THE TIGER SCROLL OF THE KOGA NINJA


  The History 
                      Of Ninjutsu 

The famous story of the ninjas start a long time ago mostly between the years 600 and 1320. 
Ninja also called Shinobi is a master of stealth and disguise. Shinobi means an expert in the field of information gathering (agent of stealth). Actually the name Ninja came from China. 
During the war in China (722 to 481 B.C) Ninja were called Kan and a lot of other special agents were created. Saisaku,Yutei and Kansai are some of them. After the big war in China. Ikai the warlord of Shiko was defeated but he escaped to Japan and he established himself in the Iga region where he lived in a cave teaching some peoples the art of Ninjutsu. The mix of Chinese martial arts and japanese martial arts lead to the development of Ninjutsu. The Iga Ryu ninjutsu was created. 

In 939, Mochizuki Saburo Kaneie (3rd son of the governor of Shinano) He was made ruler of Shiga.Than he changed his name to Koga Omi No Kami Kaneie. His Son Omi No Kami Iechika who was trained into the art of ninjutsu by Tatsumaki Hossi created the Koga ninja clan. 

At the moment there is a lot of different types of ninjutsu like: Genbukan,Bujinkan,Dux ryu and many more but the Iga ryu and Koga ryu ninjutsu are the oldest and the best established one's. There is a lot more to say about Iga,Koga and the others but it will take a lot of time because it's coming from many centuries ago. 

Like we know...Ninjas had special skills but they were not sorcerer. They were specialized in stealth and disguise with some amazing skills in differents types of weapons like: Ninja-To,shurikens,spear,archery,chain techniques and more... 
They were also trained in different difficult environment like: Underwater situation,climbing walls,acrobatics skills and of a lot more... 


A lot of the information that I'm using come from different books but mostly by: Genbukan Ninpo Bugei , Fundamental Taijutsu vol.1.

¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤

Ninpo/Ninjutsu History

The following essay attempts to explain the history and development of ninjutsu since ancient times to the present. By examining various historical records, together with an analysis of specific fighting strategy, methods, and weapons I hope to shed some light on what has become common (distorted) knowledge. The essay is not annotated according to academic guidelines for technical reasons, and thus it might not convince the very skeptical reader who is academically trained. I can only hope that anybody who reads this essay will keep an open mind and look for logic in the content, if not for footnotes. Another, perhaps non-academic aspect of this essay is the inclusion of my personal experience in both Ninpo/Ninjutsu, and in modern warfare as I have learned, practiced and (unfortunately) had to execute. Since my military specialty greatly resembles that of the pre-modern ninja, I do not think I should refrain from personal involvement. On the contrary, the comparisons I will make here between the pre-modern ninja and the modern warrior who specializes in covert warfare methods, are based on real war situation experience, not on written records. Nevertheless, this essay has a strong academic aspect to it because it is not simply my own thoughts and wishes of how I would like ninjutsu to be viewed. I rely on available documentary evidence, which is commonly accepted by historians as reliable sources, while also considering what is not available. In other words, in constructing the history of ninjutsu I use a reasonable amount of analysis and critical thinking.

Finally, it seems that this essay will be much lengthier than I had previously planned. Therefore, I decided to put it on the site as I go along. I will try to add one topic each weekend starting with a section on the historical image of ninjutsu and the problems of discovering and constructing its history.

Problems in Dealing with Ninjutsu History

Tracing the origins of Ninpo/Ninjutsu is problematic because of a number of reasons which I would like to discuss first. For the professional historian constructing history means searching for a convincing evidence. The better the evidence is the stronger the argument will be. Such evidence is usually found in a variety of documents including diaries, chronicles, tales, picture scrolls, personal correspondence and legal documents, among others. In the case of ninjutsu documentary evidence is either vague or is not an original text. That is, the scrolls and books of ninjutsu traditions in which we find that tradition's techniques and military strategy are recent copies of earlier texts. We do not have texts that were transmitted from the founder of that tradition to the present successor. Ninjutsu in Japanese history has always been secretly practiced and transmitted within a homogeneous group. There are three important original texts existing today--Bansenshukai, Ninpiden and Shoninki. These are early Edo period records that include some historical information, discussions on the essence of ninjutsu, its characteristics, some of its unique weapons, infiltration techniques and more. However, these texts do not include any description of unarmed fighting techniques or even a curriculum of techniques. In other words, the texts can not date or authenticate most of what is today taught as ninjutsu fighting skills.

Another problem stems from the nature of Japanese society and Japan's social history. From the early seventeenth century until the middle of the nineteenth century (Meiji Restoration) Japanese society was locked in a rigid class structure that allowed very little or no mobility at all. That meant that members of a social group within a certain social class had no choice but to accept their place in society. In addition, there was a clear distinction between the ruling class--the samurai--and the other classes--peasants, craftsmen, and merchants. within each class as well, there was a certain hierarchy according to which members of the class had to act their social role with little opportunity to change their possession. This reality have produced strong identifying characteristics for each social class to which the individual had to conform. Outside these social classes, as they were designated by the ruling samurai elite, were the classless people and outcasts who were placed bellow everybody else. Ninjutsu, for the most part, was the fighting skills and methods practiced by a small number of families who belonged to the lower classes and outcasts, and only rarely by warriors belonging to the samurai elite. Consequently, ninjutsu since the Edo period has been identified as different than the noble traditions of the samurai, and those practicing it were usually regarded by the rest of society as lowly people. In other words, ninjutsu was anything but conformity to the pre defined social rules. As such, it could have never received a seal of approval as a recognized martial tradition, not even when those samurai were actually employing warriors proficient in ninjutsu.

The social conditions and the strong tendency for conformity I have just discussed produced another problem. Fighting methods or weapons that were not practiced by the samurai elite were considered mysterious at best, sometimes demonic, often super natural, and certainly unworthy of respect. Here again is the problem that rises from social conformity. For the samurai elite who were bound by rules of behavior and a code of honor and ethics, fighting methods were confined to a small number of weapons, namely bow, sword, staff, jutte, and spear. This resulted in little creativity in fighting. However, for warriors other than the samurai, those who were not constrained by their position in society, creativity was a necessity for winning. They have maintained unusual and innovative fighting methods and weapons that were developed in earlier periods, while systematizing, recording, and adding to it during the Edo period. Consequently, ninjutsu came to be perceived very negatively, and when Japan moved into the modern period ninjutsu gradually disappeared while its dark and mysterious image, which already became folklore, was now viewed as an historical fact.

Perhaps it was the Second World War and the American occupation of Japan that changed Japanese society in a way that made people ridicule ninjutsu not just suppress its place in the history of Japanese warfare. It was not part of the Yamato damashii (the Japanse spirit) that the Japanese now looked for to restore their confidence and self-identity. Ninjutsu was placed in a small dark corner in the Japanese historical attic. A further turn to the worse came when ninjutsu was introduced to the West in the Sixties, and became the subject of low quality low budget American films in the Seventies and Eighties. The image of a mysterious, super-human, often devilish warrior was now out in the open and on display. This image was based on fathomless misunderstanding of Japanese history, and of ninjutsu in particular. In addition, there was the motivation for producing profitable movies, a fact that greatly distorted any remaining accuracy. As it often happens, the public accepted the information delivered in the movies as an accurate historical portrayal of ninjutsu.

(Below, a nineteenth century photo of Otemon, one of the main gates to Edo castle. Visiting daimyo entered Edo castle through this gate. Guarding the gate were Koga warriors, and observing the visitors from special guard rooms were Iga warriors. Both warrior groups specialized in Ninjutsu)



What is Ninjutsu?

For the modern practitioner of Ninjutsu, or Ninpo, the term Ninjutsu represents a set of unarmed and weapon techniques from a number of ryuha, namely Koto ryu, Gikan ryu, Gyokko ryu, and Togakure ryu, among others. The techniques include various methods of fighting, leaping, hiding, walking and running methods, as well as sword evading techniques, and special utilization of the body. Similarly, the arsenal of weapons includes a variety of conventional weapons such as Tachi and Yari, and unconventional weapons such as Shuko, Kusari fundo, and concealed weapons. In any case, the combative characteristic of Ninjutsu, be it defensive or offensive, is commonly accepted as the essence of Ninjutsu.

However, a close analysis of historical records, from as early as the eighth century to as late as the nineteenth century, show that the fundamental nature of Ninjutsu was in fact methods of infiltration into unfriendly, often hostile territory. Descriptions of such infiltration usually talk about a general who sends his agents to infiltrate his enemy's encampment, castle, or province. The purpose of that infiltration was to gather information about the enemy, to cause disorder, and to disseminate false information. Sometimes infiltration was the first act of a military confrontation, that is, an agent was sent to infiltrate a fortress in order to open its gates from the inside to allow warriors into the fortress. And sometimes the purpose of infiltrating the enemy territory was simply to assassinate the enemy's general. It is interesting to note that most descriptions of such infiltrations are only a minor theme within a larger narrative, that the term "ninjutsu" does not even appear, and that only rarely do we get a description of the method of infiltration. The most common terminology used in all of these historical records is, shinobi komu and shinobi iri, which generally mean infiltrating incognito.

The only outstanding exception to most records are those written by Iga and Koga warriors about their own methods of infiltration. Especially in the Bansenshukai, a seventeenth century multi- volume compilation, there is an explanation of methods of infiltration into a fortress or a castle, accompanied with sketches. While these Iga and Koga records include sections on special weapons, history, philosophy, astronomy, topography and more, it is clear that the essence of their activity focuses on entering an enemy territory for reasons I have mentioned earlier. The unavoidable conclusion is that Ninjutsu in essence, at least from a purely historical perspective, is the skills involved in the act of covert infiltration for military purposes. Naturally, we should now ask, what are all these fighting skill that we now call with such confidence "Ninjutsu"?

The answer to that is not given in all those historical records which I have turned to in order to understand what Ninjutsu is. In fact, there is no known pre-modern historical record that systematically describes, or at least lists the titles of fighting techniques used by those warriors who specialized in infiltration and covert activity. The only records, which I am aware of, are those handed down by a number of late Edo period specialists to Takamatsu Toshitsugu who then passed on the records and knowledge to a handful number of disciples. If there are other genealogies of Ninjutsu related ryuha they remain unknown, but it is most likely that other genealogies did not survive the transition to the modern period and that if anything remains of them it is only in the form of written records, which are hidden somewhere--perhaps without their owner's knowledge of their contents.

The final conclusion of this brief analysis is that Ninjutsu until the modern period refers to knowledge and skills for entering enemy territory and fortifications in secret or in disguise. It is a universal term that applies to groups or individuals who engaged in covert operations or infiltration regardless of regionalism, clan affiliation, or historical period. On the other hand, Ninjutsu as it has been viewed after the Second World War is a systematic collection of fighting skills according to ryuha and respective genealogies. These ryuha, contrary to the universality of the term Ninjutsu, are identified with specific groups and clans who existed in specific regions in certain periods before the modern era. However, this differentiation between fighting skills, which we now identify by the ryuha, and the clans' or individuals' covert activity, for whatever purpose it may have been, does not mean that we are all wrong in calling these fighting skills Ninjutsu. Throughout history we witness continuous processes and shifts in the characteristics and definition of things. We should therefore view Ninjutsu as having gone through a transition into the modern period, at the end of which its meaning changed. It is important, however, to keep in mind the distinction between pre-modern and modern Ninjutsu.

