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The art of Ninjutsu NINJA : Ninjutsu epitomizes the fullest concept of self-protection of not only the physical body, but the mind and spirit as well. The way of the ninja is the way of enduring, surviving, and prevailing over all that would destroy one. More than merely delivering strikes and slashes, and deeper in significance than the simple out-witting of an enemy; ninjutsu is the way of attaining that which we need while making the world a better place. The skill of the ninja is the art of winning. In the beginning study of any combative martial art, proper motivation is crucial. Without the proper frame of mind, continuous exposure to fighting techniques can lead to ruin instead of selfdevelopment. If an expert in the fighting arts sincerely pursues the essence of ninjutsu, devoid of the influence of the ego's desires, the student will progressively come to realize the ultimate secret for becoming invincible - the attainment of the 'mind and eyes of the divine.' The combatant who would win must be in harmony with the scheme of totality, and must be guided by an intuitive knowledge.

NINPO : "Ninpo", the higher order of ninjutsu, should be offered to the world as a guiding influence for all martial artists... ...Without complete and total training in all aspects of the combative arts, today's martial artist cannot hope to progress any further than mere proficiency in the limited set of muscular skills that make up his or her training system. Personal enlightenment can only come about through total immersion in the martial tradition as a way of living. Principle of a warrior : A warrior must never deviate from his or her path of Bushido and he or she must http://coolshack.com/martial_arts/ninja.html (1 of 5)7/13/2004 11:37:07 PM


endlessly seek knowledge to ever improve his or her path to enlightenment. Above all, a warrior must know that knowledge can only be attained from the obvious truth, by observation, and wisdom. It cannot be attained, gained, nor accepted from magic, superstitions, ghosts, spiritual messages, psychics, faith healers, conjurers, or mysticism. This is the important key to the principle of Bushido (500 BC), without this a warrior may fall into disillusion.

By opening his eyes and his mind, the ninja can responsively follow the subtle seasons and reasons of heaven, changing just as change is necessary, adapting always, so that in the end there is no such thing as surprise for the ninja.

What makes a Ninja special ? What makes a Ninja formidable is that they have to learn "Taijutsu" (hand to hand combat) which incorporates "Bugei Juhappan" (18 Samurai Arts) and "Ninjutsu Juhakkei" (18 Ninjutsu Arts). The "Bugei Juhappan" arts ranges from "Art of self defense" to "Art of throwing blades". The "Ninjutsu Juhakkei" arts ranges from "Art of spiritual refinement" to "Art of special disappearing". "Art of special disappearing" (Inton-jutsu) is the ability to trick the enemies senses.. ! Ninja needs not only to learn these arts but also to master them !!! Mysterious Art of Ninjutsu : Ninjutsu is a Martial Art based upon the use of strategy, fighting tactics of mountain warrior monks and the philosophy of Buddhism, all working together in accordance with the laws of nature. Ninja themselves had a number of secrets common to the Yamabushi. These secrets mainly concerned the same areas: Para psychological knowledge, resistance to pain, etc., essentially exploited by their concern for effiency. Written in the form of a code which was indecipherable to the unitiated, these secrets, which in modern times have been committed to the computers of the Japanese spy service, have been revealed, only to be shrouded once more in great secrecy.

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Ninja History : "Ninja" were professional spies during the age of the samurai. Their origins go back to the twelfth century, when the samurai class began to gain power. When the scale of fighting increased in the fourteenth century, it became necessary to conduct espionage activities against enemy forces, and ninja became even more active. Ninja were called upon by their feudal lords to gather information, plunder the enemy's food and weapon supplies, and lead the way in nighttime attacks. They received specialized training and were given special duties. Ninja remained active until the beginning of the Edo period (1600-1868), when social order was restored by the government in Edo (now Tokyo). It was from the latter half of the eighteenth century that ninja became popular subjects of books and dramas. In the twentieth century ninja have been depicted in films using special effects and comics as imaginary characters with superhuman powers. Myths & Mysticism :

Many movies that portray the Historical Ninja as a member of a mystical magical warrior family. The ninja in the movies cast magic spells, project their images, become invisible, fly through the air or even run across water. These inaccuracies are not particularly damaging to the legendary image of the ninja. They even add to the mystery and popularity of ninjutsu. The ninja seems to overlook all concepts of right and wrong and and all morality in order to achieve his self serving goals. None of these concepts are even close to describing the real ninja. More than eight hundred years of history stretch back to the founder of the system of ninjutu, Daisuke Nishina of Togakure Village. After defeat at the hands of Heike troops, Daisuke escaped from his place of birth in Nagano and moved to the remote region of Iga. He changed his name to Daisuke Togakure and later was credited with founding the Togakure ryu of ninjutsu. The ninja developed as a highly illegal counterculture to the ruling class of samurai elite. It is for http://coolshack.com/martial_arts/ninja.html (3 of 5)7/13/2004 11:37:07 PM


this reason alone that the true origins of the art were shrouded in deliberate mystery and confusion. Tactics :

The Ninja are revered for their seemingly mystical ability to enter any structure no matter how well guarded, without being seen or heard. Although this skill is a reality, it cannot happen without a great deal of pre-preparation. One does not simply decide to infiltrate on a whim. It requires an in-depth plan based on the extensive information gathering of the Teisatsunin (reconnaissance Ninja). A well planned infiltration operation would only be attempted when the enemy would offer the least resistance. The Shikomunin (infiltrating Ninja) must learn that patience is the key. Even on a well planned assignment the Ninja knows they may have to wait concealed for long periods of time before to opportunity to infiltrate presents itself. When the concept of infiltration is brought up, the first thing that comes to mind is a black-clad Ninja stealthily moving past an unsuspecting sentry and entering a structure using only the shadows for concealment. This is a totally simplistic view of a very complex craft. Although stealth is the basis for the Shikomunin's arsenal of skills, there are a multitude of specialized tactics that cannot be overlooked. Once the Ninja has successfully entered , they move on to complete whatever task they were sent to perform. Eavesdropping, assassination, poisoning food and water stores, planting false information, stealing or any other such task.

Shinobigatana-jutsu (art of the Ninja sword) :

The "Shinobigatana" is designed to allow for quick maneuvers. its short blade makes it an excellent single handed weapon, but because of its extended hilt it is equally effective when wielded with both hands. All of the Shinobigatana’s unique uses make it the preferred weapon of the warrior. It should be known that the Samurai’s Katana is viewed as being an aggressive weapon, whereas the Ninja’s shorter sword is considered to be more defensive. It is said that the sword can be maneuvered three or four times faster than other weapons, so speed is an important factor in its application. The Ninja sword is designed for speed and concealment. its blade length ranges from between 16 and 24 inches and is usually straight. The straight blade design is known as “Muzori” and this design is also used in the



construction of the elusive Shinobi zue (Ninja sword cane) and Nagimaki (halberd). However, it is a common myth that Ninja of old were limited to the use of the straight bladed sword. This is inaccurate. Historical evidence dictates that the Ninja also wielded the curved blades (katana and wakizashi) that are most often associated with the Samurai class.

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TAI-JUTSU

The ninja were very competent hand-to-hand fighters. They were trained from birth to fight with their hands and feet. They knew where and how to hit to paralyse or even kill when needed. One reason that their style of fighting (Tai-jutsu) was so effective, was that they not only studied punching and kicking, but they studied the human body as well. Learning all about the weaknesses and strengths. For example, punching a man in the face can be painful, but it might just piss him off, whereas a punch to the throat will be much more devastating. Grappling was a strong part of the ninjas fighting technique. Along with bone-crunching kicks and punches, the ninja were equally as strong fighting from the ground. When on the ground grappling, it is not likely that a punch or kick could be used effectively, so techniques such as arm bars and t locks were used. The grappling was very similar to todays judo or jui-jitsu. A ninja studies the art of Taijutsu or "body movement". Taijutsu doesn't teach rigid and fixed methods like almost every other martial art does. Instead, it stresses fluidity, natural movement and spontaneity. Also, the ninja learned to exploit the ts and pressure points of an enemy. When a punch or kick was thrown, a ninja wouldn't simply block the attack, he would strike a pressure point or nerve center to cause the limb to lose its function. Not only did the ninja learn to disable a person, he also learned to quickly and effectively kill. It is true that a ninja could kill with one blow by exploiting the weaknesses of the body. Another important aspect of Taijutsu was learning to reverse any situation or attack. They were trained from childhood to be extremely flexible and could therefore escape any hold or lock they might be put in. They even played games as children where they were tied up and the object of the game was to get yourself untied as quickly as possible; within a few years, a ninja learned to get out of any type of binding. http://coolshack.com/martial_arts/ninja2.html (2 of 13)7/4/2005 1:44:40 AM


"Taijitsu is really a tool used to aid one in moving closer to enlightenment.To not even engage the potential adversary is high level practice (to escape without fighting is a clean mission). To lead a life so impeccable that adversaries don't even appear is the highest." Unknown "To overcome one's self is a greater victory than defeating every opponent that you encounter. When you overcome yourself, you will rise above all opposition into a place of oneness with all things, wherein lies true power" "The usefulness of the art is in it's activity. When empty, the art symbolizes the adaption of an individual to any circumstance while maintaining their center and flowing with whatever may be happening. When full, the art symbolizes the knowledge and wisdom that an individual has applied in their life's journey." "Warriorship begins in transformation and ends in transcendence."

NIN-PO : Ninjutsu is best described as the collection of skills utilized by the Ninja while Ninpo, often referred to as "the higher order of Ninjutsu, " implies a philosophy for living based on the principles of Nin. Nin translates into patience, but can also imply perseverance, or stealth. The Japanese character for Nin consists of two parts or radicals. The upper radical is called yaiba which refers to the cutting edge of a blade. The lower radical can be read either as kokoro or shin, both of which mean heart. The character po, which implies natural law, is used rather than do (i.e.. judo, kendo, aikido,etc). Referring to our art as Ninpo rather than Ninjutsu stresses training which is concerned with the internal development of the individual's character along with the technical skills of martial training. It isn't enough just to know techniques, it is where your heart and spirit are as a person that is important. For this reason, Ninpo stresses philosophic and spiritual training in conjunction with the physical training. This refinement of one's spirit is known in Japanese as seishinteki kyoyo. http://coolshack.com/martial_arts/ninja2.html (3 of 13)7/4/2005 1:44:40 AM


