the higher powers of the spirit-ual warrior. Exercises in ki power, flow sensitivities, chi storing and suchwithout the benefit of t-irst developing reliable skill in hands-on physicalcombat methods are as pointless as establishing corporate marketingstrategy without first deciding on what type of product the company willproduce.

There are however a variety of exercises that can provide a brief lookat some of the budding refinements of higher skill once the physical fun-damentals begin to be internalized. Though these exercises in no wayreplace or supersede the need for diligent and disciplined training in theauthentic and proven physical methods of the warrior arts, they can pro-vide an idea of the type of awareness to which the maturation of physicalskill could eventually lead.

EXERGISE ONEBlending with an Opponent's Efforts

To develop a sense of the energy involved in tuning into and blendingwith an adversary's moving attempts to gain control over the fight,students can practice a form of pre-set clash spontaneity in which onegiven technique is executed successfully and"then rerun in a manner thatpermits the original victim to reverse the outcome.The initial techniques used in this type of training should be fairly sim-ple and direct in order to give a firm sense of effectiveness:'That way, it iseasier to feel the natural direction in which the attack is leading in orderto better grasp the concept of how to "ride" the attack as a means ofovercoming it.

Third StageThe third stage is best defined as one of concentration on your abilirvto control and direct the total energy of the conflict. once you huvt.developed familiarity with the mechanical pieces of the art, and tlrerrhave cultivated the skills of applying them scientificaily against anothcr'smovements, it is time to focus on developing your ability to cause yorrrassailant to have to do things in a manner that will prove to be to yorrrbenefit at his expense. concepts of attacker and defender and assault arrtlcounter fade at this point. The fight somehow is no longer perceived as lcontending between two or more independent units, but rather comes (()be experienced as a single unit of give and take energy in continuorrsflow. You can at this point transcend the level of relating to arraggressor's movements with your own movements. As subject and objectblend, you in essence become one with the energy of the fight.Fourth StageThe fourth stage is best defined as one of concentration on your abilityto conceal yourself safely in the very center of the energy of the fight,thereby disappearing from the threat of danger by slipping into the middle of it. Difficult if not impossible to describe effectively through thcwritten word, this stage of development allows you to transcend the con-ventional principles and strategies for dealing with combat situations. Inthis fourth stage, you enter a realm where you can create the impressionof certain kinds of energies, only to "break the rules" and defy seeminglogic in order to overcome an assailant. The anti-principles of kyojitsutenkan ho (the method of altering the perception of truth and falsehood)provide the insights necessary to take you to an ability level where slow-ness can be seen to overcome speed, weakness can be seen to defeatstrength, gentleness can be seen to crush force, and staying in the path olan attack can be seen to provide escape from vulnerability.Void RealmThose few rare individuals who continue their training quest longenough to go on beyond these four roughly categorized successive levelsof personal development then enter into the vast range of freedom andeffortless power experienced as the ka no seikai (realm devoid of specificrecognizeable manifestation). Mysterious and perplexing beyonddescription, and perhaps even terrifying to the uninitia

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