Who was a Ninja? Who is a Ninja?

This question is especially thorny one, to which there is no simple answer. Similar to the treatment of the term Ninjutsu, we have to distinguish between the historical Ninja and the modern practitioner of Ninjutsu traditions. The reason for making such a general distinction is that the cultural, social, and military change from the Tokugawa period to the Meiji (modern) period was so great that there is no sense in looking for a gradual change in the characteristics of the Ninja in this historical transition.

Was the first Ninja Yamato Takeru? Or perhaps it was En-no-Gyoja, who is now staring at you on the left side of this paragraph? Was the archetypical Ninja someone like Minamoto no Yoshitsune? Or some unknown warrior who never made it to the historical headlines? To look for the origin of Ninjutsu is not unlike looking for the root of a pine tree. Just as there is no single root, rather a fan-like spread of many roots, we can not identify a single individual who "invented" Ninjutsu. There is no founder, or one we might call the "first" Ninja. Therefore, it is best to look for the Ninja in different periods, and attempt to characterize the Ninja in its specific historical context. Understandably, because of the limited scope of this essay, it will be impossible to discuss in details the character of the Ninja in every period. To illustrate the characteristic of the historical Ninja I chose well known warriors and monks whom some of the readers would probably recognize.

I believe that when we analyze what we know about these warriors, we can see that until the medieval period the Ninja was for the most part a lone warrior. During the medieval period there was a gradual build up of warrior groups and clans who were associated with certain locations. In other words, they controlled a territory. The Ninja then, has become a group member with all the implications associated with it -- social hierarchy, shared duties, and operating in groups, among other things. In the Sengoku period, out of necessity to survive the ongoing civil strife, Ninja were most active and clans were most tightly organized. However, during the Tokugawa period there seem to have been a deterioration in the tightly structured and organized Ninja clan, with a reversal to Ninja as an individual warrior. An important point to keep in mind is that throughout the centuries from the ancient period to the early-modern period one type of Ninja did not replace another, rather, a new type was added to the existing ones. Eventually, the Ninja community included those whose skills were rather limited, to those who held high samurai rank and lead armies.

I would like to begin by discussing what we know about the ancient warrior, Yamato Takeru (Mighty Man of Yamato). A warrior prince of ancient Japan about whom we learn from the Kojiki. Yamato Takeru was sent to take control over the Izumo area. To achieve that goal he had to fight Izumo Takeru who was known as a skillful warrior. Yamato Takeru first made a wooden sword that resembled his own. He then presented the real sword to Izumo Takeru as a gift, showing his friendship. Later they bathed in a river. Coming out of the river Yamato Takeru quickly wore the sword he presented to Izumo Takeru, thus having the real sword for himself while Izumo Takeru, not suspecting anything unusual since both swords looked exactly the same, put on the wooden sword. Following that, Yamato Takeru challenged Izumo Takeru to a dual and killed him.

After this, Yamato Takeru was sent again by the emperor to pacify the land. Before his departure Yamato Takeru received a sword and a bag from Yamato Hime no Mikoto. She told him to open the bag in case of an emergency. Yamato Takeru traveled east arriving at Sagamu where the governor tricked him into going to a bushy area which the governor then set on fire. Yamato Takeru, being in dire straits, opened the bag and found a fire making instrument. He set a counter fire, escaped death and killed the governor.

The records of Yamato Takeru as they are told in the Kojiki indicate that Yamato Takeru was familiar with various fighting tactics. Critics will naturally argue, not unjustifiably, that the Kojiki is a collection of myths that we can not regard as reliable historical sources, and therefore, we can not treat Yamato Takeru, or the stories associated with him, as an historical fact. This kind of argument can hardly be challenged since the only other written record, the Nihon Shoki, is not much more reliable than the Kojiki. However, without getting into a debate about the reliability of the Kojiki, its description of Yamato Takeru is still valuable. It is important to remember that the Kojiki was compiled in 712 A.D. and that it relied on earlier oral tradition and written documents. Therefore, whether the details of Yamato Takeru's life are accurate is not as important as the fact that in the year 712 there was a record of a warrior who had the knowledge to utilize fighting techniques which were unusually innovative, and which we might identify as early Ninjutsu. In any case, we can characterize the ancient "proto-Ninja" as a warrior skilled in a variety of fighting methods, but not yet knowledgeable of military strategy or religious practices.

Shifting to the early medieval period, I would like to focus on Minamoto no Yoshitsune. In the early years of the medieval period, Minamoto no Yoshitsune, half brother of the first Kamakura shogun, is said to have mastered superior fighting skills and military strategy. In his meeting with the renegade monk Musashibo Benkei, Yoshitsune avoided Benkei's naginata by leaping high, thus utilizing what is known as Hicho-jutsu. However, Yoshitsune became most famous for his rear attack at Ichi-no-Tani, and the final battle against the Heike at Dan-no-Ura. That is, Yoshitsune was an able general who knew how to conduct warfare on a large scale. Nevertheless, Yoshitsune lost his final battle to his brother Yoritomo, who was not as nearly as good a warrior and tactician as Yoshitsune was. How much of Yoshitsune's life was a legend and how much of it was the real Yoshitsune, will always remain an open debate.

In the Gikeiki (or Yoshitsune ki), we learn much about Yoshitsune's life, but unfortunately the historical value of this record, as appealing as it may be, is "so slight that it need not detain us." (McCullough. Yoshitsune. 1966). We therefore have to rely heavily on the Azuma Kagami and Heike Monogatari from which we can learn only little about Yoshitsune's personal life. These and other, less known records, show that Yoshitsune was not one among an identifiable group of warriors who shared similar skills and knowledge. Instead, he was an individual warrior who made an effort to learn warfare in depth. He did not have many years to learn because he joined Yoritomo when he was still a young man; and it is most likely that whoever taught him was a resident of Mt. Kurama. In any case, we can see a development from Yamato Takeru the warrior, and En-no-Gyoja the monk, to Yoshitsune who was taught Buddhism, fighting skills, and strategy.

In the following centuries there seem to have been a shift from individual warriors skilled in Ninjutsu, to groups of warriors who shared similar knowledge and interests. Whether they were of well established warrior lineage, or a band of outlaws, should not concern us here. What is important is to recognize the appearance of communities of warriors skilled in Ninjutsu. These communities were mostly located in Ki'i-no-kuni (present day Wakayama prefecture) and in Iga (present day, Mie prefecture).

Ninpo History	

Who was a ninja? Who is a Ninja? (continue)

At this point I would like to move directly to the modern period (a discussion of the early modern period would be added later). Attempting to define who is a ninja in the modern period (post 1868) is an elusive matter. This is due to fundamental differences in the characteristics of the modern period vis a vis early modern or premodern periods. Most notably are the change from military to civil rule, a shift from pre-industrial to industrial society, and from a relative international isolation to a country open to foreign (most significantly Western) influence. The change to civil rule was accompanied by the abolishment of the class system, bringing to an end seven hundred years of military rule. It is against this background that we should try to trace the development of the ninja.

Similar to martial schools and military offices that were either part of or supported by the shogunate and daimyo, Ninja were left without their traditional employers. Furthermore, they were left without their established role as provincial inspectors and soldiers of the Edo bakufu. However, unlike martial schools such as the one systematized by the Yagyu house, who focused on organized preservation and transmission of their military techniques, the Ninja were mostly employed as soldiers rather than teachers. Consequently, the downfall of the bakufu in 1868 left samurai and Ninja to handle modernity and unemployment on their own. Martial traditions that were well known and supported by the bakufu or leading warriors, were able to make the transition to the modern period and adapt to the new reality with relative ease. However, the Ninja who never established formal martial schools that were open to the general samurai population, had to adjust to the newly imposed conditions of modernity by developing new skills (e.g., farmers, performers) and finding new occupations.

In its historical sense, Ninja, similar to samurai, ceased to exist as a social and military group. However, since Ninja were never an officially recognized social group, they could have potentially maintain their identity as such. Nevertheless, their existence was too much dependent on the overall social and military conditions within which they existed, and to insist that Ninja families and individual warriors continued to operate after the Meiji Restoration would be futile. Just as arguing that soldiers in Japan's modern army are in fact samurai is a baseless argument, so is the argument that Ninja became modern spies. One can not separate the Ninja from their historical context without distorting history. With that in mind, how shall we define those who learn and practice martial traditions that are associated with the premodern Ninja?

It is compelling to recognize as Ninja those, including ourselves, who learn, practice, teach and preserve these martial traditions. But if the historical Ninja no longer exist, we are left with the same dilemma of self-identity. The solution to that dilemma lies in recognizing that we need to look at the essence of these martial traditions, not at their historical context. That is, these martial traditions originating from an historical Ninja transmit fighting skills used by the premodern Ninja, but they also transmit a world-view, philosophy and fighting spirit that are not bound by historical periods. Therefore, it is more accurate to view the the historical Ninja as having been replaced by modern warriors who preserve premodern fighting traditions. Whether this qualifies one as a Ninja is left for one's discretion, but in any event, it is a matter of self-perception not of historical continuation. 

A Short Study of Terms as Indicators of the Historical Role of Japan's Special Warriors



There are various channels of investigation which one might choose to shed some light on the otherwise elusive topic of the special warriors of Japan commonly known today as ninja. The one I would like to offer here focuses on some of the terms used throughout Japanese history to refer to warriors who specialized in gathering information and who were skilled in a wide range, often uncommon, methods of warfare.

Some terms identified certain roles and duties, other terms did not point at any specific role, rather were coined by a leading warrior to distinguish his warriors, or espionage agents, from others. Such terms were similar to a local dialect in that they only used a term unique to that locality, but that in essence it was not unique. It is also important to point out that as warfare developed and became more sophisticated and complex, so was the variety of duties assigned to special warriors.

Before the Nara period (711-794) there seem to have been one or two terms regardless of the warrior?s duties. It is said that as early as the seventh century, Prince Shotoku have already used the term shinobi to describe a person who provided special services. In the case of Prince Shotoku, shinobi were his close attendants whom he used for various tasks, most likely as secret messengers or information gatherers. The most known among these shinobi was Otomo Komado. At that time the term shinobi was not written with the single character nin, rather a combination of three characters used for their sound alone. In fact, the meaning of the characters was completely unrelated to espionage, and put together produced no logical meaning. This early use of the term shinobi indicates that warriors specializing in espionage and covert warfare existed before the introduction of Chinese knowledge and terminology of warfare.

Though clear evidence is unavailable, it appears that Prince Shotoku also began to use the term kanja for experts of espionage. In fact, it is the earliest term for a person who specializes only in information gathering. The term kanja was the Japanese rendering of the Chinese term kan, adding the character for "person" or sha, which together with kan produced the term kanja.