Ninpo is concerned with the defense of the whole self, and recognizes that defense against a life-threat is dealt with by the spirit as much as with physical technique. The Mysterious Art of Ninjutsu : Ninjutsu is a Martial Art based upon the use of strategy, fighting tactics of mountian warrior monks and the philosophy of Buddhism, all working together in accordance with the laws of nature. The ninja were known throughout the centuries as dangerous men, like an early form of spy. Their Art came from the idea that as they would never turn their back on any action for selfish reasons, they were able to withstand extremely difficult training and were themselves capable of great sacrifice. The origin of the Ninja is uncertain. It seems to go back as far as ancient China which had already developed the science of spying. One of the greatest Chinese strategists in the field, named Sun Tzu, wrote a book of the same name: Sun-Tzu, a book about war strategy and a sort of spy manual which seems to foreshadow the science of the Ninja. In Japan itself, it was not until about 600 A.D. and especially at the end of the Heian period (1185) that the art of the Ninja or ninjutsu evolved. At that time three Yamabushi came to power in Kyoto. Yamabushi means 'mountain warrior'. In Japan there were tens of thousands of Yamabushi who, faithful to Shinto tradition, venerated the mountain and devouted at least 100 days a year to it in prayer and asceticism. The Yamabushi masters developed parapsychological knowledge and techniques of resisting pain, the cold, fire, ect. The Ninja are not Yamabushi, however they too were men of the mountain, not because they venerated it but because most of them came from the steep remote mountains of the Iga and Koga regions. Cut off like wolves in these areas, they could more easily resist the different governments which, from time to time, tried to destroy them. In the home of a famous Ninja from Iga, the bones of 80 corpses have been found, thrown into an oubliette by a trap door just inside the main entrance. It is probable that the Ninja themselves had a number of secrets common to the Yamabushi. These secrets mainly concerned the same areas: parapsychological knowledge, resistance to pain, etc., essentially exploited by their concern for effiency. Written in the form of a code which was indecipherable to the unitiated, these secrets, which in modern times have been commited to the computers of the Japanese spy service, have been revealed, only to be shrouded once more in great secrecy. In this strange world in fact, the use of parapsychological techniques is the order of the day more than ever before. The Japanese notion of michi (or do) expressing the force of energy or intrinsic power which exists in all things, is still relevant. To capture this force, whatever its nature, offers the possibility of developing different powers, of using a great variety of hypnotic 'tricks', especially as the boundary between real power and trickery was more often than not very imprecise as far as the Ninja, accomplished masters of deception, were concerned. A Ninja was neither an exceptional nor an ordinary man, rather a different sort of man, in so far as his long and very arduous training began at an early age, in childhood. He thus learnt to dist the bones in his body in order to squeeze thhrough narrow railings, to http://coolshack.com/martial_arts/ninja2.html (4 of 13)7/4/2005 1:44:40 AM


climb trees like a cat, to resist cold, to hide under water by breathing through a reed, to make himself invisible or disappear behind a smoke screen and to walk noiselessly on water. In a word, all his actions were aimed at finding the point of least resistance at all levels and at using it to conquer and destroy his enemies. A Ninja's training consisted of not The Ninja's weapons are numerous: the most well known being the shuriken, small iron devices of many different shapes such as crosses, six or eight sided stars, triangles, pointed instruments, etc. Exceedingly sharp and with poisoned points, these weapons could silently strike an enemy from a distance. The shuko or sort or iron gauntlet studded with sharp points on the palm of the hand, enabled the Ninja to attack sentries, to climb trees or walls. Armed with these gauntlets and hooked sandels, the Ninja could scale walls and penetrate the most heavily defended places. The Ninja's favourite weapon was the Kyotetsu-Koge, a sort of dagger with two blades, one curved. It was ed to a metal ring with a rope which could be wrapped around an enemy's arm or leg, and bring him down. Legends tell on Ninja's disappearing in a cloud of smoke. One of their tricks in fact consisted of letting off a smoke bomb at an opportune moment and so disappearing from the enemy's sight. They also knew how to walk very fast sideways, so that they could skirt walls in the shade with their back to them in readiness for any attack. The Ninja played an importent role in destroying the Daimyo who opposed the Tokugawa. Each side had its Ninja and it is probable that the Ninja could generally change camp and master according to the fortunes of the battle. Whatever happened, they were bound to absolute secrecy and would not talk no matter how much pain they were dealt. Once captured, Ninja's sometimes managed to disfigure themselves to become unrecognizable, before commiting suicide. The Ninja were divided into three groups: the Jonin, he who makes and offers his services, his assistant or chunin and the genin, the actual agent who carries out the missions. The last was considered to be the lowest class of Japanese society. Once captured, he was usually tortured and dismembered. The general consensus of the Ninja in comparison to the Samurai was the the Ninja had no honour, but in fact their honour was equal to that of the rival Samurai. The Ninja believe ego, pride and honour can mean the difference between life and death, failure and success. If ego , pride or honour had to be sacrificed to achieve a desired goal then it was done without question. The most significant code which has been the key to the Ninja's survival and success is Ninmujoku (Ninja has no shame). The ancient Samurai traditions despised the Ninja for this very motto, because they were bound by chains of honouristic virtues. Ninmujoku is of no use without the right frame of mind and intention. One cannot use this theory for one's own benefit, because it is not concerced with the ideals of self gain but rather the benevolence of the organisation. Seishin - the right consciousness, kept the Ninja on the right path, ensuring they would not become thieves, murderers or enemies of the people. Without Seishin the Ninja would not be able to justify their actions and would be classified as nothing but cold blooded murderers. A Ninja's training not only consisted of learning the art of Ninjutsu but also learning the fighting styles of the Samurai. The basis of Ninjutsu can be divided into four catergoies: http://coolshack.com/martial_arts/ninja2.html (5 of 13)7/4/2005 1:44:40 AM


1. Fighting System

Taijutsu which incorporates: Bugei Juhappan (18 Samurai Arts) and Ninjutsu Juhakkei (18 Ninjutsu Arts). Bugei Juhappan Nijutsu Juhakkei Jiu-jutsu - Art of self defence Ken-jutsu - Art of the wooden sword (Boken) Iai-jutsu - Art of drawing Kusarifundo-jutsu - Weighted chain technique Kusarigama-jutsu - Sickle and chain technique Bo-jutsu - Art of full lenght staff So-jutsu - Spearmanship Naginata-jutsu - Art of the halberd Suiren-jutsu - Art of swimming Ba-jutsu - Horsemanship Kisha-jutsu - Art of archery on horseback Jo-jutsu - Art of the three foot staff Kyu-jutsu - Archery Yoroi kumiuchi-jutsu - Art of armour combat Jutte-jutsu - Art of the jutte (Iron rode) including Tessen-jutsu (Iron fan technique) Hobaku-jutsu - Art of rope binding Ho-jutsu - Art of firearms (rifle/gun/cannon technique) Shuriken-jutsu - Art of throwing blades Seishin shugyo - Art of spiritual refinement Tai-jutsu - Art of unarmed combat http://coolshack.com/martial_arts/ninja2.html (6 of 13)7/4/2005 1:44:40 AM


Hiken-jutsu - Secret art of the sword (Tanto, Kodachi, Odachi, Ninjato, Choken & Nito) So-jutsu - Spearmanship Naginata-jutsu - Art of halberd Nagamaki-jutsu - Art of battlefield halberd Kusarigama-jutsu (Kyoketsu shoge) - Sickle and chain technique Rokushakubo-jutsu - Art of the six foot staff Sanjakubo-jutsu, Jo-jutsu & Hanbo - Art of the half and three quarter staff Shuriken-jutsu - Art of throwing blades Kisha-jutsu - Archery of horseback Inton-jutsu - Art of special disappearing Hoko-jutsu - Art of stalking Henso-jutsu - Art of disguise Kakushibuki - Art of secret weapon Gunryaku Heiho - Strategies Tenmon & Chimon - Strategy of Heaven and Earth Ninyaku - Special medicine and drug technique The Samurai had to know and perfect the Bugei Juhappan. The Ninja criteria was more severe, they had to be a skilled practioner of Ninjutsu Juhakkei and Bugei Juhappan known as Ninjutsu Sanjurokkei (36 arts and techniques). The knowledge of these arts and techniques only emphasized the Ninja's formidability. 2. Organisation Skills associated with networking and information gathering. 3. Strategy Encoming espionage / assassination / spying 4. Shugendo/Mikkyo Attainment of supernatural powers and wisdom. The development of intuition (Jintsuriki).



Skills : Since the Ninja had to survive in nature, they became trained naturalists capable of distinguishing edible, medicinal and poisonous plants, trapping, preparing and cooking animals, building shelter, finding water, and making fire. A few methods of finding water were by studying the insects in an area. For example, if there was a high concentration of ants or crickets, he knew there was water nearby. Another way of finding water was by recognizing the kinds of plants that live near water. If the Ninja found any of those plants, he knew water was near.

Kuji-in

: Kuji-in is a type of ninja training with its roots in Daoism. It is more of an energy kind of thing. "The term [Shuji Shuriken] also refers to Esoteric practices, such as "cutting the nine ideographs" (namely, reciting nine majic words) for protection. Originally Taoist, the practice of "cutting the nine ideographs" was taken up by yin-yang practioners, Esoteric Buddhists, Japanese swordsmen, and ninja. Some swordsmen and ninja executed it at daybreak every day, and many did so before an actual combat or mission.' Hiroaki Sato, trans., The Sword & The Mind, 81."

1. Rin. Invokes physical strength



2. Kyo. Helps direct energy (Etheric energy).

3. Toh. Invokes balance between Yin and Yang

4. Sha. Helps with healing



5. Kai. Invokes premonition ( when someone is around you).

6. Jin. Lets you know the thoughts of others

7. Retsu. Invokes mastery of time and space



8. Zai. Invokes control over others

9. Zen. Helps you to enlightenment

Kuji-in may be used in two different ways: alone or combined. Ways of using the Kuji : Well, the first way is to use them individually when you need them. For example: You are out in the wilderness chopping wood. You are a skinny person with no muscle mass, and the wood is too heavy to carry. You make the Kuji for Physical strength with your hands, and summon Chi to the sign, while focusing on the element of the Kuji. You easily carry the wood back to your cabin. The next way is to meditate every day, and go through each hand sign while focusing on each purpose. At the end of this practice you make a specialized hand sign (make it up) while focusing on shutting in all the energy from each element into you. Now, when you get into a fight....right before it, use the Kuji you made up to bring out all the energy you stored. This will help you http://coolshack.com/martial_arts/ninja2.html (11 of 13)7/4/2005 1:44:40 AM


greatly in a fight. "Kuji -in" : Is the spiritual and mental strength the ninja possessed in the form of hand signs. These hand signs were believed to be able to channel energy. The hand signs were taken from the practices of the early Buddhists. The Kuji-in was used to build confidence and strength in the ninja. It was also believed to enhance the senses of danger and foresee death for the ninja. In Kuji-in the thumb represents the source of power (Ku), and the fingers represent the four elemental manifestations. They are Chi (earth - solids), Sui (water - liquids), Ka (fire - combustion) and Fu (wind - gases). There are 81 hand symbols, total, but there are 9 primary ones: Rin, Hei, Toh, Sha, Kai, Jin, Retsu, Zai, and Zen. Each symbol invokes different strengths and abilities in a trained ninja. Rin brings strength to the mind and body; Hei generates psychic power in order to mask one's presence; Toh enables the ninja to reach a balance between the solid and liquid states of the body, which leads to a greater harmony with the universe; Sha is used to heal oneself or another; Kai gives complete control over the body's functions, enabling one to slow the heart rate, endure extreme heat and cold, etc. Jin increases the mind's telepathic powers, giving a highly trained Ninja the ability to read the character of another; Retsu gives telekinetic powers, enabling a ninja to stun an opponent with a shout or touch. Zai extends the harmony gained by merging with the universe. Zen brings enlightenment and understanding. These symbols take an entire lifetime to truly master.

Kuji Kiri : Kuji Kiri (energy channeling, hypnotic) Ninjitsu is a hybrid system of ninjitsu that also employs techniques and theory from Jiu-Jitsu and Kenpo. The stealthy ways of the ninja (including sections on invisibility, smoke bombs, & vanishing) come to life in this system. This system includes seven belt levels of training to the first level of Black Belt. These seven levels are demonstrated on a 5 tape serious. This system includes seven belt levels of training to the first level of Black Belt. These seven levels are demonstrated on a 5 tape serious. The system includes body movement of a Ninja. A section on blinding powders, weapons, and more. Kuji Kiri has influence from JiuJitsu and Kenpo as well. The course os instructed by Soke Joshua Carr who has studied the ways of the Ninja for several years. Soke Carr holds Black Belts in Kenpo and Jiu-Jitsu, as well as his rank in Ninjitsu. Soke Carr has devised the Kuji Kiri Ninjitsu system to help martial artist realize they should not limit themselves to one style, rather to study many styles so they may be true warriors, should the need arise. NINPO : "NINPO is a hybrid system of ninjitsu that also employs techniques and theory from Jiu-Jitsu and Kenpo. The stealthy ways of the ninja (including sections on invisibility, smoke bombs, & vanishing) come to life in this system. Ninpo is more commonly known as ninjutsu, or the warrior arts of the ninja but the term Ninpo is used as it has a deeper significance. http://coolshack.com/martial_arts/ninja2.html (12 of 13)7/4/2005 1:44:40 AM


The black clad assassin disappearing in a cloud of smoke, which usually springs to mind when talking of Ninja has nothing to do with the reality of learning true Ninpo Bugei. Ninpo is a traditional, non-competitive Japanese Martial Art whose history stretches back over many centuries. It contains Striking skills, t locks, throws, grappling, and several different weapons. Genshirin Ninpo encomes many different schools, each of which has a unique feeling and emphasis. The three pillars of the art are called Taijutsu (Unarmed techniques), Bo-jutsu (wooden staff techniques), and Biken-jutsu (Sword techniques), but there are many other disciplines which make up the complete Art. As a novice you will start by learning Taijutsu which is the backbone of Ninpo. The emphasis is placed on defending yourself from an attack such as a punch, kick or grab. The techniques are taught in a Japanese fashion as they have been for hundreds of years. Why learn Ninpo? Ninpo is not an easy Martial Art to learn. It takes about 4 years to get to Black Belt level under proper tuition. The training can be physically and sometimes mentally demanding, however, it is not an elitist pursuit. It is well within the capability of any well balanced, motivated individual to become skillful. The Japanese character "nin" in Ninpo means patience and perseverance which is the essence of success with this martial art. There is a great deal of satisfaction to be had from studying Ninpo along with the practical benefits of learning effective self-defense are the tangible benefits, including, agility, alertness and physical fitness. It can also be a lot of fun.