A term similar to kanja that was also adopted from Chinese was kancho. The character cho means to look around for information, thus when combined with the character for kan produces a meaning identical to kanja. These terms are therefore interchangeable, with no specific connection to any particular historical event or period. Another derivative of kan was Emperor Tenmu?s use of sokkan for an espionage agent who also performed duties such as assassination. This was a personal attendant warrior for Emperor Tenmu by the name of Takomi, for whom there are references in historical records. Yet another Chinese term that was adopted in Japan was kansai, which meant a person who searches for detailed information.

Borrowing these Chinese terms was the result of a much wider trend of importing Chinese philosophy, religion, state institutions, and culture. Systematic knowledge of espionage arrived from China in arguably the most well known text on warfare written by the Chinese general Sun Tzu. In this work those engaged in espionage were divided to five types called gokan, or ?five spies.? These included the local agent (gokan, using a different character for go), double agent (hankan), inside agent (naikan), expandable agent (shikan), and living agent (shokan). The gokan system in Japan served as the foundation for the Japanese use of information gatherers, and is mentioned in the Bansenshukai as the foundation for a more elaborate system developed in Japan. Thus, it appears that the Chinese contribution to the development of espionage in Japan has been rather substantial.

The Heian (794-1185) and Kamakura (1185-1333) did not produce any new terms worth mentioning here. However, since the Onin War (1467-77) and the increasing intensity of strife among local warlords produced a whole range of specializations associated with espionage and covert warfare. Some terms were common, others associated with the nature of the warrior?s duty, the region, or even the warlord?s personal preference.

Mitsumono (also rappa) was a system of three types of warriors who specialized in information gathering established by Takeda Shingen. Shingen who made extensive use of espionage employed warriors of low social status whom he called rappa. However, he divided the role of rappa to those specializing in collecting verbal information, and two types of observers. These three types became known as mitsumono, and together with the term rappa were used in eastern Japan.

Tan?en (also read nokizaru) was a term that reflected the skills of a warrior. It referred to one who specialized in entering a house through the roof. This warrior walked on the roof and jumped from rooftop to rooftop like a monkey leaping from tree to tree, hence its name nokizaru ("rooftop monkey"). These agents were known in the Sengoku period and served the warlord Uesugi Kenshin.

Some warrior bands skilled at special warfare were formed only to achieve a certain goal. After the goal was achieved the band was dispersed. For example, the nusumigumi ("thieves band") was a group of fifty Iga warriors serving Maeda Toshiie in strengthening his Kaga domain. Once the domain achieved stability and strength the group was dissolved.

Under certain conditions a warrior's specialty or purpose, or the warlords preference, became the terms used to identify such warriors. Kikimonoyaku was one who gathered enemy secrets by listening to rumors and gossip, but the origin of the term is unknown. On the other hand, kyodan, or an agent recruited from within the enemy troops by bribes such as money and wine, was a term first used by Oda Nobunaga in the Sengoku period (1477-1573). Kusa , or kusamono, were agents used by the Sanada family. The term was coined because these agents relied on hiding in fields and forests, or in peasant houses. The word kusa means grass, and kusamono is a "grass-person" and suggests "a person who hides in the grass."

Some warrior bands were independent of powerful warlords. Shinobi no shu?/I> was a group of warriors formed and supported by the Iga warrior Todo Takatora sometime during the Keicho era (1596-1614). This group was one of five called Iga musokunin, which comprised five bands of warriors each specializing in a certain aspect of warfare. When Commodore Perry first arrived in Uraga bay in 1853, one of those warrior musokunin, Sawamura Jinzaburo, ran to Uraga to spy on Commodore Perry?s Black Ships.

A similar independent type of warriors were the suppa (also seppa) of western Japan. The term meant to pass through, unsheathe, excel, but also referred to a thief or brigand. A known suppa in the early modern period was Fuma Kotaro. His lineage and knowledge, however, are unknown. There were two types of suppa: yaburi-suppa and kakae-suppa. Both were at social status of thieves and mountain brigands.

The Tokugawa shogunate (1600-1868) further qualified the use of espionage and skilled warriors. For example, akeyashikiban was a guard system used by the third Tokugawa shogun Iemitsu. When the shogun or daimyo were absent from their castle and the castle had to remain empty, a group of Iga warriors was assigned to guard the castle until the shogun or daimyo returned with their regular band of warriors.

Most of the new developments were related to the shogunate's mechanism of state control. Onmitsu was a term coined by the Toyotomi family but onmitsu played an important role only later under Tokugawa rule. The Tokugawa shogunate used onmitsu for gathering information throughout Japan. Unlike the metsuke and ometsuke officials whose duty was similar to that of the onmitsu, the onmitsu traveled in the domains incognito while the metsuke and ometsuke were recognized officials.

Another mechanism of control involved the use of kobushikata. These were agents who were part of a group of ten under the command of a group of three Iga warriors who worked in the service of a local official. The kobushikata agents usually performed manual labor such as road repair and construction, and it was in this disguise that they performed their duties spying on the local population.

While it is possible to identify the origin and use of most terms associated with Japan?s special warriors, the origins of the term ninja, the most recent term of which almost any informed child is familiar with, remains unknown. Some scholars have speculated that it was coined by performers and entertainers during the late Tokugawa period, others "blame" the modern entertainment industry. At this time, the lack of reliable sources to point us to the origins of the term ninja seem to remain unresolved.

(Primary sources for this article include: Sonshi and Bansenshukai. Secondary sources include: Tobe, Shinjuro, Ninja no nazo: sengoku kage no gundan no shinjitsu; Nawa, Yumio et. al., Shinobi no mono 132 nin deta fail; Okuse, Heishichiro, Ninjutsu: sono rekishi to ninja.)

¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤4

Fujita Seiko: The Last Koga Ninja
Budokwai Discussion

From: http://fujitaseiko.tripod.com
Category: Martial Arts
Date: 08 May 2004
Time: 16:29:02

Comments

FUJITA SEIKO: LAST OF THE KOGA NINJA INTRODUCTION Fujita Seiko, a prominent Japanese martial artist and researcher of the early 20th century, was born on 13th August, 1899. His original first name was Isamu, but, he chose to change his name to Seiko in his youth, a practice not uncommon in Japanese culture. Fujita is said to have begun his martial arts training early, under the instruction of his grandfather, whom Fujita believed was the 13th soke of the Koga Ryu Wada Ha Ninjutsu system. Fujita claims to have later inherited the art from his grandfather, as the 14th soke of the system. Fujita was a prolific student of the martial arts; in addition to his study of Ninjutsu, he also mastered Nanban Sato Ryu Kenpo, a grappling art; Dai En Ryu Jojutsu, a short staff art; and Shingetsu Ryu Shurikenjutsu, a projectile throwing art. Fujita authored five books relating to various martial arts, served as a body guard to Japan’s elite, and practiced the Yamabushi ascetic tradition. Fujita’s reputation, however, was most closely associated with his claim to have been 14th soke of the Koga Ryu Wada Ha, which as a Ninjutsu system, would have made Fujita one of the last practitioners of the arcane martial art. During his life, Fujita’s claimed association with Ninjutsu added a mystique to his reputation that attracted attention to him and his martial arts. After his death on 4th January 1966, however, his association with Ninjutsu, as seen in the light of the American ninja boom of the 1980’s, would call into question his entire life’s work, including whether Fujita had even inherited a legitimate Ninjutsu lineage. With the advent of the 1980’s American ninja boom associated with Stephen K. Hayes’ introduction of the Hatsumi Bujinkan branch of Ninjutsu to the United States, Fujita’s reputation became tainted by its unintended association with dubious claimants to the Koga Ninjutsu system. Many of these fraudulent ninja, eager to take advantage of the new martial arts craze’s economic potential, claimed that they were the legitimate inheritors of the Koga Ryu. Most of these unscrupulous usurpers were not even sophisticated enough to discover the complete name of Fujita’s system. Nevertheless, the association of Fujita’s name with these opportunists impacted Fujita’s reputation and obscured all of Fujita’s accomplishments. Unfortunately the innumerable fraudulent claims led to a dismissive attitude among many martial artists in the west to anything connected with Fujita. This attitude was particularly prevalent among the practitioners of the Hatsumi Bujinkan branch of Ninjutsu, which after Fujita’s death, was the last remaining legitimate Ninjutsu lineage accepted by the Bugei Ryuha Daijiten, Japan’s official “Martial Arts Directory.” In the years following ninja mania in the western world, Hatsumi’s students had to constantly compete for exposure with fraudulent Koga ninja. Thus, even two decades later, Fujita’s reputation is still seen in this light by many western martial artists. FUJITA: RESPECTED MARTIAL ARTIST The negative perception of Fujita Seiko in the western martial arts community, resulting from Fujita’s unintended association with fraudulent Koga ninja, would have come as a great surprise to both Fujita and his contemporaries. The historical record shows that Fujita was a respected martial artist and counted among his friends many of the martial arts luminaries of his day. Among them were Mabuni Kenwa, founder of Shito-Ryu Karate-Do; Taira Shinken, founder of Ryukyu Kobudo Honzon Shinko Kai; and Konishi Yasuhiro, founder of the Shindo Shizen Ryu and a Nanban Sato Ryu Kenpo student of Fujita’s. The circle also included many other Okinawan masters, including Funakoshi Gichin, founder of Shotokan Karate-Do. Interestingly, while Fujita is shunned by legitimate modern Ninjutsu practitioners; those connected to the modern Okinawan arts are eager to associate their martial arts lineages with him. For example, the modern lineage chart of Ryukyu Kobudo places Fujita among the martial arts icons, Taira, Mabuni and Funakoshi. The lineage chart mentions him as “Fujita Seiko (Ninja),” a measure of the mystique that his connection to the Koga ninja tradition gave Fujita among his contemporaries and their students. The level of respect Fujita commanded among his contemporaries is evidenced in the fact that prominent martial artists directed their most promising students to train with Fujita. Two of these students in particular, Inoue Motokatsu and Iwata Manzo, would become grandmasters in their own right, and their experiences are vital in instructing us as to the level of regard in which Fujita’s abilities were held by his contemporaries. Additionally, their training under Fujita provides us with evidence of Fujita’s intentions regarding the preservation and transmission of his various martial arts systems, with particular focus on his Koga Ryu Wada Ha. It is from this perspective that Fujita’s association with prominent martial artists and his training of Inoue and Iwata are especially instructive to us, particularly as relates to the fate of his Koga Ryu Wada Ha. That Fujita was the legitimate inheritor of the Koga Ryu Wada Ha was accepted by his contemporaries, and by the Bugei Ryuha Daijiten – both of which provide credible support for Fujita’s claim that he inherited a legitimate and unbroken Ninjutsu lineage. Additionally, Fujita, as early as 1936, had written a book called Ninjutsu Hiroku, (Ninjutsu In depth) which demonstrates that at least 30 years before his death, and decades before Japan’s own ninja boom, Fujita was claiming to have inherited the Koga Ryu Wada Ha system as its 14th soke. Moreover, in light of his death on 4th January 1966, the relevance of the debate as to whether Fujita truly inherited a legitimate Ninjutsu lineage becomes moot, unless it can be demonstrated that Fujita designated a successor. The relevant question then becomes whether the historical record supports the claim of Koga Ryu Wada Ha’s inheritance by anyone of the numerous individuals who have concurrently claimed to be Fujita’s lineal successor. PASSING ON THE SYSTEMS Inoue Motokatsu The first of Fujita’s students that we will examine is Inoue Motokatsu, who was born in 1918, to a noble family. Inoue’s father was an army general, and his mother was the granddaughter of Inoue Kaoru, a former prime minister of Japan. Inoue’s privileged position afforded him access to opportunities not commonly available to others, and Inoue began the customary training in the Bujutsu traditions early. Inoue’s first teacher was Fujita, who was his father’s bodyguard. Inoue considered Fujita to be “a very mysterious martial artist” and “a true master, capable of many strange feats including the ability to disregard pain” (Mead). Inoue further observed Fujita’s style of martial arts, which differed from the popular martial arts of Karate and Aikido. According to Inoue, Fujita thought that Karate was “too linear,” and that Aikido was “too circular.” Inoue described Fujita’s style as “a very aggressive form of Jujutsu and Aiki, with particular emphasis on attacking the eyes, throat and groin, using open hand techniques and low kicks.” He also mentioned that “Fujita was also a skilled master of numerous weapons, with a “preference to those peculiar to Ninjutsu” (Mead). Fujita taught the young Inoue to become adept at throwing any object that was available, with an emphasis on training with Shuriken. These projectile throwing techniques were the central focus of Fujita’s Shingetsu Ryu Shurikenjutsu, a traditional samurai system. By the time he was 18 years old, Inoue had a good understanding of Jujutsu, Shurikenjutsu (projectile throwing), and Jojutsu (short staff). He was encouraged by Fujita to become adept in a wide range of martial arts, to which end, Fujita ordered Inoue to study Okinawan Kobudo with Konishi Yasuhiro, a Nanban Sato Ryu Kenpo student of Fujita’s, and founder of Shindo Shinzen Ryu, and Taira Shinken, a man considered by many to be the greatest Okinawan Kobudo weapons master of his day. While there is clear evidence that Inoue did learn a great deal from Fujita, Inoue neither claimed to have learned, nor is there any evidence to suggest that Fujita passed on the secrets of Koga Ryu Wada Ha to his young apprentice. Indeed, Fujita’s approach to training his students appears to have been eclectic, and he seems to have encouraged Inoue and others, to study a wide range of martial arts. When Fujita finally gave Inoue permission to open a dojo in 1948, it was to teach Yui Shin Kai Karate-Jutsu, a composite style which Fujita had named and co-founded, and that retained such qualities of traditional Bujutsu, as Jujutsu and Shurikenjutsu. Inoue also taught the traditional Okinawan Ryukyu Kobojutsu that he had learned from Konishi and Taira. There is no mention by Inoue of Ninjutsu as being among the techniques that were taught to him. Indeed, Inoue’s only mention of the art was to credit, his mentor, Fujita, as being 14th soke of the Koga Ryu Wada Ha. Iwata Manzo Another of Fujita’s prominent students was Iwata Manzo, a student of Fujita’s who was referred to Fujita by Iwata’s teacher Mabuni Kenwa, founder of Shito Ryu Karate-Do. Mabuni was known as an open minded and talented martial artist, who was interested in the researching and preservation of Japanese martial arts. Mabuni ran a martial arts study group from his home that was attended by many of Okinawa’s martial arts luminaries, including Chibana Chosin, Funakoshi Gichin, Shiroma Shinpan, Tokuda Anbun, Oshiro Choju, Tokumura Seicho, and Ishikawa Hoko. Mabuni was well aware of each system’s deficiencies, and decided to include the traditional Bujutsu techniques of gyaku waza and nage waza in his Shito Ryu Karate-Do. These techniques are mentioned in Shito Ryu Karate-Do, in association with Mabuni’s friend, Fujita. The inclusion of these techniques in his system stands as testimony to Mabuni’s respect for Fujita’s martial abilities. This fact was further demonstrated when Mabuni decided that his top student, Iwata Manzo, was suited to study the short staff art known as Jojutsu, and thus recommended that Iwata study with Fujita, a master of Dai En Ryu Jojutsu. Iwata was born on 9th February, 1924. At the age of 10, he was introduced to Shito-Ryu Karate-Do, and like many young men of his day, he also learned Judo and Kendo. He was also exposed to Aikido by a friend of his father, Ueshiba Morihei, the art’s founder. At around the time he was 18 years old, Iwata began to train with Mabuni directly, and was set along the path that would lead to his being apprenticed to Fujita. Iwata trained with Fujita in the art of Jojutsu for many years, and in 1943, Iwata was honored by Fujita as shihan (master) of Dai En Ryu Jojutsu. Over the next few years, Iwata continued to train with Fujta as his uchi-deshi (principal apprentice). In 1948, Iwata was endowed by Fujita with the title of soke, commanding him to assume all of the hereditary knowledge of Fujita’s Nanban Sato Ryu Kenpo and Shingetsu-Ryu Shurikenjutsu. Iwata later went on to a storied career as hanshi (master) of Shito Ryu Karate-Do, and would, upon reflection, pay his respects to Fujita by saying “all I obtained from master Fujita was a valuable asset and I am particularly grateful for master Mabuni’s recommendation” – a considerable accolade from a man who had studied with the martial arts icons of the likes of Ueshiba and Mabuni (Moledzki). Fujita’s evident confidence in Iwata, which was demonstrated by Iwata’s inheritance of three of Fujita’s systems, provides an interesting window into the way Fujita viewed his 4th system, Koga Ryu Wada Ha. Again, assuming that his purported inheritance was factual, what then, we must ask, was so different about his Koga Ryu Wada Ha, that he refrained from passing it on to one of his prominent students? The lack of evidence suggesting that Fujita passed on his Koga Ryu Wada Ha, especially when contrasted with the clear record of Fujita’s conferring of his other systems upon Iwata, strongly suggests that Fujita did not pass on his Koga Ryu Wada Ha. However, the absence of definitive evidence one way or the other is unsatisfactory in the face of conflicting claims to Fujita’s lineage. This is all the more the case, when you consider that more than one of the many claimants to Fujita’s Koga Ryu Wada Ha have suggested that Fujita reverted to the pre-modern outlook on Ninjutsu, and passed on Koga Ryu Wada Ha clandestinely. Fortunately for martial artists and researchers, this unsatisfactory state of affairs is addressed by Fujita himself, as recorded in the historical record. These records address the apparent ambiguity as to the fate of the Koga Ryu Wada Ha. These historical records specifically deal with the questions as to why Fujita passed on all his martial arts systems to the likes of Inoue and Iwata, with the exception of one: the Koga Ryu Wada Ha – the system that was the central pillar of his reputation as a martial artist. THE LAST KOGA NINJA In 1959, Fujita wrote a book, which he titled Doronron: Saigo No Ninja (The Last Ninja), recounting how his grandfather had passed on the secrets of his family Koga Ryu Wada Ha system to him. The book title, which was published 11 years after Fujita elevated Iwata to the position of soke of Nanban Sato Ryu Kenpo and Shingetsu Ryu Shurikenjutsu, implies that even at this late date, he had not passed his Koga Ryu Wada Ha system onto any of his students or martial arts colleagues. Additional support for this conclusion is also available in a 1963 interview with the official authority on the history of Japanese martial traditions, the Bugei Ryuha Daijten, which at the time was gathering information from the heads of various traditional Japanese martial arts systems for its updated publication. The interview appeared in the 1963 edition of Bugei Ryuha Daijiten, and was again reprinted in the 1978 annotated and revised edition, which was authored by Watatani Kiyoshi and Yamada Tadashi. The interview with Fujita took place in his capacity as the inheritor of Koga Ryu Wada Ha. The entry of Fujita’s information for the Koga Ryu Wada Ha, which appears on the top of page 273, is as follows: “This ryu is one of the 53 Koga families. Moreover, this ryuha is one of the Minamiyama Rokke of only 6 families, and nobody knows this ryuha.” Watatani then attributes the quote to “Fujita Seiko, 1963.” In the 1978 revision, Watatani then summarized and reflected upon Fujita’s information: “So here Fujita Seiko was the last soke