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Martial Arts World KARATE

Martial art styles can be divided roughly into two categories: External and Internal. External styles, which are also called "hard" styles and which include such American favorites as Japanese Karate and Korean Taekwondo, rely primarily upon muscular strength and less of internal energies, while internal or "soft" styles, such as Japanese Aikido and few other Chinese styles, cultivate a more mysterious energy called 'Chi.'

Eskrima -Kali Arnis Philippines skick fighting

An external style is one which relies primarily in strength and physical abilities to defeat an opponent. In contrast, an internal style is one that depends upon ch'i and timing rather than power. Aikido (at the master's level) would be an internal style, while most karate styles are external.

Shaolin Martial Arts [Shaolin Temple]

Karate is considered to be the most efficient and effective martial art, as it has evolved over a long period of time and proved in real combat!. It has everything that a novice student would need to get initiated into Martial Arts and it builds the basic skills, attitude into a person. So its better to learn Karate a the base level and then build up or change over to other martial art styles later on.. Such students will have an edge over others and will prove to be better martial artists.

Muay Thai (Thai Boxing)

(This note is strictly my personal view.. As I have understood and experienced this fact myself. In my opinion a martial artist must learn more than one style and should be open minded. Because Martial Arts has a long history of evolution and refinement and this should continue... All styles have some worth in it and will make you aware of all dimensions of the "Art of fighting" !). When you learn more/new styles then don't forget what you had already learned ! infact refine your old knowledge and add to the "New". At the same time "Empty your mind to absorb the new knowledge" (As said in Bruce Lee's philosophy). Bruce Lee's JKD

Most students learn martial arts to be able to beak bricks or win tournaments or get fit and healthy. This is Not a good trend as "Martial Arts" should be learned to defend yourself or your family/others. You must learn this art with this attitude if you want any benefit from it. After all its the "Art of Fighting". You get all other abilities/skills during this learning process. So see your goal as one. Note By : Jimmy George (Author/creator to this website).

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Taoism ('Way of Life') "When something unexpected happens, in that very moment, treat it as a meditation."

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What is a martial arts style? The concept of a style is a rather complicated one, and Chinese martial arts claim as many as 1500 different styles. By "style" we mean a particular school of martial practice, with its own training methods, http://coolshack.com/martial_arts/index.html (7 of 14)7/4/2005 1:45:44 AM


favored techniques, and emphasis on attack and defense. While it is impossible to quantify differences between most styles, it is easy to see the distinctions between such disparate approaches to combat as practiced by Tiger, Crane, and Monkey stylists. In choosing a style (a contemporary privilege; traditionally, styles were assigned by the teachers), try to find one that suits your physical attributes, interests, and sense of utility. It does no good to study the graceful single-leg and flying techniques of White Crane if you have the flexibility and grace of a turtle! On the other hand, and gung fu practice will enhance your physical skills, dexterity, and alertness, and it is not uncommon for a beginner in one style to change to a more "appropriate" style later. Whatever else may be said of styles, the first year basics are almost universal--punches, kicks, and stances show little variation at the beginner's level. Martial Arts: Hard vs. Soft, External vs. Internal Internal or "soft" styles, such as Japanese Aikido and few other Chinese styles, cultivate a more mysterious energy called 'Chi.' Although everybody has chi, few people have much of it, and fewer still know how to express it. But according to the Chinese, this precious elixir can be cultivated and controlled through the exercises of the internal martial arts styles. Specifically, they say chi can be brewed in the tan tien, a spot about an inch below the navel. Once the tan tien is filled, the chi supposedly spills out into other parts of the body, where it is stored in the marrow of the bones. It is said that as a martial artist develops chi energy, his bones become hard, his sinews tough, is muscles supple and relaxed, which allow the chi to circulate freely through the body. The concept of hard/soft and external/internal martial arts is not one easily described. In of styles which most people are familiar with, Karate would be an example of a hard style and Aikido or T'ai Chi examples of soft styles. A hard style is generally considered one where force is used against force; a block is used to deflect an incoming strike by meeting either head on, or at a 90 degree angle. A soft style does not use force against force, but rather deflects the incoming blow away from its target. There are uses for both hard and soft techniques. A practitioner may wish to break the attacker's striking arm with the block. On the other hand, a much smaller opponent would not be able to accomplish this, so instead may wish to deflect the incoming attack. An external style is one which relies primarily in strength and physical abilities to defeat an opponent. In contrast, an internal style is one that depends upon ch'i and timing rather than power. Aikido (at the master's level) would be an internal style, while most karate styles are external. However, the concepts of hard/soft internal/external are finding fewer proponents among senior martial artists. Both conceptual twins are impossible to separate in reality, and masters will generally acknowledge that any distinction is largely only a matter of subjective interpretation. Arguments about the reality of the concepts are often waged by novices and philosophical dilettantes, ignorant of the inseparable nature of duality. They see yin and yang as elements that can exist independently, while philosophical and physical reasoning demonstrate that they cannot. Without their union (=Tao), neither can exist. Ergo, a "hard" technique such as a straight fist is guided by the soft power of mind and the internal component of ch'i. Equally, the softest projection of Aikido requires the "hard" element of physical and movement, coupled with actively redirecting the opponent. In short, preoccupation with distinguishing soft from hard is a distraction from learning martial arts and moving towards a unifying technique and mastery. Gung Fu Styles Gung Fu styles may generally be divided into three classes: Shaolin Temple styles, temple-derived nontemple styles, and family styles, or Pai. Within the Temple styles are those arts generally and consistently taught in the temples, with many having their origins in pre-Shaolin history. There are two major divisions in Shaolin Kung Fu. The southern temples are predominantly hand technique oriented, while northern temples put more emphasis on kicks and foot techniques. The northern Shaolin styles primarily consist of Northern Praying Mantis, Black Crane, and Black Tiger. The southern Shaolin styles primarily consist of White Crane, Tiger, Dragon, Leopard, Snake, and Southern Praying Mantis. There were also styles that had their roots in the Shaolin temples, such as Wing Chun and Hung Gar. Many of the movements were representations of the behavior of animals. A system sometimes comprised the maneuvers of one specific animal and no other. All the blocks, attacks and stances were done in imitation of the bird or beast. Each system had certain aspects peculiar to it since each of the animals was designed differently by nature. However, most styles were not so rigid and limited; northern praying mantis, for example, uses mantis and tiger hand techniques, and monkey and generic northern style footwork. Differences Between the Styles In general , the styles followed specific training objectives (but there are always exceptions). The dragon movements were devised to develop alertness and concentration. These movements were executed without the application of strength, but with emphasis on breathing in the lower abdomen along with the coordination of mind, body and spirit. Movements are long, flowing and continuous, and provided Shaolin practitioners with the equivalent of t'ai chi or pakua. http://coolshack.com/martial_arts/index.html (8 of 14)7/4/2005 1:45:44 AM


The tiger movements were formed to develop the bones, tendons and muscles. The execution of these movements was the opposite of that of the dragon, since emphasis was placed on strength and dynamic tension. Movements are short, snappy and forceful. The snake movements were used to develop temperament and endurance. Breathing was done slowly, deeply, softly and harmoniously. Movements are flowing and rippling with emphasis on the fingers. The crane movements were used to develop control, character and spirit. Emphasis is placed on light, rapid footwork and evasive attacking techniques. Movements in the one-legged stance are performed with a considerable amount of meditation. The Shaolin systems were developed from animal actions and were divided into low systems and high systems. The list used below is from the temple from the Honan province during the Ch'ing dynasty. The low systems of the Shaolin were choy li fut, crane, cobra, and tiger. The high systems of the order were snake, dragon, Wing Chun, and praying mantis. The primary features that separate high from low are the fantastic economy of movement and the differences in application of ch'i in the high systems. The low systems were so called because they had their basis both in physical maneuvers and in earthly creatures. Choy li fut was based on a posture called a riding horse stance, so called because when adopted, one appeared to be straddling a horse. The movements are very stiff and hard, depending primarily on muscular power to perform adequately. There are only three kicks in the original system, although recently the style has adopted many techniques of the Northern Shaolin system. According to legend, it was designed for use on the house boats of the south where a stable stance and powerful hand techniques were necessary. The certain portion of its history is that the system was named for two Chinese boxing masters, Choy and Li. Fut means Buddha, serving in this instance to refer to the Shaolin temple's Buddhist influence. The next system is crane, one of the traditional Shaolin systems. A legend is also attached to its birth. One day a monk stumbled on a battle between an ape and a crane. It seemed as if the ape would rend the bird in two. However, the bird continually stymied the ape, flapping its wings and darting in and out with its beak; at last the animal was driven away. The graceful movements of the bird were copied as well as its one leg stance. The principle weapons of the system are its long range kicks and a hand formation, the crane's beak. The cobra system is a strange, nearly dead system. Its basis is a stance that resembles a cobra risen from the grass with spread hood. The maneuvers are strictly defensive in nature, devastatingly effective and swift. Cobra is designed for speed and tenacity for once the reptile strikes, it hangs on and makes certain that its opponent will die. Most of its techniques are hand maneuvers aimed at the eyes and throat. It is primarily a dim mak style. Tiger is another natural system, this the opposite of crane. It is a vicious method of fighting utilizing powerful kicks and grim clawing motions. Like the tiger, its practitioner fights fiercely, rending, tearing and breaking any open space of skin or limb that is left unguarded. It is highly defensive in nature, waiting until being backed into a corner, then unleashing an unstoppable assault. Its principle hand weapon is the tiger claw, also useful for unarmed defense against weapons. By clasping the weapon between the hands or enmeshing it in the crushing grip of the hand, the enemy's advantage is lost. Snake is an interface between the high systems and low systems. It is one of the easiest systems to learn and also one of the most deadly. The reason that it is a transition system is because it has the movements of a spiritual system and the physical applications of a low system. The spiritual movements are all flowing and continuous, akin to the movements of a cloud. Physical applications of such movements are seen by the stabbing hand motions to the face, throat and genitals. Ch'i is present in the practitioner as his body mimics a snake in its coiling, undulating motions; for only through ch'i can the proper flow be achieved to allow the technique to work. It is an earthly animal by nature, yet still somewhat spiritual due to its mysterious character. The snake has thus been appointed as the guardian of the dragons. The basis of the dragon systems is ch'i, the inner power of Taoism. The movements and applications of the dragon systems are dependent on the use of ch'i. The special flow that distinguishes it from the flow of the crane system is due to ch'i. Also, the ch'i is substituted for muscular strength. For example, a tiger stylist would break a rock by sheer force and physical technique, while a dragon stylist would shatter it by ch'i projection. The praying mantis has as its watchwords silence and determination. Although it is a physical system in of its origin, it nonetheless is classified as a high system. Praying mantis warrants its prominence because of its extreme efficiency. Despite the fact that it is hand oriented and lacks the fancy leg maneuvers of dragon, it is versatile and overpowering. Characteristic of mantis, as well as dragon and snake, is the virtual lack of blocks. Since blocks are inefficient, the high systems follow the advice of the ancient sages and yield in order to conquer. Also, it combines ch'i and extreme awareness to be virtually invincible. The systems of the Shaolin can be arranged on the pyramid illustrated below. The best method for this is to take the tiger family as a representative of the low systems and the dragon family as a representative of the high systems. The remaining Shaolin systems will be placed in the appropriate tiers singly. The lowest level of the pyramid is composed entirely of basic techniques. These are common to all martial arts and can be claimed exclusively by no one system. The maneuvers are comprised of kicks, punches, stances and blocks. Since they are universal to most martial arts, it is very difficult to distinguish a student http://coolshack.com/martial_arts/index.html (9 of 14)7/4/2005 1:45:44 AM