of this ryuha and it was one of 6 ryu that belonged to the Minamiyama Rokke, maybe 6 strong families or an organization.” He ends his reflection in a very telling way by writing, “also, nobody knows this ryuha today. I think he never taught it.” This is a damning verdict from a man who is the author of Japan’s official “Martial Arts Directory,” a publication that is considered the authority in all matters of Japanese martial arts. This statement by Watatani, absent outright and validated evidence contradicting it, must be considered martial arts canon. There are two additional entries that mention Fujita, one on the bottom of page 921, that is simply entered as “Wada Ryu,” and which is said to be the same as Koga Ryu Wada Ha. The entry mentions that a “Wada Iga Morishinori founded the ryu, [and that] Fujita Seiko is a descendent of his.” The entry provides a very compelling piece of evidence that the Koga Ryu Wada Ha was transmitted through Fujita’s family, and coincides with the evidence that he genuinely believed he was soke of the last Koga ninja tradition. In another entry, on page 273, Fujita makes an “educated guess” about another school, saying it was known as “Wada To.” Watatani then states that in his opinion this was only a guess, which is testimony to the fact that Fujita’s expertise extended only to Koga Ryu Wada Ha, a fact which is starkly at odds with those fraudulent claimants who make generic claims that Fujita was soke of Koga Ryu as a general system. The most interesting information that emerges from Watatani’s interview, however, is Fujita’s clear insistence that he had not taught the system to anyone, and Watatani’s subsequent conclusion that Fujita was the last soke of Koga Ryu Wada Ha. The impact of such a statement, to an authority of the nature of the Bugei Ryuha Daijiten, is clear. The entry of the statement into the record, whether factual or not, would relegate all future claimants to a linear inheritance of the system to the ranks of charlatans and con artists. There can be only one reasonable conclusion, for reasons that may never be entirely clear, that Fujita, a man who had spent his entire life practicing and trying to preserve the traditional martial arts of Japan, had just three short years before his death, unalterably decided he would be, as his 1959 book declared, “The Last (Koga) Ninja.” The question then, is why was he was so intent on a course of action that seemed so at odds with his life’s work? What was it about this Koga Ryu Wada Ha that made it so different from his other martial arts systems of Dai En Ryu Jojutsu, Nanban Sato Ryu Kenpo and Shingetsu Ryu Shurikenjutsu? The answer may lie in the unique nature of Ninjutsu. The evidence to support this conclusion has emerged from records of another interview that took place two years before Fujita died. PRESERVING THE ART’S INTEGRITY To understand the reasons why Fujita decided to consign his hereditary, family Ninjutsu system to the list of extinct Japanese martial arts from the pre-modern period, while passing on his other systems, requires reflection upon the nature of Ninjutsu in Japanese history. Unlike the samurai arts that had evolved with Japan through the long peace of the Tokugawa Shogunate, and further still after the Meiji modernization, Ninjutsu had always been an underground and illegal subculture that remained beyond the scope of impact by government decrees. The martial arts historian Donn F. Draeger in his book, Classical Budo: The Martial Arts and Ways of Japan, Vol. II. reminds us that Ninjutsu had developed among an oppressed class of people that depended upon secrecy for survival. He writes “below the rank of the commoner were the so called hinin ‘nonhumans’” (Draeger, 19). Draeger then goes on to mention that the ninja often came from this shunned class, the hinin, and thus, Ninjutsu had always thrived for the very reason that it was a close knit system that was completely hidden from anyone outside its immediate family circle. It had been historical practice, at least since the long peace of the Tokugawa Shogunate, for the last inheritor of a Ninjutsu system to destroy all of the records and secrets of a system if no worthy inheritor was found. This practice became the common resort of Ninjutsu inheritors, as the stability of the new era relegated their arcane skills to irrelevance, and compelled Ninjutsu practitioners to pursue peacetime vocations to support their families. This practice eventually led to the near extinction of the art, which before the openness of the 20th century, was considered to be a fact. Additionally, it had always been acceptable to destroy a system to prevent it falling into disrepute, and there is evidence to suggest that this is exactly the way Fujita perceived the situation, as it existed at the time that he was training both Inoue and Iwata. In post World War II Japan, such a set of circumstances existed. The old rules no longer applied and the old schools of the samurai had evolved into classical, and then modern Budo, and were being taught to the American occupiers, whom Fujita had fought during the war, and whom he had feared would ban the martial arts as a means of destroying Japanese culture. Fujita was further troubled by the fact that other Japanese martial artists, such as Hatsumi Yoshiaki (who later changed his name to Masaaki), and Hatsumi’s teacher, Takamatsu Toshitsugu, were revealing the sacred teachings of Ninjutsu to public scrutiny. An example of this public exposure was the 1967 release of Black Belt Magazine’s second and third issues to the western martial arts community. The two releases contained articles featuring Hatsumi Yoshiaki demonstrating various Ninjutsu techniques – a clear departure from the days when even speaking the art’s name was taboo. In Japan, ninja mania was far more advanced. As early as October 1957, the English martial artist Richard Bowen had written an article for the publication Budokwai Quarterly Judo, which catalogued various misdeeds that were committed by individuals who were taking their interpretation of Ninjutsu beyond the bounds of legality. A measure of Fujita’s displeasure with this state of affairs is evident in an interview he gave just two years before he died. In an interview with a journalist for the Tokyo based Sankei Shimbun (which was documented by Stephen Turnbull in his book, Ninja: The True Story of Japan’s Warrior Cult), Fujita then 65 years old, recounted his training with his grandfather, and the various rigors of his regimen: “ I ate sulfuric acid, rat poison, lizards, 879 glasses and 30 bricks.” The article then goes on to say that “Fujita claims he is the last ninja and the secrets of the art will die with [him].” The article then exposed the central reason for this decision, that Fujita “deplores the current commercialization of the ninja in Japan” (Turnbull, 144). While we take it for granted today, the public exposure and commercialization of the art was a dramatic departure from the traditions of the art. The exposure of the art to persons other than members of the immediate clan or family was strictly proscribed, and akin to committing religious sacrilege in medieval times. Here, then, is the most probable reason why Fujita, who had worked all his life to perfect his skills and preserve the arts of his ancestors, decided to relegate Koga Ryu Wada Ha to extinction. The evidence suggests that he believed that too not do so was a far greater affront to his family tradition, than allowing it to die. Fujita, it seems, was a man living outside of his time. He was unable to reconcile himself to the fact that the world had changed so utterly and that his treasured Ninjutsu was openly being manipulated for commercial and entertainment purposes. This appears to be the most likely reason that Fujita decided to overlook his students and martial arts colleagues as potential inheritors of the Koga Ryu Wada Ha, and instead decided to consign this last remaining system of Koga Ninjutsu system to history. Fujita’s behavior relating to his Koga Ryu Wada Ha, while difficult to understand from the perspective of a world in which Ninjutsu is no longer a carefully guarded and mysterious secret, was nonetheless the historical norm. Hatsumi’s openness, which has led to the preservation of the art in the guise of the Bujinkan, is the traditional exception. All of Fujita’s behavior, from belatedly informing Iwata that he was the 14th inheritor of the Koga Ryu Wada Ha, to his selection of the title Doronron: Saigo No Ninja, (The Last Ninja), combined with his interviews with Watatani in 1963 and the Sankei Shimbun in 1964, paint a picture of a man who saw Ninjutsu through traditional eyes. The evidence can only be interpreted to mean that it had been Fujita’s long held intention to be the last ninja of Koga Ryu Wada Ha. Fujita’s clear train of behavior is put beyond doubt, when we recall his own words to the Sankei Shimbun, which in reference to the Koga Ryu Wada Ha, Fujita said that the art ‘will die with me” (Turnbull, 144). When, on the 4th January 1966, Fujita and three of his students were killed in an automobile accident, all the evidence suggests that at that moment, his 1959 book title became prophetic. The martial arts writer and researcher, Andrew Adams, who published his famous book, Ninja: The Invisible Assassins, in 1970, helps to validate this fact. Adams states that at the time, “Hatsumi has been honored by being the only ninja listed in Japan’s official ‘Martial Arts Directory’” (Adams, 173). This statement was made ten years before the American ninja boom and therefore cannot be dismissed as being designed to benefit by being the sole source of the art, as would later be claimed when the western Ninjutsu pioneer, Stephen K. Hayes, made the same statement. Indeed, this statement by Adams, who was not a practitioner of Ninjutsu, but an impartial researcher, allows for an unbiased reflection upon the facts as they existed in 1970. The last word on this matter, however, should be a reflection on the opinion of the acknowledged authority on such matters, and in the 1978 revised version of the Bugei Ryuha Daijiten, Watatani puts the matter to rest. Speaking of the Koga Ryu Wada Ha, he writes, “also, nobody knows this ryuha today, I think he never taught it” (Watatani, 273). As usual with Fujita, his actions are as strong and compelling as his words, for shortly before his death, he donated all of his Ninjutsu-related belongings to the Ninja Museum at Iga-Ueno, a fact that is attested to by Stephen Turnbull. He also mentions the Ninja Museum, saying that “among other things it has the archive of books, clothing and weapons belonging to the ‘last Ninja’ Fujita Seiko” (Turnbull, 148). This last action on the part of Fujita is completely antithetical to the idea that he designated an inheritor to his Koga Ryu Wada Ha. This would be an unprecedented act in Japanese martial tradition. The inheritor of a system would invariably receive any such items, as a way to demonstrate an unbroken line of transmission from one generation to the next. This last action, as much as any of Fujita’s words, signifies his breaking of the master-student connection that has always been the medium of transmission of traditional Japanese martial knowledge. It stands as tangible evidence to accompany Fujita’s spoken intentions. In the absence of clear documentary evidence of transmission from Fujita to one of his students, the combination of his words and actions is unquestionable. Anyone claiming inheritance of the Koga Ryu Wada Ha, in the absence of historically verifiable documentation, must reconcile themselves to the fact that their connection to the Koga Ryu Wada Ha, is in the best light, purely inspirational, and certainly not factual. In the end, it seems, that Fujita was, as he intended, the last ninja of the Koga Ryu Wada Ha. The evidence on this point is undisputed. FUJITA’S LEGACY For Fujita, an examination of the facts reconfirms his reputation as a mysterious martial artist. Today, and in his own day, Fujita was largely known for his connection to Ninjutsu, a system that he decided had outlived its purpose. Today, however, his reputation is mysteriously intact among a branch of styles that emanated from traditional Okinawan Kobudo. Fujita, who is known primarily for his study of traditional Bujutsu, and not the Okinawan arts, nonetheless made an enduring impression upon the masters of these traditions. Students of men such as Mabuni, Taira, and Konishi relate to us the strange story of the contributions Fujita made to the modern Okinawan based martial systems. From Fujita’s association with the Bujutsu techniques of gyaku waza and nage waza in the Shito-Ryu Karate-Do, to his co-founding of Yui Shin Kai Karate-Jutsu with Inoue, Fujita’s strange legacy is exemplified by his appearance on the lineage chart of Ryukyu-Kobudo.com, the website of that system’s Honbu dojo. Paradoxically, Fujita comes down to us as a man with two diametrically opposed reputations. The evidence strongly suggests that the conventional wisdom, as seen in the light of the ninja boom, does not tell us the whole story. While it is certain from his own words that the Koga Ryu Wada Ha system died with him, what is now equally certain is that there is another intriguing aspect to this complicated man. The combination of Fujita’s mention in the Bugei Ryuha Daijiten, the high regard his contemporaries afforded him, and the acknowledged contributions Fujita made to their arts, demand an intellectually impartial revisiting of his influence on the modern martial arts. REFERENCES: Bugei Ryuha Daijiten, 1978 Watatani Kiyoshi, Yamada Tadashi. Koga Ryu Ichidai Ki , (Reprint of Doronron: Saigo No Ninja) 1959, Fujita Seiko. Kenpo Gokui Atemi Sakkatsu-Ho Meikai, Fujita Seiko. Ninja To Ninjutsu, 2003 Nakashima Atsumi. Black Belt Magazine, 1967 vol. 2, Andrew Adams. Black Belt Magazine, 1967 vol. 3, Andrew Adams. Ninja: The Invisible Assassins, 1970 Andrew Adams. Ninja: The True Story of Japan’s Secret Warrior Cult, 1991, Stephen Turnbull. Koryu Bujutsu: Classical Warrior Traditions of Japan, 1997, Diane Skoss. Secrets of the Samurai: The Martial Arts of Feudal Japan, 1973, Oscar Ratti/Adele Westbrook. Classical Budo: The Martial Arts and Ways of Japan: vol. 2, 1973, Don F Draeger. Classical Weaponary of Japan: Special Weapons and Tactics of the Martial Arts, 2003, Serge Mol. Budokwai Quarterly Judo: October 1957. Richard Bowen. www.shitoryu.org, Sam Moledzki, 6th Dan. www.ryukyu-kobudo.com, Honbu Dojo. www.rkagb.com. .

¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤

Ninjutsu
Lit. Translation: "Nin" Perseverance/Endurance "jutsu" Techniques (of). Surrounded by much controversy, today's "ninjutsu" is derived from the traditional fighting arts associated with the Iga/Koga region of Japan. These arts include both "bujutsu" ryuha (martial technique systems) and "ninjutsu" ryuha, which involve a broad base of training designed to prepare the practitioner for all possible situations. 

History:
The history of ninjutsu is clouded by the very nature of the art itself. There is little documented history, much of what is known was handed down as part of an oral tradition (much like the native American Indian) and documented by later generations. This has led to a lot of debate regarding the authenticity of the lineages claimed by the arts instructors. 

Historical records state that certain individuals/families from the Iga/Koga (modern Mie/Omi) region were noted for possessing specific skills and were employed (by samurai) to apply those and other skills. These records, which were kept by people both within the region and outside of the region, refer to the individuals/families as "Iga/Koga no Mono" (Men of Iga/Koga) and "Iga/Koga no Bushi" (Warriors of Iga/Koga). Due to this regions terrain, it was largely unexplored and the people living within lived a relatively isolated existence. This enabled them to develop perspectives which differed from the "mainstream" society of the time, which was under the direct influence of the upper ruling classes. When necessary, they successfully used the superstitions of the masses as a tool/weapon and became feared and slightly mythologized because of this. 

In the mid/late 1500's their difference in perspective led to conflict with the upper ruling classes and the eventual invasion/destruction of the villages and communities within the Iga/Koga region. The term "ninja" was not in use at this time, but was later introduced in the dramatic literature of the Tokugawa period (1605-1867). During this period, ancestral fears became contempt and the stereotypical image ("clans of assassins and mercenaries who used stealth, assassination, disguises, and other tricks to do their work") was formed which, to this day, is still very much the majority opinion. 

Over 70 different "ninjutsu ryu" have been cataloged/identified, however, the majority of them have died out. Most were developed around a series of specific skills and techniques and when the skills of a particular ryu were no longer in demand, the ryu would (usually) fade from existence. The three remaining ninjutsu ryu (Togakure ryu, Gyokushin ryu, and Kumogakure ryu) are encompassed in Dr. Masaaki Hatsumi's Bujinkan Budo Taijutsu system. These ryu, along with six other "bujutsu ryu" (Gyokko Ryu, Koto Ryu, Takagi Yoshin Ryu, Shinden Fudo Ryu, Gikan Ryu and Kukishinden Ryu), are taught as a collective body of knowledge (see Sub-Styles for other info). 

During the "Ninja-boom" of the 80's, instructors of "Ninjutsu" were popping out of the woodwork - it was fashionable to wear black. Now that the boom is over there are not as many people trying cash in on the popularity of this art. However, as with all martial arts, it would be wise to be very careful about people claiming to be "masters personally taught by the Grandmaster in Japan". 


Authenticity of an instructor?
In the case of a Bujinkan Budo Taijutsu instructor there a few points which one can use:

First: all recognized "instructors" of the Bujinkan Dojo will, in addition to their Dan grade (black belt), have either a Shidoshi-ho (assistant teacher - first to fourth Dan) or Shidoshi (teacher - fifth to tenth Dan) certificate/ license from Dr Hatsumi. Only people with these certificates are considered to be qualified to teach his system (a Dan grade alone DOES NOT make one a teacher). 

Second: in addition to these certificates/licences, all recognized "instructors" of the Bujinkan Dojo will possess a valid Bujinkan Hombu Dojo Shidoshi-kai (Bujinkan Headquarters Dojo Teachers Association) for the current year. These cards are issued each year from Dr Hatsumi to those recognized as "instructors". 

These points will help you if you are looking at training with someone from the Bujinkan Dojo. Beyond that, it's a case of "buyer beware". 


Description:
Terms like "soft/hard", "internal/external", linear/circular" have been used to describe ninjutsu by many people. Depending upon the perspective of the person, it could appear to be any one, all or even none of the above. It is important to remember that the term "ninjutsu" does not refer to a specific style, but more to a group of arts, each with a different point of view expressed by the different ryu. The physical dynamics from one ryu to another varies - one ryu may focus on redirection and avoidance while another may charge in and overwhelm. 

To provide some kind of brief description, ninjutsu includes the study of both unarmed and armed combative techniques, strategy, philosophy, and history. In many Dojo the area of study is quite comprehensive. The idea being to become adept at many things, rather than specializing in only one. 

The main principles in combat are posture, distance, rhythm and flow. The practitioner responds to attacks in such a way that they place themselves in an advantageous position from which an effective response can be employed. They are taught to use the entire body for every movement/technique, to provide the most power and leverage. They will use the openings created by the opponents movement to implement techniques, often causing the opponent to "run in/on to" body weapons.


Training:
As was noted above, the areas of study in ninjutsu are diverse. However, the new student is not taught everything at once. 

Training progresses through skills in Taihenjutsu (Body changing skills), which include falling, rolling, leaping, posture, and avoidance; Dakentaijutsu (Striking weapons body techniques) using the entire body as a striking tool/ weapon - how to apply and how to receive; and Jutaijutsu (Supple body techniques) locks, throws, chokes, holds - how to apply and how to escape. 

In the early stages, weapons training is usually limited to practicing how to avoid attacks - overcoming any fear of the object and understanding the dynamics of its use from the perspective of "defending against" (while unarmed). In the mid and later stages, once a grounding in Taijutsu body dynamics is in place, practitioners begin studying from the perspective of "defending with" the various tools/weapons.

In the early stages of training, kata are provided as examples of "what can be done here" and "how to move the body to achieve this result". However, as the practitioner progresses they are encouraged to explore the openings which naturally appear in peoples movements and apply spontaneous techniques based upon the principles contained within the kata. This free flowing style is one of the most important aspects of ninjutsu training. Adaptability is one of the main lessons of all of these ryu. 

Due to the combative nature of the techniques studied, there are no tournaments or competitions in Ninjutsu. As tournament fighting has set rules which compel the competitor to study the techniques allowed within that framework, this limits not only the kinds of techniques that they study, but also the way in which they will apply those techniques. The way that you train is the way that you fight. Ninjutsu requires that its practitioners be open to any situation and to be able to adapt their technique to ensure survival. 


Sub-Styles:
There are a number of people claiming to teach "ninjutsu". 

Dr. Masaaki Hatsumi has been the recipient of numerous cultural awards in recognition of his extraordinary knowledge of Japanese martial culture. He is considered by many to be the only source for authentic "ninjutsu". However, as was noted above, the teachings of the three ninjutsu ryu which are part of his Bujinkan system, are not taught individually. Rather, they are taught as part of the collective body of knowledge which forms the foundation of his Bujinkan Budo Taijutsu system.

Shoto Tanemura, formerly of the Bujinkan Dojo, formed his own organization (Genbukan Dojo) in the mid-1980's and claimed to be the Grandmaster of/teaching both Iga and Koga Ryu Ninjutsu. He has since formed a number of additional organizations.

Fumio Manaka, also formerly of the Bujinkan Dojo, formed his own organization (Jinenkan Dojo) in the mid-1990's. He was one of Dr. Hatsumi's first students. His organization often focuses on detail over adaptation.

The list of names of people claiming to teach "Koga Ryu Ninjutsu" is quite long. The last person to be recognized as part of the Koga Ryu lineage in Japan was Seiko Fujita. His knowledge of "ninjutsu" died with him - he left no successor.

¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤

Foreword
Let me quote from "Introductory History - To the Schools of Bujinkan" by Paul Richardson (1995, 4th Ed, Bujinkan Lincoln Dojo): 

"Japanese history is possibly the most recorded on the spot history by any nation in the world. Unfortunately, the winner always writes the history, in the way that he sees it. Because almost all Japanese history was written by the Samurai, very little mention of the Ninja exists. Even Hanzo Hattori, a prominent Ninja leader, is recorded as being Samurai. He may well have been a Samurai, as well as being a Ninja."

So, do not look upon the contents of this page as hard facts, but rather as rumors, opinions and fragments. And secondly, don't be fooled into believing that one can capture the 'feeling' of bujinkan from history. Feeling can only be optained during training. I'm certain that this page holds more value to an experienced practitioner of Bujinkan than to the casual reader. Read on and see if you agree!

After each section it will be stated from where I optained that particular information in a smaller font.

Togakure Ryu
School of the Hidden Door
The Togakure school of ninjutsu dates back to Togakure Daisuke in the period of Oho (1161-62). He recieved his training in ninjutsu from Kagakure Doshi. One July [day] during the Hogan period (1156-59), Shima Kosanta Minamoto no Kanesada, aged 16, and a powerful clan in the Ise province, joined the army of Minamoto Yoshinaka and fought with [against] three thousand horsemen horsemen of the Fujiwara Hidehira army. Lying fallen in the battlefield seriously injured, Shima was saved by Kagakure Doshi and they fled into the mountains of Iga. It is said that he recieved his training martial arts as well as ninjutsu from Kagakure Doshi. In later years he was celebrated as the second grandmaster of the Togakure ryu ninjutsu.
Legend has it that there was a ninja named Ikai who lived under the So regime of Korai (present day Korea) from the late tenth to early eleventh centuries. In the first year of the Kouyu era he fought a losing battle against King Jinso together with the armies of Kittan and Ka. Then he fled to Japan, landing at Ise and lived in a cave in Iga province. It was recorded that Ikai was a military commander proficient in hicho kakuregata (concealment techniques based on hicho jutsu). And it is said that he could jump many meters high with a yell. Apparantly, Ikai was the first to introduce ninjutsu to Japan.
[...] The record say that there have been seventy-three schools of ninjutsu throughout its history. Some of the main schools are as follows: Negishi ryu, Shirai ryu, Shinto ryu, and Hakuun ryu, from which such schools as Togakure ryu, Koushu ryu, Kishu ryu, Minamoto ryu, Genjitu ryu, Ryumon ryu, Tenton happo ryu and Goton Juppo ryu are said to have been derived.
Iga ryu and Koga ryu survived long enough to gain such a high reputation that they were welcomed by the Tokugawa government.
Hakuun ryu was initiated by Garyu doji and later featured the flexible usage of four demons: shadow demon, fire demon, earth demon and wind demon. During the Oho period approximately a hundred years after the Jiryaku era, Kagakure doji, who was a disciple of Hakuun doji, imparted training in ninjutsu to Togakure Daisuke, who in turn took care of Shima Kosanta. As mentioned above, there is a record that in those days quite a few survivors of the Kiso Yoshinake's army fled into the mountains if Iga province. Later on during the Engen (1336-39) and Shohei (1346-69) eras, a number of stragglers from both the South and the North Courts are said to have sneaked into the mountain of Iga and Koga provinces. Some say that this fact marks the origin of various of the ninja including Iga and Koga ryu. [...]

Taken from essence of ninjutsu by Masaaki Hatsumi.