from a karate style as opposed to a choy li fut pupil. All of this class of basics belongs to the low systems and so are dependent on hard, muscular movements in order to carry them through properly. Next we progress to the low systems. As stated earlier, this level has its basis in earthly rather than ethereal beings. The subsystems of tiger are numerous at this level. Tiger, eagle, leopard, hung gar, the drunken system and the crab system all belong at this level. Tiger, leopard and hung gar are very oriented toward physical body strength and the destruction of an opponent by breaking his body's structural system. Eagle is a vicious ripping system with the bulk of its work directed against the eyes and throat. The drunken system is a lurching, seemingly unstable system that strikes with little power and thus tries to exhaust an opponent with an arrhythmic, oddly placed series of blows to tender, exposed areas. The crab system concentrated on closing off blood vessels and pinching nerves, thereby immobilizing part or all of an attacker's body. In the category of the higher low systems are found four different tiger subsystems: hong tiger, s'hu tiger, imperial tiger and white tiger. They are placed above the previous systems because ch'i and some concepts of spiritual motion have been incorporated into them. Hong tiger was a system which evolved from a mixture of tiger and white dragon. It was used by palace guards especially against weapons. S'hu tiger was the weapons training that went with the unarmed system of hong tiger. Imperial tiger is a modern adaptation of hong tiger. The techniques are sophisticated at this level. Also contained in the band of high low systems is monkey, placed there because of its liberal use of parries and advanced striking techniques, taking it out of the realm of brute strength. White tiger is a highly sophisticated, forbidden style similar to snow tiger. The main systems of the Shaolin that are left are placed thus: choy li fut, white crane, and tiger all low systems. Snake is a lower high system and may be classified as a low or a high system. Dragon, praying mantis, and Wing Chun are all classified as full high systems due to their efficiency of movement and the use of ch'i to both supplement and in some cases replace physical technique. These systems were taught to some extent to all monks as part of their training. The complete systems were reserved for the few, the priests that would remain in the temple after being granted their priesthood.

THE NINJITSU PEOPLE by Peter Urban There was a time in Japan of the olden days that had originated in China but showed up there over threehundred years later, a strange group of men and women. They always dressed in black. Such was the nature of their clothing that even their faces and feet were not distinguishable. The softest of black felt cushioned their steps to the sounds that black cats make stalking across thick rugs. They knew many things. Walking in silence and living at night was their way. Friends had they none. Fear and hatred by all had they won from centuries of tales not meek. Theirs was a mystique that few dared to seek. In such a group there were no weak. Reputations of evil traditions of being in league with the demons of power were described by foreign white men devils who called them magicians of Satan and wrote of them as such in that have been ed down through the centuries on pages of books that were hidden from view from ordinary people like us. These "black knights" of old days, who did not believe in magic themselves but who could perform seemingly magical feats, were known as "Ninja," or "Ninjitsu people." The word (nin) means stealth. The word (jitsu) means abilities. Ergo, the archaic Japanese word Ninjitsu literally translates to (the art of stealth). For some it became a way of life. For others it becomes a religion. They were known as professional assassins by the historians of feudal Japan. There were only two types of Ninjas. Those who were known to be Ninjas were pretenders. Those who were Ninjas were never ever known. real Ninjas were artists of life with the minds of scientists, hands of a surgeon, eyes of a hawk, emotions of a Maco shark and the morals of an ice cube. They kept the company of no one. They could not be recognized by their own kind. They were celibate, never married, not homosexual, fearless, highly educated, never indulged in alcohol, drugs or sinful human pleasures. They trusted only their own sanity. A Ninja could never be captured or tortured. They had the power to kill themselves at any time of the day of night and under any contingency. They had beads of poison that could be kept in their mouths for any length of time; only crushing down on them with their teeth would release a poison that was so lethal, painless and swift, that it was reserved for only themselves. They could certainly be killed, but never questioned. It took a Ninja to know a Ninja. It took a Ninja to kill a Ninja. They could be anyone at any time and at any place. They could be any tree in a forest of people. To pursue them would be like attacking a bag of quicksand in the darkness of night. They never solicited business. They were never without money. They were very contented to have many imitators and pretenders who would be killed by the righteous. They were more capable of teamwork than any army. They had no superiors or inferiors when they worked together. They could take orders and give orders with no badges of rank, no egos to feed. They had the brains of men with the efficiency of African red army ants. They had the courage and mercy of a squadron of South American killer bees. To incur the attention of a Ninja or society of Ninjas as a potential threat to them was to nakedly bathe in a river of ravenous paranas. The most interesting things that highly objective scholar historians ever recorded about them was that they never attracted attention. They were completely in capable of sadism. They would never assassinate children or pregnant women. If they were hired to do a job, they would always be paid in advance. No matter what the needs of a client would be. If it were a child or a pregnant woman targeted as the assignment, the Ninja or Ninjas would accept the money, guarantee the assignment and then kill the client and keep the money. There was never a body to be found in any such instance. They would always lie to a liar, as well as kill them for the very act of lying to a Ninja. For practice and for a general principle still not comprehensible to the finest minds, they would kill very cruel and evil men or women for free and without being hired to do so. This observation is mind-boggling to everyone. Ninjas devoted their childhood to training for mastery in their peculiar skills and thus were highly skilled http://coolshack.com/martial_arts/index.html (10 of 14)7/4/2005 1:45:44 AM


in the martial arts. Raised utterly without morals, which they referred to as "imaginary restrictions." They were bereft of virtue as we know it or as is commonly defined by all cultures in the world. Since they thrived on darkness, their training halls were painted completely black; varying lengths of nails and spikes protruded from the walls. Upon these spikes and stone walls, they practiced jumping, grasping, climbing, and wall-scalling techniques. Acrobatic skills were second nature to them as well as swimming. They were superb masters of sword-handling, archery, horsemanship, Jiu-Jitsu, stick fighting, body balancing, and the art of throwing tiny poisoned darts and the small, sharp-cornered coins of that era. The latter was a particularly favorite weapon, for who would believe it possible to put out a man's eye and kill him at a distance of more than fifty feet by throwing a coin the size of a silver dollar? No weapon could ever be found -- just an ordinary coin lying in the street. Hundreds of hours were spent practicing walking across creaky wooden floors without making a sound. This was done by unwinding their long, black, felt waistband; rolling it across the floor; carefully, lightly, and quickly darting down its entire length; then rolling it up and repeating the maneuver until the desired distance was crossed. They did everything with their own inimitable magic and called it "ninjitsu." Disappearing was their most astoundingly developed ability. Their training, being supremely realistic and scientific, also took into consideration every adverse situation they could imagine. They called their "thing", scientific magic. They were the original practitioners of the "art of programming." They were taught from the cradle that nothing was impossible. Not knowing that a thing could not be done, they did it. They had many services to sell to the lords and ladies of the great houses of the day. Their specialty being murder and terror. Many provincial lords, in rivalry for one reason or another, often used the Ninja in preference to the expense of an all-out war against an enemy. A Ninjitsu man or woman could sneak past guards, fool alert watchdogs, do the job, and disappear with no traces of ever having been there at all. They used black coal dust and chemically-produced smoke screens to distort the sight of pursuers. Their visual memory and sense of direction was so exact that, with one swift glance, they could evaluate all means of egress from a building. This enabled them to leap from any second or third story window, knowing in advance that a tree would be underneath to break their fall. Rooftops were nothing but stepping stones to be adroitly traveled upon. Using their uniquely fashioned silken rope and grabbing hooks, they scaled - up the highest, most forbidding cliffs and walls. A skilled Ninjitsu man could run down a hallway, jump across the entrance area, grasp the eaves to a doorway, and pull himself up and over onto the roof in a matter of seconds. From the roof, where he blended into the night, he was in a perfect position for throwing darts, coins, or circular disks that looked like the blades of a power saw. No wonder everyone was afraid of them. Chasing them was almost certain death, for they would seem to disappear right in front of a pursuer's eyes. The next thing the pursuer felt would be the sting of a poisoned dart in the back of his neck. Even when stripped down to nothing but their "fundoshi," or loincloths, they almost always managed to escape without the necessity of having to kill themselves as they always did in a hopeless situation. When the guards led a Ninja out to be executed (a foregone conclusion), he would completely confound his captors by running full tilt toward the seemingly impregnable wall. Just before he did so, he had urinated into his fundoshi. Removing the sopping wet cotton cloth, he ran up the wall as far as he could, letting out a piercing scream and slapping the wet cloth with all his strength against the top of the stone wall. Without stopping his momentum for an instant, he would swing the remaining distance to the top of the wall, using the cloth as a rope, and before the astonished and terrified guards could move, he had disappeared. The mystique of these historically legendary oriental professional assassins increased as the centuries went by. Their secrets were handed down from family to family, generation after generation. Ninjas were never the natural children of living parents. Everyone was always an orphan or found baby. They were never recruited. It was always said that a Ninja was not made, they were born to be. Talent and destiny led them to be. A Ninja with family would not be a real one. Real Ninjas were asexual, did not need or desire any normal human ties. There could never be such a thing as a successful undercover Ninja impostor. They could not be fooled by anyone or anything or any situation. Real Ninjas had no ambitions, no greed, no ions, no need for power and recognition. They were honest unto their calling. No honest person can be conned. They desired nothing that the earth had to offer. They could not be bribed. The real ones were psychic and could not be lied to . Most of all there was nothing in life that could disappoint them or influence their thinking. They were just special people of a different ilk; born to be what they would become. Such as the world had its Mozart's, so did the martial arts have its Ninjas. All that is known now is that there are a few old martial arts teachers in southern Japan who, for the sake of tradition only, still practice the Ninjitsu training. These old Sensei's occasionally give an exhibition of the dead art at the more important martial arts cultural festivals. They are always looked upon a little fearfully by the younger participants in the exhibitions, for after all, who knows for sure about such matters? The portrait of a Ninja that you see in museums is of a very elite looking middle-aged man with a scroll clenched in his mouth; enigmatic looking with piercing eyes. Everyone tries to guess what he is holding in his mouth. I shouldn't tell you the answer to that secret but I will. He is not holding a diploma. He is holding a list of secrets that no person should know. What is that? Never disclose your mistakes, weaknesses or your superiority.

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Building Super Kicks Why are so called "super kicking skills" important, when in a real fight, kicking above the waist would be unrealistic anyway? First, I believe if you can lift 100 pounds then it would be that much easier for you to lift 50 pounds. Thus, if you can kick high, then you can also kick lower without lack of ability. Second, if you only practice the Martial Science purely for self-defense and not for self-improvement, then your chances of growth are limited. http://coolshack.com/martial_arts/index.html (11 of 14)7/4/2005 1:45:44 AM


Ask yourself these questions before training: 1. How would I like to improve my kicks? 2. How will I feel if I don't improve kicks? 3. How will I feel if I do improve kicks? By asking yourself these motivating questions and answering them with emotional honesty, you can create a little more motivation. These questions can be constantly reviewed and will outlast traditional willpower. Be sure and ask more questions like these as you train. Below I have listed a few primary ideas to help you improve your kicks. Though the following is for improving kicking the same principles can be used to develop other areas as well. 1. The way is in training With anything you want to become proficient in, practice makes perfect. Practice is consistent action towards our goals. One does not attend a few martial arts classes, buy a black belt and say, "okay, now I am a Total Warrior and I can defend myself." Yeah, maybe against an untrained mouse. Seriously though, think of something you are good at and ask yourself this question: did you become proficient in that skill in one lesson? Odds are you only learned the basics and it will take practice for you to become second nature and realistically proficient. 2. Stretch, Stretch, and Stretch If you don't have flexibility then you won't have the kick. As obvious as it sounds, people just don't do enough stretching, even when they know they should. So I will say it once again, "Stretch." Figure out which muscles that are involved with each kick you are trying to improve and take action by stretching. There are two specific ways of stretching, the first is for warming up and is done before a workout to decrease chance of injury (hold for about 9 seconds each stretch). The other is for increasing flexibility, which is done after the workout to improve the stretch (hold for longer periods of time). 3. Slow motion kicking When practicing to develop good ground kicks, it is valuable to utilize slow motion kicking. Slow motion kicking is the process of performing the kick as slow as possible to focus strain on all the parts used in the kick. It's easy to throw a side kick in one second, how about trying it for thirty seconds? You will feel the difference. Slow motion kicking will give you growth in four major areas: Balance, Control, Strength and Form. 4. Power, speed, and targeting Aside from the basic development of the kick, it is also important to build a powerful fast kick that is on target. You can have nice flashy kicks, however if they lack power or are off target, what good are they? Here are a few key notes for developing your kicks. A. Be careful throwing repetitious kicks in the air. Overextending can be damaging. B. Use a bag or pad when kicking with full power. C. Develop targeting by using harder to hit targets such as focus mitts. 5. Give and takes This is done with a partner, the attacker kicks to develop his or her targeting, application, flexibility, etc. The defender or receiver takes the kicks to develop toughness, reactions and awareness. Start by facing each other and let the kicker begin by throwing one kick with little force, the defender allows the kick to make and takes a step back. The attacker then throws his next kick and the process continues. You can adjust the power of the kicks so there is growth in both the attacker and the defender. After about ten different kicks the defender then takes his turn. 6. Coil and recoil This is an optional technique of bringing the knee up before the execution of each kick (with exceptions naturally). By doing so, you are protecting against incoming kicks and your opponent will not be sure what kick you are going to throw. When finishing a kick you can also come into recoil before grounding the kick. This process is very effective in sparring. 7. Break downs Important when learning or perfecting a new kick. Start by breaking the kick into parts: positions, pivots, balance, muscles, movements and application. Work on each development separately before combining. This helps to get a better understanding of the mechanics in your kick. 8. Ambidexterity http://coolshack.com/martial_arts/index.html (12 of 14)7/4/2005 1:45:44 AM


A common mistake for many martial artists is the consistent training of one leg or one kick. Right and left kicks should be stressed equally if you are going to become the Total Warrior. Ambidexterity is important for all your training and keeps you from becoming right or left side dependent. What good are you if one of your legs become unusable? 9. Imagination Last and just as important is the use of your Creative Mental Training (CMT). Visualize your skills improving, create fight scenes and scenarios in your head and feel the abilities that you are looking for in your kicks. Practice in your minds eye as you would in training, mentally feeling and seeing your skill and improvement. Constantly ask, "How can I improve my kicks now?" Practice the principles with consistent physical and mental action and you will soon be on your way to having super kicks.

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Ninja Techniques : POISON : The ninja were very knowledgeable about poisons. Poisoning a victim was as effective as stabbing them, but with very little mess or chance of failure. Once the poison was ingested by the victim it was already to late. The poisons were mostly organic based, but some were taken from animals. One method was to take the fungi poison out of the blowfish or puffer fish. This poison is very strong and can kill in small doses. Another animal based poison was the bufo marinus. The bufo marinus is a large toad with an extremely toxic poison behind its eyes. This poison was often used on darts, arrows and spear tips. Spiders and scorpions were also used. Not always just the poison extracted from them, but sometimes it was just as easy to slip a couple of scorpions in the bed of the victim. One of the organic poisons used was made from common fruit. Cyanide was extracted from a variety of sources, such as apple seeds, plum seeds, cherries seeds and many more. It was readily available to the ninja and was used often. Tomato and rhubarb leaves also held a poison. Eating the leaves cause cardiac problems, ultimately resulting in cardiac arrest. The amanita phalloides is a deadly mushroom. The poison in the mushroom was 10 times more powerful than that of cyanide. Eating the mushroom was certain death, and it was easy to slip a piece of the mushroom in almost any meal. The poison could be used in various ways, depending on the situation. For example, if the ninja could slip it into the victims food while its being prepared. Without knowing what kind of danger he was in, the victim would eat the food infested with the poison. Not all the poisons used by the ninja were fatal, some of them were used to merely paralyze or cause blindness. It was not always necessary to kill. Another thing the ninja did was dip their weapons, such as the shuriken or their sword, in the poison. This was so when it punctured the skin of their target, the fast acting poison would take its course, causing much more devastating than the blade itself. CLOTHING : When in full uniform, the ninja's flesh was all hidden, all except a small slit around the eyes and his hands. The tabi boots had a slit in between the big toe and the second toes. This was to make it easier for climbing and scaling walls The shinobi shozoko had many pockets all through it, inside and out. This was for storing all the small tools and weapons he needed, such as poison, shuriken, knives and so on. The ninja also carried a small, primitive, first aid kit, filled with potions and solutions Not all jobs required that the ninja wear the shinobi shozoko. Sometimes the ninja dressed up as priests, peasants or even samurai, depending on the job.

Ninja Weapons : Ninja were experts in a variety of weapons. Weapons such as small and large swords, bow and arrows, knives, bo (staff), scythe and chain, shuriken and many others. When empty handed the ninja are very dangerous, http://coolshack.com/martial_arts/ninja3.html (2 of 11)7/4/2005 1:48:47 AM


but armed, they are very deadly. Below is a list of the weapons used. If you have any information on any weapons I might have missed, please let me know.

Sword :

The ninja sword (ninja-to) was different than that of the samurai. The long sword that the samurai carried was made of high-carbon steel, and took months to have made. They were hand made specially for each samurai, taking great care to make a very high quality sword. It was so sharp that it could easily cut a man in two, even through their armor. The length of the samurai swords averaged around 26 1/2 to 37 inches. The ninja sword was considerably shorter, only 24 inches, and the quality of the swords was much poorer. The reason for the poorer quality was the way they used the sword as opposed to the way the samurai used theirs. Samurai would swing their sword, severing limbs and slashing at the opponent. Ninja, on the other hand, used the sword more in a stabbing motion. To use the blade of the ninja sword effectively you would have to use a sawing motion when the blade came in with the opponents flesh. Another reason for the poor quality of the swors is that since ninja were mostly mountain people and outlaws, they could not afford to hire expert swordsmiths like the samurai could. Also their own swordsmiths did not have access to the right resources to be able to make curved edge swords with well constructed blades. If a Ninja could overcome a samurai he would take his swords, simply because they are better. Although the ninja sword was smaller and poorer quality, it still had its advantages. The scabbard for instance was made longer than the sword, about 3 to 4 inches longer. At the end of the scabbard there was a hidden compartment that was used to hide small weapons such as spikes, daggers or small amounts of poisons. Another use the sword had was that it could act as a small step by jamming the blade into the ground, the ninja could use the hand-guard as a step to get that extra height needed to scale a wall. Because the blade was not very sharp, the ninja could also use it as a hammer by holding onto the blade (carefully) and hitting with the handle. Also it was common to have the tip of the scabbard come off so it could be used as a snorkel.

Bo (Staff) & Jo (Short Staff) : The staff was one of the most important weapons in the ninja's arsenal. It was generally around 6 feet in length, made of hard wood or bamboo and was hollow. The reason for the hollow was another trick of the ninja trade. By flicking the bow with great speed, the ninja could launch a poison tipped dart or small knife out of the open end of the staff, often catching the opponent off guard. Another trick they had for the bo was to conceal a chain inside it. Then, when engaged in battle, it could quickly be released and used as a weapon. This was called a shinobi zue, and was easily disguised as a walking stick or staff.

Kusarigama : The Kusarigama is a combination of a sickle (short scythe) and a long chain with a weight attached to the end of it. The sickle was used in a slashing or stabbing motion, as well as used to block and hook opponents weapons. By holding the chain portion of the weapon, the sickle could be swung around to get a greater reach with it. The chain portion of the weapon was most often used for trapping an enemy or his weapon. Once tangled up with the chain, the ninja could finish him off with the sickle. This was a weapon the ninja invented out of farming tools they used. Shuriken (Throwing Star) & Poison Tipped Darts :

The Shuriken is the trade mark ninja weapon made famous by the movies and stories about the ninja. The Shuriken was simply a flat piece of metal with sharpened points that were thrown at the enemy. The Shuriken was not originally designed as a killing weapon. It was mostly used to distract or deter so the ninja could escape. While in the midst of a get-away, the Shuriken could be thrown at the samurai chasing the ninja, possibly making the samurai think twice about continuing the chase. Although the Shuriken was not intended to kill, it was easily made lethal by dipping the edges in poison. This was effective, but sometimes it backfired when the ninja would accidentally cut himself while digging around for it, thus poisoning himself. Shuriken were also designed to hit the opponent then bounce away out of sight. This way a ninja could fool an unsuspecting guard or sentry into believing he had been cut by an invisible swordsmen. (One of many mental tricks) The ninja would use the poison darts different depending on the situation. It was not un-common for the ninja to carry poison darts in his mouth so they could be blown into the enemy's face at close range. If they needed to kill someone quietly, a dart could easily enter the body and be withdrawn without leaving a mark. From a distance the dart could be shot with a blowgun. Ninja women would hide the poisonous darts in their hair. When the victim was preoccupied with something else, the ninja would stick them with the dart.

Tetsu-bishi (Calthrops) : Calthrops are small metal weapons shaped to that one point is always up. They, like the shuriken, were a weapon used for distraction while fleeing. The ninja would scatter the calthrops behind them and anyone unlucky enough to step on them would not likely continue with the pursuit. They could also be thrown, and dipped in poison like the shuriken.

Shuko (Tiger Claws): Shuko were a pair of metal "claws" attached to the palm of the ninja's hand with a strap. There were usually four sharp spikes on the bottom. These were used in close combat acting like an animals claws. When used the ninja could rip open their enemy with a couple of swipes. The Shuko also acted as a tool that aided the ninja in climbing, much like the claws of a cat. This made scaling walls easier. Finally, the shuko could be used to block or break sword attacks. This is done by catching the sword between the claws and twisting. Probably not a good idea against a Katana or Wakizashi. But would work with weaker swords. Another variation of the Shuko was the Nekade. The Nekade were individual claws that were tied to each finger.

Manriki Gusari (Chain) : The Manriki Gusari was a chain usually about 3 feet long, and weighted at both ends. It was developed as a self-defence weapon but was also a wicked offensive weapon in the hands of a ninja. It was small and easily concealed in the palm of the ninja's hand, or in a sash. While holding one end of the chain, it could be swung around and used as a whip. The weighted end could cause a great deal of damage.

Fukiya : The fukiya, or blowgun, was a staple in the Ninja's arsenal since it was so versatile. The fukiya was used to shoot darts (sometimes poisoned) at an enemy from a distance and, since it made almost no noise, the Ninja's hiding place wasn't threatened by using this weapon. Aside from launching darts, the blowgun could be used as a snorkel while the Ninja was underwater. Since the fukiya was made of bamboo, it blended in with the reeds in the water, therefore enabling the Ninja to stay submerged for hours, if necessary. Metsubishi could also be delivered through the fukiya by shooting small paper containers filled with pepper and metal shavings at an enemy's face.

Nunchakus : Though not a primary weapon of the Ninja, nunchakus (nunchucks) were also used since they could be adapted for many situations. Aside from being easy to carry, the nunchakus were used to defend against most any weapon from a bo to a sword. By trapping the blade of a sword with the chain between the two sticks, a Ninja could entangle and disarm a sword-weilding attacker. The same concept applies to almost every other weapon. The nunchakus were not just used for defense, they could also be effectively employed against an enemy in an offensive way. The Ninja could strangle an opponent or even execute t locks with the chain or cord between the two sticks



Tanto : The tanto, or knife, was an important weapon in the Ninja's arsenal. Like the ninja-to, the tanto was not made of the high quality steel that the Samurai's sword was but the Ninja made up for this by using the tanto as a multi-purpose tool. The tanto was used to pry open door, dig holes or small ditches, or it could be thrown like a shuriken. Of course, the tanto was also used to cut and stab an opponent.