Kukishinden Ryu
The Traditions of the Nine Demon Gods
(Sometimes written Kukishin Ryu in english)
The techniques in Kukishinden ryu are said to have come from China and the land beyond China. The Kukishinden ryu was developed in the Kumano prefecture.
During the life of the school it was employed by Japanese seamen to help protect them. This greatly influenced the schools techniques and weapons. Warriors of the Kukishinden ryu are said to have used masts and rigging during combat.
In 1330 the Japanese Emperor Go Daigo was held under house arrest at the Kazan-in, the Royal Summer Palace on Yoshino mountain, be the Shogun Ashikaga Takauji. It was Kusunoki Masashige, a high ranking samurai loyal to the Emperor who was ordered to effect a rescue attempt. Masashige had in his employment a young sixteen year old Gyoja (mountain ascetic) from Kishu, south of Nara, named Yasushimaru Kurando. Kurando was well known to be skilled in Ninjutsu and other Bujutsu arts and so was given the task of rescuing the Emperor. Aided by another samurai named Kagoshima, Kurando managed to infiltrate the Kazan in, and upon reaching the emperor disguised him [the Emperor] as a woman. Unfortunately the Ashikaga samurai were alerted when Kurando attempted to croos the "Hizume corridor" with the emperor on his back. This wooden corridor was specially designed to make loud sound as was walked on, thus alerting the guards. Kurando and the emperor were surrounded, placing the Emperor with his back against a nearby tree, Kurando faced his oncoming adversaries armed with his Naginata (halberd). One by one they attacked him, and he cut them down with his Naginata, until only their samurai officer was left. This man was a highly skilled martial artist, and as Kurando cur at him with the Naginata he retaliated by cutting the blade of the Naginata cleanly away from the shaft. Now armed only with a wooden pole, Kurando defended himself and the Emperor with a secret Rokushakubo (6th staff) technique called "Gyaku Kuji". Upon defeating the samurai officer Kurando and the Emperor Go Daigo made good their escape, and then with Kagishima he escorted the Emperor back to the capital Kyoto.

In recognition for this brave act the emperor gave Kurando permission to use the "Kuki" of Kukishinden Ryu, which suggests that he fought like "Nine Demons". Although formalised at this time, the Kukishinden Ryu has a history stretching back to the Kamakura Era (1180's), with techniques that are said to originate in China and the Lands beyond.
[...]
Kukishinden ryu hanbojutso is the main weapon taught to students of ninjutsu in the world today and is the third school in Bujinkan.
Sensei Ueshiba the founder of modern Aikido, in his youth studied the art of Kukishinden ryu Happo Hiken jutsu from the Kuki family.

Taken from "seminar notes" recieved at a seminar with Sveneric Bogsater and Brinn Morgan.

Gyokko Ryu
School of The Jewel Tiger
It is believed that a Chinese named Ibou introduced these techniques to Japan in the 8th century. According to Mr. Hatsumi that person could also be somebody from a foriegn country. It is not known exactly by whom these techniques was introduced, but it is assumed that this Kosshijutsu was developed based on Chinese Kempo. Although Kosshijutsu means to be able to knock down an enemy with a finger: it is considered that it rather denotes "the backbone (koshi): of martial arts. This Gyokko Ryu has later become the basis of various martial arts of Iga.

Taken from "Hiden Ninja Submission" by Hatsumi Masaaki.

Togakure Ryu Ninpo Taijutsu is a distant branch of the Gyokko Ryu Kosshijutsu. There is a saying in the Gyokko Ryu "Bushigokorro wo motte totosho no nasu" - 'the warriors heart is precious, and essential'.

The school specializes in techniques that involve Kosshijutsu (attacks against muscles) Shitojutsu (use of thumbs and fingers). The Ge Ryaku no Maki is the Muto Dori [(evasion techniques)] of the school and involves techniques against swords and spears. These are the most difficult and advanced within the school. Typical for the Gyokko Ryu is the powerful blocks, and balance taking. They prefer to block by hitting with the knuckles to the muscle areas.

The Nine Rules of the Gyokko Ryu

1. The character 'NIN' means to guard the nation even with one's life. 
2. Forget self, be patient, fear not dying. 
3. In danger say or show nothing. 
4. As a strong enemy comes at you, keep indominable. 
5. Serve and protect, the master as you must your parents. 
6. Vices dissapate your proficiency. 
7. Being drunk affects your judgement. 
8. Destroy the enemies power but leave his life. 
9. To others teach not without the master's permission. 

Taken from "Introductory History to..." by Paul Richardson.

Koto Ryu
Knocking down the tiger
It is thought that the Koto Ryu came from China via Korea, by Chan Busho, a Chinese warrior. It was many generations before it was to pass to Sakagami Taro. [...] The techniques of this Ryu was formulated into a proper Ryu-ha by Sakagami Taro Kunishige, in 1542 who was also a Soke of the Gyokko Ryu before Momochi.
The second Soke of Koto Ryu was Sakagami Kotaro, also known as "Bando". he was killed in battle in the later part of 1542. Whether he took up complete leadership of the school before his death is not known.
With Bando's death the school passed on to Sogyokkan Ritsushi. Sogyokkan was also Soke of Gyokko Ryu and with him the two schools were brought completely together. Regardless of this they were taught and passed on to the next generation as seperate schools within the same lineage. These two schools complements each other: Koto Ryu uses short distances between opponents - Gyokko Ruy uses long distances. Koto Ryu techniques are quick and straight to the point - Gyokko Ryu techniques are more complex. Koto Ryu concentrates on striking - Gyokko Ryu on locks and throws.

Taken from "Introductory History to..." by Paul Richardson.

Shindenfudo Ryu
School The Immovable Heart
The founder of this school, "Izumo", learnt Chinese Kempo boxing. Today some of this is still noticeable within the techniques. Izumo could also be the founder of Kukishinden Ryu.
The 9th and 10th Soke, Kaneko Jinsuke Yoshikiyo and Tajima Genkuro Nariyoshi were Grandmasters of Shindenfudo Ryu during the Japanese periods Shohei and Genchu. In these two periods Japan was split by two members of the royal family. Each called themselves the Emperor of Japan and as a result, large battles between the north and the south courts occurred. As a result of this many distinguished warriors gained fame and many schools appears based on the skills that was aquired on the battlefield.

Taken from "Introductory History to..." by Paul Richardson.

Takagi Yoshin Ryu
School of the Willow Heart
It traces back its origins to the 16th century Rinpo Hiden which was studied by Ito Kimori Sachu. This Ryu was founded by Takagi Setsuemon Shigetoshi. It was also mixed later with Sumo wrestling techniques and Takenouchi Ryu (jujutsu) and others. In the 17th century, Takagi Gennoshin Hideoshi held a match with Ohkuni Onihei Shigenobu of Kukishinden Ryu and won a match in Jujutsu. The match subsequently developed into a friendship between them. Thereafter, Takagi Yoshin Ryu has been handed down together with Kukishinden Ryu for generations.

Taken from "Hiden Ninja Submission" by Hatsumi Masaaki.

The Takagi Yoshin Ryu uses many techniques similar to Judo or Aikido, but goes further in that when the techniques are applied, it is made difficult for the opponent to escape by rolling or breakfalling. These are very close quarter techniques.

Gikan Ryu
School of Truth, Loyalty and Justice
The Gikan Ryu was founded by Uryu Hangan Gikanbo (1558-1570), who was the Daimyo of Kawachi no Kuni (Kawachi Castle). This was the family castle, which was known as Uryujo.
It is said that Uryu Gikanbo's punch was so powerful, that he once broke a sword's blade in half. He was also a master of Hichojutsu and Senban Nage.
The 10th Soke Uryu Gikan had been fighting in the battle now known as "Tenchigumi no Ran". This took place on the 17th August 1863. He was fighting for the emperor's army, but was shot in the arm. He still continued to fight with the use of only one arm. When he could he retired to the safety of a nearby temple. It was at this temple that he was met by Ishitani Takeoi Masatsugu, of the Kukishinden Ryu. He told Ishitani that the battle had already finished, so Ishitani then helped him to recover and afterwards escape to Iga.
A friendship was then formed, and Ishitani was taught the Gikan Ryu and when he attained the required skill level, Uryu presented him with the Menkyo Kaiden, and he became the next Soke of the Gikan Ryu, adding this lineage to two others that he was already the Soke of. These being Kukishinden Ryu and Tagaki Yoshin Ryu.
This Ryu contains many special kicks, punches and throws. The dynamic footwork of Gikan Ryu is widely used within Bujinkan.
Takamatsu first gave the Menkyo Kaiden to Gikan Ryu to his best friend and senior student Akimoto Fumio, who became the 14th Soke. Akimoto died from illness around 1962 and he left no successor. Takamatsu therefore trained Hatsumi in Gikan Ryu and later passed the Menkyo Kaiden to him. It should be said that this Ryu has branched. That happened because Takamatsu also gave Menkyo Kaiden to Sato Kinbei in Gikan Ryu, Kukishinden Ryu and Tagaki Ryu. This man can rightly claim to be the 13th Soke of Gikan Ryu, just as Hatsumi can claim to be the 15th Soke.

Taken from "Introductory History to..." by Paul Richardson.

Gyokushin Ryu
School of the Immoveable Heart
It is believed that, the founder, Sasaki Goemon, was originally from the Gyokko Ryu or that the techniques of Gyokushin Ryu are based on the Gyokko Ryu.
Not much is known, in the west, of the combat techniques of Gyokushin Ryu. The school was specialized in the espionage aspect of ninjutsu. This school was kept secret and unmixed with other schools until it passed to Toda Nobutsuna (1624-1644).

Taken from "Introductory History to..." by Paul Richardson.

Kumogakure Ryu
School of Hiding in the Clouds
The Komugakure Ryu may have been created by the Toda family (also of the Togakure Ryu) in the 1600's as a Ninjutsu school of thought, centering its techniques on the non-violent side of Ninjutsu.

Specialties of this Ryu include the Kamayari (a hooked spear). It was originally used for climbing up the sides of ships. It is also used against swordsmen. Also used was the Demon Mask, sometimes worn by the members of the Ryu, for masking their faces and for shocking the enemy. It may from here that the Kikaku Ken strike ("Demon Horn strike") has originated.

Interpreted from "Introductory History to..." by Paul Richardson.

¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤

Listed below are some of the characters you might come across when reading books, visiting websites, attending seminars or talking to other Bujinkan members. The opinions stated here are strictly my own and originated from conversations with the person himself, from descriptions given by people who have met the person and finally from books written by the persons themselves.

Masaaki Hatsumi
The grand master himself. Born in Noda City on December 2, 1931. His graduated from Meiji University with a major in theater studies and is also a very skilled bone doctor. Though ageing (he is 67 at the time of this writing) he is more flexible than most young men. When I saw him at the U.K. TaiKai '99 he didn't really stun me with mighty jumps or blistering speed, but it was hard not to notice his timing and his movement. I've never seen anything like it anywhere. I can highly recommend getting your hands on some videos of Sensei training with his shihans, they are most impressive. Especially a video I saw at the U.K. TaiKai where Sensei demonstrated Kihon Happo filled everybody present with awe and admiration.