TOOLS : Metsubishi : Metsubishi, or "eye closer", were used to temporarily, or sometimes permanently, blind the enemy. Hollowed out egg shells, paper bags and short bamboo tubes were filled with a combination of sand, metal filings and pepper and were used to attack the eyes of an enemy. Egg shells and paper bags were used by throwing the fragile containers at the opponent's face, causing it to break on impact and scatter the contents across the face and into the eyes. Bamboo tubes were sealed with paper or wax and, when the seal was broken, the tube was flung in the direction of the opponent, sending the contents into the face, blinding him. Usually, metsubisi were used to make an escape when surrounded or cornered or if the Ninja felt there were too many opponents to fight at once. For example, if a Ninja were faced with 5 or 6 opponents, he might use metsubishi to blind 2 or 3 of them while he dispensed of the others. Kaginawa : The The kaginawa, or grappling hook, was a climbing device consisting of a pronged hook with 12 to 15 feet of rope attached. The kaginawa was used to scale walls or to swing across large gaps, however, it could also be used as a weapon. By holding the rope and swinging the hook over the head, the Ninja could strike his opponent with the sharp prongs of the hook or the rope could be used to entangle the enemy and enable the Ninja to strike with another weapon. Shuko and Ashiko : These were steel or iron bands that were tied over the hands and feet and used as climbing aids. With the use of shuko and ashiko, a Ninja could scale a wall or climb a tree in a matter of seconds. In fact, many Samurai were reported as saying the Ninja could "climb like a bear." Metal grips : Since the Ninja had to be prepared to run over any and all terrain, they often carried metal strips with a spiked edge on one site. These strips were tied to the bottom of the Ninja's tabi to gain a better grip over uneven or slippery terrain. These would be the equivalent of the spiked shoes that many athletes wear today. Smoke Bomb : This circler bomb of smoke was made famous by the ninja movies in the 80's. For a quick get away this bomb could be filled with gun powder to make an explosion and smoke "Egg" : "Eggs" are hollowed out through little holes, and then the empty containers are used to store the various ninja powders. They shatter on impact, releasing the powder in a cloud to affect the target.

Skills to develop : Art of STEALTH WALKING : Maintain balance control by allowing your body weight to sink and be carried by deeply flexed knees. to breathe along with your movement. Unconsciously holding your breath can unknowingly produce unneeded muscle tension, and could result in gasping release of breathe if you are startled or accidentally unbalanced. Stay alert to the entire scene. Do not become so engrossed in watching your feet that you do not notice other people an elements entering the surroundings. Use all ts for movement, emphasizing fluidity through the engagement of the ankles, knees, and hips for stepping. Avoid the lazy and dangerous habit of stiffening knees and swinging the entire leg from the hip. Maintain your weight and balance on your grounded leg while you move the other leg into position to bear the weight. When absolute silence is a must, avoid distributing your weight over both legs at the same time. If practical, allow your hands to float lightly in front of and beside your torso, one arm higher and one arm lower, to detect possible obstructions before your committed body weight encounters them. Pause and hold your position if you feel that you have accidentally caused too much noise. Listen for signs that you were heard, such as the movement of others or the immediate silencing of background noise following your slip. Sink a little lower on your knees to physically relax that could normally jump into your body with alarm. Take a deep breathe and release it slowly to further relax. Continue your pause for as long as you feel is necessary to regain composure and allow possible listeners to decide they did not hear anything after all. Be as patient as possible. If speed of travel is not important, take as much time as you can. Impatience and the resultant hasty movement that it encourages are the greatest dangers to the person who must move silently without detection. Keep your movement appropriate to your surroundings. Do not go to greater lengths than necessary to conceal your movement, while at the same being aware of what others entering the area may see if they cannot hear. Total silence may not be needed when moving through wooded or densely populated areas where scattered noise is a natural part of the environment. Also be aware that low profile crawling or sliding ma be the only way to move silently without being seen in some locations.

The Knife : "That's not a knife... this here is a knife..." Since the beginning of time, the knife has proven a very practical and efficient tool for survival. Familiarized most recently this century through a rage of Rambo and Crocodile Dundee type films, the knife is given its due respect. Even with advancements in todays technology, this easily concealed item will be the most confronted weapon on the street or in the work place. Knives and sharp objects can be found anywhere from the toolbox to your assailants back pocket. Practice makes perfect, the more training you have the better. It won't be as easy as learning a few fancy disarms. You have to perform each technique hundreds to thousands of times in order for it to be useful in combat. This could take years when incorporated with other training, that is what makes a real black belt in the warrior arts over a "wannabe" who just expends cash to buy the belt instead of earning it. We emphasize students to be prepared for a realistic situation. We are not saying a student will escape a knife attack unharmed while disarming and locking up his opponent. What we are saying, is that you must increase the odds of self protection through realistic repetition in training. Mind Set When defending against a blade wielding assailant or assailants, one must first accept the possibility of being cut. If one does not accept this likely chance of being wounded, it could result in unnecessary movements and incorrect timing. Fear of getting cut must be overrun with the fear of losing your life. , the knife is just an object, harmless by itself, it is the attacker you are fighting not the blade. Defending against a blade attack is not easy and the focus of training should be directed towards increasing your chances of survival. Your objective is to survive, start to worry about a cut on the hand and you could be in big trouble. Sometimes it is important to sacrifice an area of the body to the blade in order to improve chances for escape or to subdue your opponent. Never underestimate your opponent or your chances If your attacker is unskilled, your odds of surviving are increased, but if your attacker is skilled, it is a dangerous situation giving little chance to go unharmed. There are ways of telling if the opponent is an amateur or expert. It is impossible to know exactly how much knowledge your attacker has. Each opponent should be treated with the same level of respect. The idea is to avoid all confrontations if possible. This concept is especially important when your opponent has a weapon or there are more attackers. This is where reflexive training will increase your chances of escape and survival. Observation of your environment might reveal something to give you an edge. By checking your surroundings you can improvise a weapon of your own. Below are a few you might find practical. Jacket - This can be used to wrap around the arm for protection or used as a weapon to entrap the incoming blade. Jackets can be swung or thrown to aid in self protection. You can use the jacket to strike to the eyes or even make use of the zipper to cut across the face. Belt - A belt or scarf can also be used to entangle the attacker for disarming purposes. A belt buckle may be used to slash at face or hands. Purse or bag - These can be used for protection and weapons alike. They might be used as distractions to allow a quick getaway or chance to attack. Items in a purse or bag might also prove useful. Trash cans, tables, etc. -These can be used as practical barriers between you and your opponent. A trash can lid could be used as a shield, a bottle or other items might also be found. You may even come up with a weapon more dangerous than your assailants. Reality Check Often you will see books, films, goof ninjas, basic karate and the self made black belt demonstrate very unrealistic knife defenses. Reacting to a blade or other weapon by actually catching the weapon with their bare http://coolshack.com/martial_arts/ninja3.html (4 of 11)7/4/2005 1:48:47 AM


hands. This type of action is complete nonsense and very UN-practical. This kind of demonstration will been seen with replica knives (rubber, wooden, etc.) and even then it is still rare. On the Offense When disarming a knife it is important to know your opponents vital points and primary striking areas - practical use of evasion, blocking or deflecting techniques, are important. An understanding of anatomy instructs a student on ways of striking or attacking the opponent. The following are a few primary striking areas that can be used to immobilize or distract your opponent. Knees (kicks) Eyes (clothing, dirt, objects, fingers, liquid, etc.) Throat (in close combat, locks, strikes and chokes) Whenever applying a strike it may be useful to kiai as well. A kiai is meant to break the concentration of your opponent, also to speed up your adrenaline flow which results in a sudden surge of power. A kiai is also good for controlling your own pain and fear. A kiai doesn't have to be loud - it just has to be harnessed. On the Edge The blade itself is another area of importance which can affect how you will defend yourself in a fight. A double edge may be more difficult than a single edge. A longer blade will give your assailant a good reach, however, when in close, it will be difficult to use. A small blade will be weak at long distances, but will prove valuable in tight situations. Whether your opponents knife is long, short, wide, pointed or shiny, they must all be treated with equal respect. Whether you're from Australia or not. Tip of the Tips When confronted with an assault it is imperative to remain calm and observe the situation. Quick tempers and hasty decisions can result in your own tragedy. This way you can get a clear perspective of all the available options. Often times you can work your way out of the attack using intelligent speech or psychology. However, when your opponent jumps from out of the shadows you have to rely on natural reactions (built with repetitive training) for self defense. Below are a few tips to that will help keep you from adding to the list of blade victims: * Avoid dangerous situations. Listen to your gut feelings, sometimes natural instinct is all you have between life and death. Avoid risky and hazardous surroundings where problem situations are more likely to occur. This includes people as well as places. * Stay in control. Never allow your friends, your ego or your emotions affect your reactions. Keep a clear head, avoid interference and make a rational decision. It is always better to respond than it is to react, whenever possible. * Never underestimate your opponent. Do not be trapped with a false confidence. Also, don't rely on looks alone and a knife can be easily concealed. If someone is over confident they might be armed, so be aware and be nice.. Look for signs that determine whether or not your attacker is an amateur or professional, but realize you will never know how much knowledge a person has. * Review and evaluate the situation and surroundings. Can you avoid the situation. Is the reason for combat worth the risk of your life? Can you escape? Is someone's life in danger? Where can you run and what can you use as an improvised weapon? * Stay calm and accept the possibility of being cut. Don't get the shakes because you are trying to protect yourself from being cut. Let your confidence and skill overrule. * Train often and realistically. Training under the supervision of a good instructor in a realistic setting will better prepare you for victory. Experiment with different scenarios and various approaches. Discover what works and what doesn't. Everyone is a potential target Whatever the cause or causes, the threat of a knife attack is real, the possibility of being mugged or physically attacked exists for everyone. It does not matter who you are, where you live or where you work. The fact is it is a possibility. In order for us to learn to defend against a weapon it is important to learn how one attacks or uses the weapon. If you wanted to learn the best ways of defending against a gun you would first have to learn how to use it. Thus giving you background in how your opponent might react or think. This concept is the same with knife training or any other weapon for that matter. The knife has many advantages for the would be assailants know what they are. 1. Easy to obtain 2. Easy to conceal 3. Simple to use 4. Silent and deadly All these advantages only lead us to realize that modern day martial artists should be skilled in knife training. Training The first and most important levels of training start with empty hand against the knife. Next is knife versus empty hand and then knife and weapons versus knife. Considering most people don't carry a readily accessible weapon with them at all times, we must put emphasis on the first area of empty hand training. Tew Ryu is one of the only martial arts schools that teaches its advanced students knife defenses against a real blade. If training only consisted of using a rubber or wooden knife, you would not respect the blade as you would a deadly edge. It must be noted that this or any other training must be done under the supervision of a qualified instructor. Training only with a rubber knife causes you to take chances and develop bad habits that can result in serious injury when confronted with a real life threatening situation. Of course it is important in the beginning to train with a safe replica to ensure safety until the fundamentals and special skills are learned. When you begin training with a real blade you begin to develop confidence in your own abilities and will not let fear overrule your actions in a real fight. Pay attention to your attackers eyes, fear, anger and security are all telegraphed by eye expression and movement. An example of a technique we often use is when you hand over your wallet you might slip it through his fingers or accidentally drop it, that split second he uses to focus on the wallet or ground gives you plenty of time to react. Even the blink of an eye, sudden sound, movement or the inhalation of breath may give you the chance you need if your speed and timing is right. It is usually best to avoid going for the weapon directly. Don't risk a cut leg, arm or worse a cut artery. Sometimes it is better to kick in order to keep distance and avoid getting close or cut. Kicking must only be used by skilled practitioners and best with protective shoes or boots, it is easy to fall or trip. All jumping spinning flying kicks should be left in the classroom. Learn to see a possible attack before it happens, so you can avoid it. You might be surprised how much body language an attacker will translate before he executes his move. If you learn to translate this language you can prepare yourself for better protection. If the situation is unavoidable then make sure you are prepared through hard realistic training by a professional instructor. Nothing can guarantee your survival, but with knowledge in the arts you can gain the skills necessary giving you the defensive edge.

Invisibility : "You might see me, but can you perceive me?" The art of invisibility has always been a popular topic, especially in the media. But who are these masters of the "very hard to see?" Warriors in the woods, Ninja's in black or even the special forces - black, green and aquamarine? I guess it is safe to say that in today's world, we have many students of the art. This popularity was brought on by books, magazines and the ever growing Ninja films - not to mention the fact that it often serves as a realistic tool. Of course other forms of media and entertainment attention does its share to bring awareness to this art. For example, the villain in the "Blair Witch Project," David Copperfield, Rambo, all the good presidential candidates, and perhaps even OJ Simpson. All of which either were masters of stealth, invisibility, survival, hiding, and/or verbal claims such as, "I wasn't there."



Let me start by saying, there are no deep dark secrets about the art of invisibility, (unless of course we really are talking about the above media sources) even though it may create an awe of mysticism in the eye of your adversary. Invisibility is the art of employing a simple technique (or techniques) and skills utilized in the most effective manner to make one hard to perceive or hear. None of what you learn here will teach you to just disappear. If an instructor boasts about his skills to turn invisible - simply bring him back down to earth by asking them for a visual demonstration. The problem with most schools on eclectic warrior arts is that they make claims that can never be proven. This and all articles on Total Warrior Internet Magazine are based on realistic approaches towards training. We will not (and I hope you don't either) concern ourselves with black magic or concepts based on ancient history and story telling. If you truly want to master the art of invisibility, I would suggest you throw away your ninja books and text guides to wearing black. Instead, turn to the real masters of the art - illusionists and magicians. These masters of perception will offer far more in the art of disappearance, than any real ninja could muster up. Please note, we are talking about the art of illusion and the way a person perceives reality. I highly doubt a magician will be able to teach you the physical side of invisibility: such as footwork, climbing, moving quietly etc. So, until you manage to track down David Copperfield - here are a few tips to improve skills in the physical realm. To be invisible, you must not be seen or heard in a way that would distinguish you as YOU. that famous forest with that famous tree that falls with no one to hear? You know, the one that ends with this question: If there is no one there to hear, does it make a sound? Once and for all "yes," the tree does make a sound. Why, because if you were there - you would hear it and you would say, "wow that was loud." Regardless of your presence or your perception of reality, the tree will always make the sound. The real question is simply confusing how we define the word "sound" and associating that to our hearing. When in fact the falling of the tree creates a noise as a fact regardless of the way we perceive definitions. This is another concept of invisibility. Both the theory and the tree remain elusive and thus invisible. Okay, let me take you out of the woods before we all get lost. The concept of invisibility means that you can make sounds and even cross within your opponents visual sight, but you must not be perceived. So, you can be within your enemies eye sight, in fact he may even see you. However, because you have blended into the surroundings, you are not perceived. Another example is "Where's Waldo?" You may be looking for Waldo, who is well within your sight, but unless you perceive him, he remains invisible. Invisibility is the art of blending in, becoming an insignificant part of our environment and disappearing within it. Hey, this reminds me of high school. So, in order for us to remain invisible - we have to master the art masking any and all indicators. An indicator is something that would basically say, "hey, it's me and I'm hiding behind this rock." We mask indicators by developing our skills in one area - Camouflage Camouflage Obviously you want to remain quite when traversing through the woods or a dark alley. The key to concealment is learning and practicing a few techniques. Camouflage is usually seen as green patterned clothing for use in a forest. Camouflage (whether artificial or natural) is actually any and all skills you use to remain unseen. This includes - sight, sound, smell and sense. Sight The human eye sees movement first. So, this is your number one priority, in order to stay out of sight, you need to know what you can do and what your opponent is trying to do. This goes for all your invisibility training. Here are the basics: Don't be a jerk You need to lean to move with patience and fluidity. Jerky movements are easy to see. Also, don't go disturbing the peace in a natural environment. A flock of birds taking off is a sign that something is in the area. Better to make a loud sound than to quietly come into view. If you are heard - it does not mean that you will be perceived. Even if it is obvious that you are there. However, if you are seen - not only is it obvious that you are there, but your exact position is now revealed. What is that? Is that a big black head? Your visual goal is to remove the distinct shape of the human form. You will also need to pay attention to shape and lighting. Think of what might create a silhouette and know when you should hide, crawl, walk, stealth or run. What kind of uniform or outfit do you have on? Do you stand out or blend in? Are you carrying a big sword or a what looks like a tree branch? Form - an opinion Depending on your situation, jogging clothes often make a much better outfit for urban invisibility. Why? Well, what if you happened to be revealed? A jogging suit is much more believable than the embarrassment of having your tabi out in plain sight. For photographs and Ninja films the uniform portrayed looks great, but it is more effective to look like a fallen tree branch than a model for Ninja magazine. Colors for concealment In order to be invisible, it is crucial that you wear clothing or material that blends in with your surrounding environment. Colors should have the same intensity, brightness and contrast in order to remain consistent. Night: Dark blue, black, gray or other dark color Country: Green and browns City: Gray sometimes blue Just because it is night, does not mean a black uniform from head to toe will make you invisible. That outfit will make you stick out and be easy to spot when moving. Unless you remain deep in the shadows, a dark black outfit is not realistic. , black isn't a very natural color - the sky is dark blue not black and trees, leaves and grass are usually made up of greens or browns. Also, a black uniform is limited to night work while a green and brown uniform can adapt when the sun comes out. , the goal is to remove the distinct shape of the human form. Color choices can help to do this. Movement Always move from shadow to shadow, rock to rock, obstacle to obstacle. Other strategies and body control are used in combination with your movements. The more you look like part of the surroundings and the less you look like a human hiding behind a bush, the more likely you will remain invisible. You will usually use your environment in one of two ways: either to hide behind or blend beside. If the area you are hiding behind does not fully conceal your figure or form, then it is important that you shape your body to look like that of your cover. For example: laying down in a field, crouching amongst rocks and extending your arms and legs along tree limbs and branches. Night vision It can take a person up to thirty minutes for their eyes to adapt to the darkness so that they can see. Anyone without this timed night sight, will have greatly reduced vision when looking out into a darkened area. A flash of light is all that is necessary to ruin a persons night vision for another twenty to thirty minutes. What's the tip? Don't lose your night vision and if you can, keep your opponent from developing his. This will allow the shadow warrior to observe his enemy yet still remain invisible and camouflaged in the night. Note: when watching for things in low light, you will have a better chance of seeing them if your eyes remain unfocussed. You can do this by looking in a circular motion around the object, for example a circular or figure eight pattern. Most of this is about awareness - your next step will be to develop skills to improve your ability to stay quiet and unseen. Sound Another major ingredient to the art of staying invisible is your ability to move quietly through various terrain. Following are some practical techniques for stealth, it is up to you to actually make them work. After time and training, you will begin to develop your own style of stealth. Some will be slight variations of what you learned here and some will be completely new and unique to your individual style. These techniques alone will not make you move through the night as quiet as the wind. This information is only a principle to aid in your practice and is of little use by itself. You must practice until you become very good at moving silently, in turn - staying quiet. In order to move in silence, we must pay attention (but not focus on) what it is that makes noise in the first place. The next step would be to reduce these "here I am's" as much as possible. In training, you can practice on various terrain's to get a feel of the different techniques you can use. Making choices Okay, you come to a point where you must choose one of two paths. One path is open and laid with sand while the other is narrow and laid with trees. Which path would you take? The sand path will be quieter to move across unlike the tree path which has leaves and branches strewn about. However, the tree path offers cover and camouflage and as we learned earlier, it is better to be heard than to be seen. These type of questions only help to explain the variety of choices you will have to deal with. If you prepare - you can handle the situation appropriately. Basic guide to STEALTH



S - stepping T - touch E - exhale A - attention L - listen T - tolerance H - harmony Stepping This is your most important skill to staying quiet. You depend on your foot work. Practice won't make it perfect, but it will sure make a difference. Before completing a step, keep your weight on the ground leg until the other leg is in position. This requires balance and harmony to master. Touch Stepping is only half the battle. Use your hands and feet to feel for obstacles and for clearing the way. Thick soled shoes make it difficult to feel and manage over a noisy terrain. Either where light shoes or go barefoot. The more you can feel your surroundings, the better you chances are of moving through them quietly. Exhale Don't hold your breath when you move. Breath as you step, twist, turn or lower. This will keep you and your muscles relaxed and assist in your ability to adapt with your movements. Attention Pay attention to your surroundings and not just the ground below. Keep a circular vision at all times - focus when you step, but keep your attention on your environment. This includes all your senses and not just visual. Listen Stay alert to the sounds you are making and pay attention to the way these sounds correlate with your surroundings. Stop completely if you make a sound, listen for any reactions or any signs of being discovered. Keep a constant ear for any changes in the environment. Tolerance Patience is your key to staying quiet. If you are not patient, your movements will be jerky and mistakes will occur. How long can you tolerate standing still? How long can you tolerate remaining absolutely quiet? How long can you tolerate holding your leg frozen in the air prior to stepping? Harmony Stay focused, keep the knees bent and move with all the muscles and ts flowing naturally. Move like a cat - balanced, patient and fluid. Techniques for stealth Below are the eight different techniques we teach at TRMS to develop your footwork skills. These skills must be taught to you by an instructor. Spend time with each one separately, then as your skill improves, combine the techniques, so that you are simulating practical use of each. 1. Normal stealthy step 2. Cross step stealth 3. Cat stealthy step 4. Sweeping cat step 5. Stealth crawling 6. The dropping squat 7. The cross crouch 8. The fall back Practice The only way to develop your skills is to actually practice. Since sneaking around other people may cause some trouble - I suggest you find some other means to practicing your footwork. Here are just a few ideas expand on these and come up with a few of your own. 1. Here kitty kitty Try sneaking up to a sleeping cat and touching it before it discovers what you are doing. Please note, that this only works on cats that are active and healthy. Also, stuffed animals won't work and by "cat" I mean a house cat - not a mountain lion. 2. Snap, Crackle, Pop Another fun thing to sneak up on is a mini-cassette recorder. You need one that has voice activation. Create a distance between yourself and the recorder to sneak up on. Then, play it back to see if you could hear yourself getting closer. Pay attention to all the natural sounds in the environment. Try this in different terrains. 3. Don't turn around Games are a great way to improve you silent footwork. We play a lot of these at camp, the only requirement is having at least one more person to play with. Here is one that we use a lot. Have your partner stand about 50-100 feet away. Your job is to sneak up to him/her and touch them on the back or shoulder without them knowing you are there. Your partner is trying to listen and has one chance to turn around, but only if you are within touching distance. You win if you touch him/her first and they win if they touch you first. 4. Boo! This next one requires that you know your partner or the other person very well. If you haven't guessed it yet - this exercise requires that you sneak up and scare someone. I used to do this to my family and friends all the time and I was lucky enough that they had a sense of humor. Some people are not very nice and will get very mad if you scare them. So, make sure you know who you are scaring. I have a few interesting stories that came about from the "boo" tactic - for example, my brother once did this (by accident) to a police officer on duty. Although he scared the beegeebers out of the officer - he almost got in a lot of trouble. The rest you will have to come up with on your own - either that, or us at a training camp. A note on Terrain Dry areas are the loudest and unless you plan to carry a bucket of water with you, try to either avoid dry areas or practice moving through them. Snapping twigs are probably number one cause to losing your concealment. Smell You never want to hear, "I smelled you a mile away." Along with clothing, you should also conceal any and all other things that might give you away. This includes your smell. Although this may sound obvious it doesn't always smell that way. Cologne and perfumes are easy to smell, so is Mcdonalds. The closer you are to your environment in all aspects, the more likely you are to remain camouflaged within it. Use natural oils from your surroundings to help mask your scent. Heck, take a mud bath. Other Factors Remaining invisible is not just a few concepts thrown together to give you an idea about stepping on twigs. You need an overall development. This requires expanding your thoughts and thinking laterally. Many things could have an affect your ability to stay concealed. Here are a few examples: Are the people you are hiding from are expecting company. Are you in a group - in which case if one member snaps - you all snap. Unexpected weather or terrain. The concealment you had last night - is gone. A dog is barking at what smells like a big mac and fries. There is a nearby accident and you are the only one to help. Did you go to the bathroom before you left the house. These are just a few - but, if you think about them, you could prepare and or develop a better understanding for the art of invisibility. Don't expect any article to offer you the secrets to mastering the martial arts. No matter how much you know, you still need to develop that knowledge into action. If you want to be good at kicking - kick. This is the same for vanishing into thin air.