Toshitsugu Takamatsu
The 33rd grandmaster, who died in 1972, was known as Moko no tora "the Mongolian tiger" among the fellow martial artists with who he trained in the 1920's. He was the last practitioner of this tradition to go to war and he is said to have killed not a few opponents. (12 fights to the death, 7 competition challenges). A rather awe inspiring character.
A funny story: In the late 1960's Takamatsu wrote several articles in newspapers. All of these articles spoke of ninjutsu, and other Budo/Bujutsu. In one of these articles Takamatsu wrote that in true martial arts, when fighting, you must be prepared to kill your attacker, or kill the person you are attacking. In response to this, a very high ranking Japanese Karate teacher went on Japanese television, and said that what Takamatsu had written was wrong, that those days were long gone and did no longer exist, neither did they need to exist anymore, in this present age. He also stated that Takamatsu was an "old has been" and was over 80 years old and long past it. Takamatsu stated in another interview, that he was far from past it, and saw the Karate teachers comments as a challenge, which he wished to accept. He gave the Karate teacher three days to publicly retract his statement. If not, Takamatsu intended to fight him, and kill him, with his hands tied behind his back. Three days later the statement made by the Karate teacer was retracted.
Takamatsu spent the last part of his life training Masaaki Hatsumi to be the next Soke.



The Shihans

Shihan is a fairly vague concept, but I believe that a Shihan (master instructor) is person who has trained with sensei for large amount of time (several years) and who has attained 10th Dan or near that. But when a student attends a seminar it is most likely to be headed by a shihan.

Sveneric Bogsater
Svenn is probably the character in Bujinkan I admire the most. He was born in Sweden, but has trained extensively with Sensei and the Shihans. He now lives in Holland with his wife Mariette, 10th Dan. I believe him to be an 11th Dan, he was last time I heard.
Svenn is an oak both in body and in soul and this is clearly felt when you meet him at seminars. Even though he is always nice and respectful towards people, it it not hard to feel the pure strength that sorrounds him. He said something once, concerning the Bujinkan mark that is traditionally worn over your heart on the gi: "It means no anger", he said and looked smilingly towards us.

Brin Morgan
Brin is the founding father of the Shadow Warrior subfraction of Bujinkan. The difference is not terribly great, though emphasis on nature and real world application is heavier in Shadow Warrior. Brin is a small, thin guy, all bones, sinews and muscle. He likes to talk and laugh a lot and is never afraid to state his opinion on this and that.
He has travelled a lot and has taught Bujinkan to special forces. It seems to me that he has accumulated quite a lot of experience. He is an 11th Dan and still heads Shadow Warrior in England.
Andrew Young
Though born in England, Andrew has spent more than a decade in Japan traning with Sensei and the shihans. He is deeply into the history of Bujinkan and other fighting styles, including european medieval knight fighting techniques. He has a special spirit when you put a sword in his hands. Fearsome.

Pedro Fleitas
Pedro and his band of guys from Spain are seriously skilled (Pedro is 11th dan I think) and fun. I mean, at the U.K. Taikai they were center of attention both at training and when came to dancing in the evening. I am much looking forward to being able to participate in seminar with Pedro as the instructor. I believe Spain is the country in Europe with highest number of Bujinkan members.

Stephen Hayes
I still remember lending my first books on Ninjutsu from the small library in my birthtown, called "Ninja I". Ha, those were the days. Hayes is an American. He is responsible for bringing the knowledge of Ninjutsu out of Japan and should be credited duly for this. In the end though, he lost his edge and strength when he opened the so-called Quest Centers in the USA, to set himself up as the leader of his own system and to earn a lot of money. 
The rest is silence.



Ok, now you know a little about a few of the important persons in the Bujinkan (in europe), so go meet them! Meeting them is also a good way to find out if I am wrong or lying. Don't trust me. Find out for yourself.

¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤

Ninjutsu and traditional budo - a contradiction?
In times past there could hardly be greater contradiction, or could there? Ninja were regarded with fear, superstition and suspision in the general public and the samurai hated and dispised them for having no respect for bushido, the warrior code which meant everything in feudal Japan. The samurai and the shinobi were opposites in their way of thinking, the samurai being stiff, locked and singleminded while the shinobi way was flexible and adaptable. The bushido code was incompatible with the free spirit of the shinobi, as it would only bring unhappiness and submission.

And yet Bujinkan compromises both of these classes, both of these ways of thinking - as far as I can see, anyway. It is clear that some of the nine ryu in Bujinkan has been used by samurai, so why should these ryu not be trained in the spirit of bushido, just as we train other ryu in the spirit of ninpo? I do realize that some ninja might have used the samurai title as a mere cover, but one must remember that many ninja families were assimilated into Shogun organizations and could, more or less, change the way they lived.

Maybe to some degree we are always training in the spirit of synthesis, because that is what Bujinkan really is, synthesis. I find it somewhat confusing at times, don't you?

What do you think? Can Bujinkan be called Ninjutsu? I find the question difficult. Everybody I know throws around with the word Ninjutsu, but I find it still harder to do so.

¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤

Thought: To believe in moral realism is to be a fool.
To live by moral realism is to be Divine.

¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤

... Everybody knows the war is over. Everybody knows the good guys lost. Everybody knows the fight was fixed: the poor stay poor, the rich get rich. That's how it goes. Everybody knows. ...


- Leonard Cohen & Sharon R. : Everybody Knows

¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤

Ninja were called "Shinobi no mono" (same is the title of a series of a couple of jap. films from the sixties.The Soke of the Bujinkan - the last person officially acknowledged as real ninja - gave advice for the correct presentatation of feudal age "Ninja" and their techniques).

In the Shoninki (16hundred and...) different names are given to people doing "ninjalike" techniques to gather important information, depending on what they were doing and how.

In this document there is told of five types of agents: Tokan,Kyodo,Gaikan,Ninja,Nusubito, while "...one who acquires the essence of these types and acts independently is called a Shinobi. Or,when two or three people act as a group, they are called Sonin. .."

¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤

-Look for a Bujinkan, Genbukan, or Jinenkan dojo - They're the real deal.-

¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤

Martial Arts: Ninjutsu Iga Ryu

Ninjutsu is the practised art of the Ninja. Ninjutsu is a Japanese martial art that emphasizes stealth in movement and camouflage. Ninjas were a group of mercenaries in feudal Japan who were trained in stealth and the martial arts and employed as spies, saboteurs, or assassins. 

The two oldest styles of Ninjutsu that are still practiced today are Iga Ryu and Koga Ryu. Ninja are skilled in a variety of martial arts including Judo, Jujutsu and swordsmanship. Ninja use a shorter sword than the Samurai and prefer to carry it strapped to their back. As well as these martial arts they are skilled in a variety of Ninja weapons - such as the shuriken (throwing star), throwing knives, stick fighting, and chain arts. 

The Ninja originally were also experts at disguise and concealment, which enabled them to gather information or act as assassins for Japanese warlords. This was work that others, such as the Samurai - who were bound by their strict code of Bushido - were reluctant to perform. 

Ninjutsu went through an incredible boom period in the mid eighties due to the emergence of famous Ninjutsu instructors, such as Stephen Hayes. Ninjutsu still remains popular the world over. 

Origin of Ninjutsu: Japan 

Ninjutsu founded: Around 900 years ago 

Popularised by: Dr Masaaki Hatsumi, 34th grandmaster of Togakure Ryu Ninjutsu and Stephen Hayes

¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤

Martial Arts: Kung Fu 

Kung Fu is a broad term that is used to describe all martial arts of Chinese origin. Kung-Fu existing under many different names throught China's history. Initially Kung Fu was called Ch'uan Fa (fist way). 

The Shaolin monastery housed many fugitives from justice, and many warriors turned monk, which sets the roots of Kung Fu in the Shaolin Temple in Northern China. In fact there were five different Shaolin temples in five districts, and so five distinct styles of Shaolin Kung Fu developed. 

Martial arts historians stress that Kung-Fu did not start at the Shaolin temple, but simply began to flourish under Shaolin's influence. Kung-Fu became eventually categorised into Northern and Southern styles. In the south, Cantonese people pronounce Kung Fu as gung-fu. Southern styles use low stances and kicks and strong hand techniques because they are shorter and stockier than Northern (Mandarin) people. The Northern systems are characterised by stylish and difficult patterns and acrobatic legwork, presumably because it was colder in the North so hand movement was restricted by thick robes and the mountaineous terrain enforced the development of strong legs. 

Kung Fu as one of the oldest martial arts has been a great influence to other and younger martial arts styles, such as Okinawan Karate styles and subsequently Japanese Karate styles. 

In modern times, Wu-shu emerged as a mixture of circus-like acrobatics and martial arts, and in China, national competitions are held in this sport. Jet-Li is a famous exponent of Wu-Shu, popularising the art in the West by appearing in martial arts movies. 

Typical Kung Fu weapons are the broadsword and the butterfly knives. 

Origin of Kung Fu: China

¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤

For the record. many people who train in the Bujinkan/Genbukan/Jinenkan consider themselves ninjas. To be fair though, I would say that only the people who are Godan or higher (5th degree black belt) truely have the skills in martial ability as well as other abilities to be likened to the ninja of old. 

Try to keep in mind that the kanji for Ninja has several translations, one of them being 'patient man', another being 'enduring man', 'adapting man'... I'm sure you can get the drift. Ninjas were not ninjas because they dressed up in dark dogis and could walk around on roofs.. They were ninjas because they did whatever was necessary to succeed and beat the enemy. Ninjutsu is the art of winning. 

How effective would it be if a man tried to sneak into an embassy wearing black dogi and mask? But chances are he could do it if he was wearing a suit and tie and had all the right pieces of paper. That's todays modern ninja.

There are also aspects of ninjutsu which are not understandable (is that a word?) to a lot of people. I'm not going to get into those aspects because frankly I think the people on this forum would never believe it. But I give you this advice, search the net for the godan test in the bujinkan. You will see what I am talking about. If you ever see one performed in real life you will be a believer.

¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤

Ok people I have just got to put my thoughts in on this. I try to stay away from this topic but people want to know about ninja. I think if you want to study the ancient art of ninjitsu or assassination then research it and teach yourself or selves. I say that I have some ninja skills because I wanted to know as much as I could find out about ninja and teach my self. I studied Isshinryu karate to be able to fight with and without weapons. I learned camouflage and concealment. I also learned lock picking and entering as well as other weapons of assassination. I even learned mind clouding and some more ninja tricks. I believe like so many others that "real" ninjas still excest but they changed with modern times. I think that if you want to study assassination study it on your own. Read all you can on ninja and study ntheir skills. It is possible to teach yourself to be an assassin. The knowledge is out there. It is up to you to find it and put it all together. But why study assassination unless you want to kill some one? If you want to learn to fight study something else.

¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤

All martial arts is "good" in my opinion you just have to know what you yourself is looking for, you cant ask somone else how you want to do your hair.

And why the heck is everyone calling it NinjItsu in japan everyone calls it NinjUtsu theres also Genjutsu and Taijutsu that you learn while learning Ninjutsu Taijutsu is physical techniques things that you would use hand to hand, Genjutsu is like spiritual awareness stuff like meditating and feeling your opponent, how can you hide from somone that you cant see? and Ninjutsu is the art of illusions and stuff. Hope that clears some things up a bit.

¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