Shuriken Jutsu :

Shuriken are primarily weapons of distraction. To be thrown to escape or to cover other actions such as a sword draw. I have only included bo shuriken in this essay as I consider senban shuriken very easy to throw, needing considerably less skill than bo shuriken. But then again, as a weapon of distraction it is not important whether or not the shuriken sticks to it's target, just that the target tries to avoid being hit.

Perhaps the first thing that should be discussed, is the difference between Bo and Senban shuriken. Senban shuriken are flat piece's of steel, have four points and are square shaped. Bo shuriken are rods with one or both ends ending in points. Senban shuriken are very easily thrown by holding it in the palm of your hand with a finger on one edge. The shuriken is thrown by snapping the wrist forward. Bo shuriken is a little harder to throw. The shuriken should be gripped in the palm of the hand, upright, so it sits along side the middle and index finger. Start a short distance from the target and stand in Doko Ichimonji no Kamae, with the hand holding the shuriken well back behind your head. To throw the shuriken, push your palm toward the target, keeping your fingers upright.When the arm is straigh, the shuriken is released and flies straight toward the target without a rotation (short distance). This method is effective upto 8-10 feet. As you go further away from the target, you compensate by throwing the shuriken harder. It is important not to spin the shuriken at this point. Further distance's are achieved by placing the shuriken point down in the palm and allowing the shuriken to rotate 180 degrees (half a turn). The throwing method is the same. This may take some practice to get consistent.

There are several methods to throwing bo shuriken. The way described above is the way usually demonstrated by Shihan in demo's in Japan. I have learned several other methods for throwing shuriken which are also very interesting. One such method was taught by Dave Heald (Judan Shihan) while at a course in Liphook, Guildford. It involved using San Shin no Kata as a throwing method and was linked to Kenjutsu, bringing us back to the subject that shuriken are a distraction tool. Here are the techniques studied that day. Chi no Kata Tori is in Seigan no Kamae with daito drawn. Letting go with the right hand, thrust the daito into Uke's face while drawing the shuriken from obi at small of back.Perform Chi no Kata , releasing shuriken as though striking with san shitan ken.As the right hand swings forward the left hand draws the sword to the left and behind. After the shuriken is released, regrip the daito with the right hand and cut gyaku kesa giri (R-L). Sui no Kata Tori is in Seigan no Kamae with daito drawn. Letting go with the right hand, thrust the daito into Uke's face while drawing the shuriken from obi at small of back.Perform Sui no Kata. As right hand extends to stike ura kitan ken, release the shuriken. As right hand throws, the left hand moves the sword out to the left. After the shuriken is thrown right hand regrips the daito and cuts with kesa giri (R-L) Ka no Kata Tori is in Seigan no Kamae with daito drawn. Letting go with the right hand, thrust the daito into Uke's face while drawing the shuriken from obi at small of back.Perform Ka no Kata. Release shuriken instead of striking with omote kitan ken. As shuriken is thrown, left hand moves daito to the left side of you head. After shuriken is thrown, right hand regrips daito and cuts kesa giri (R-L). Fu no Kata (The throwing techniques for this form was the style as described at the top of this page. ) Tori is in Seigan no Kamae with daito drawn. Letting go with the right hand, thrust the daito into Uke's face while drawing the shuriken from obi at small of back.Perform Fu no Kata. As the shuriken is being thrown the point of the daito was lowered to the floor. After throw the daito was regriped and tsuki at Uke. Ku no Kata (Ku no Kata comprised of throwing mulitple shuriken with both right and left hands.) Tori is in Doko Ichimonji no Kamae, with shuriken in both hands. Throws multiple shuriken with right hand (any of the above methods), while stepping forward with the right foot, then throws the shuriken in the left hand ( any above method) while stepping with the left foot. These techniques were a lot of fun to do. Don't get to hung up on making the shuriken stick into the target. If uke flinches or tries to block the shuriken, then that's the opening your looking for to cut him down. Used in conjunction with metsubushi, shuriken can make an excellent tool for escape.

Drawing the sword



While the ninja did not regard their shinobigatana (short sword) with the same reverence the samurai gave their exquisitely forged katana, they nonetheless knew and greatly appreciated its incomparable value. It was an extremely versatile weapon/tool that often made the difference between escape and capture life and death. The saya scabbard was usually longer than the short blade, the extra space used to hide messages, blinding powders or explosives; the extra-long sageo scabbard cord could be used for any number or extracurricular activities, including tying up a captured enemy or as a trip wire across a doorway or forest path. And because it was short, the shinobigatana could be easily carried, especially in areas where the cunning ninja were most often to be found: in narrow corridors and alleyways, in tight crawl spaces, up among the tangle of branches of trees or down in a trough or a hollowed-out log. Also, because the blade was not honed as precisely as the supersharp katana, the ninja could not wield it in the same manner as the samurai; instead, he relied more on body weight in motion in order to execute effective cuts. The ninja made better use of his weapon with slamming stabs and thrusts and sawing dragged-edge cuts. In Part One I demonstrated for you the way of loosening the sword and then drawing it. If I am correct, most of you concentrated your attention entirely on the sword; perhaps some of you observed the body motion; I think very few of you noticed the feet. And so, in the following specially prepared photographs I have demonstrated the feet of the ninja in the iai sword drawing technique. After that I have instructed on different ways of carrying and drawing the sword from various positions. And then, in conclusion, I have demonstrated the proper way to sheathe the shinobigatana. After all, once a weapon has been drawn and served you well, it should be put away properly. Please note that I am holding the sword guard tightly with the thumb of my left hand while keeping my right foot diagonally to the right, backward. This shows my determination not to draw the sword at random.

However, I am obliged to draw the sword as I shift my body weight and my left foot diagonally backward in order to cripple the attacker's fighting power. THE EIGHT WAYS OF FOOTWORK The iai sword drawing techniques require free movement of the feet. Now let me show you the shinobi iai happou sabaki (eight ways of footwork of the ninja iai) (1). Please watch the cross carefully. First you move your feet sideways. Take a step to the right by moving your left foot before your right one (2). Moving to the left you move your right foot before your left one (3). Moving your left foot diagonally to the left backward (4). Moving your right foot diagonally to the right backward (5). Moving straight forward (with the right foot because the ninja is right handed)(6). Moving diagonally to the right forward (7). Moving diagonally to the left forward (8).

Attaining Invulnerability : Invulnerability is an attitude, a quality, a way of being. It is not so much a static state as a fluid process. To become invulnerable is to become inaccessible rather than indestructible. There is no such thing as absolute physical invulnerability. Here are ten steps to achieving invulnerabiliy in your life. 1. Be calm, still and centered. Stillness is first a matter of physical arrangement, then of mental quietness. Calmness results from stillness maintained over time. By themselves, stillness and calm are fragile conditions. Centeredness is stillness and calm in the face of outwardly chaotic or threatening conditions. Centeredness is a function of motion and centricity. The centered person, though outwardly still and calm, operates at a minimum of two levels--one visible and apparent to others, a second hidden and invisible. It is this second level that is ceaselessly moving and changing, adding fluidity and unpredictability to one's life. 2. Be present focused. To divide your attention among past, present and future is to weaken yourself. To focus exclusively on the present is to vastly increase your powers of concentration and execution. The key to present focus is full awareness. The ronin's code, "Arise every morning, ready to die", represents an extreme example of internalized present focus and a major element in attaining practical invulnerability. When you follow this code, there is an implicit obligation to "keep the ledger balanced" with all others on a daily basis--a not inconsiderable task. Present focus enables you to experience the process fully without being preoccupied with the result. 3. Be open to experience. Experience is a chain of significant events. So there are two elements here: openness, and the capacity to discriminate between the significant and the trivial. This form of discrimination arises naturally from full awareness, particularly of the "still small voice" of intuition. Openness is true power, for only as you are open does it become possible to , blend, and redirect. 4. Touch the earth gently. Experience should be savored rather than devoured. Think of touching a cloud, holding a newborn in your arms, or laying a needle on the surface of the water so gently that it does not sink. The secret of eliciting a positive response to life lies in touching it gently. Gentleness is true strength. 5. Become a warrior. To become a warrior is to be totally committed to what you are about in this life--to discover your own truth and live by it. Nothing less than total commitment results in mastery. Warriorship is neither a religion nor a philosophy. It is a way of life that demands everything you have to give, and rewards accordingly. But it is important to understand that neither the paths nor the rewards of warriorship are necessarily the "world's". Warriorship begins in transformation and ends in transcendence. 6. Live tactically. To live tactically is to deal with the issues of life and of this world wisely, effortlessly,and purposefully. Effective tactics are based upon overriding "strategies". A warrior lives tactically, a master lives strategically. Tactics are personal and situational; they depend on the person employing them and they can vary according to the situation. Here are seven examples of tactics: (1) Make decisions so carefully that nothing can disturb you or cause you to lose your balance (Don Juan) (2) Become inaccessible or accessible only by choice (3) Choose your time and your turf (4) Learn the wisdom of not-combatting (5) Know your enemy (6) Allow (and arrange) the facts to speak for you (7) Don't allow others to make you part of their problems. 7. Recognize paradox as a condition of this life. Paradox--when things are not as they seem to be, or when two truths appear inconsistent with one another--will always attend residence in the human body and in this world. Paradox is part of the "cloud of great http://coolshack.com/martial_arts/ninja3.html (9 of 11)7/4/2005 1:48:47 AM


unknowing" and evidence that the human and divine order are quite different. To it the existence and legitimacy of paradox in your life is to increase your openness to new learning. 8. Acknowledge a higher power. This is faith put to the test, and it makes a difference between an ordinary and an extraordinary life. The key to acknowledgement is letting go--of your prejudices, your favorite positions, and your obsession with being "right". Faith is evidence of openness. 9. Be willing to act on faith in the absence of fact, and the presence of doubt. Faith can be "the substance of things hoped for, the evidence of things not seen." Faith is acceptance of what you know even though it conflicts with your logical/factual mind set. 10. Practice loving unconditionally. Along with faith--unconditional love--can "move mountains", repair damaged relationships, heal wounds, and bring harmony into your experience as no other quality can. But, not only is it the final step in attaining invulnerabily; it is the most difficult.

Ninja Philosophy in our lifes : The Ninja still exists today with its philosophy being practiced in business world. The ultimate strength of Ninja that turns impossible to possible is the result of the technique that was developed to bring discipline to body and mind in perfect balance. Learn and practice the ultimate strength of Ninja which will lead you to play an initiative role in business and interpersonal relationship. Ninja-Web believes in your freedom to think big thoughts and tackle important challenges. Why spend your day fussing with a computer when you took this job to care for patients? Or to preserve a dying forest? For us, technology is simply a tool to give you the information and freedom you need to solve real problems, the kind that require a human brain and an even bigger heart. That means our applications are swift, silent, and self-sustaining. The way they should be. In every endeavor we strive for: Simplicity and Elegance. Lean, fast, sensible applications using clean and intelligent code. Intuitive Interfaces. We flatten the learning curve by creating common-sense interfaces and offering built-in context-sensitive help. Distributed Labor. By involving your audience (e.g., customers, ) in the maintenance of the application through preferences and other customizable options, your workload lightens while their interaction with you improves. The Right Answer for the Right Problem. We don't throw the latest or coolest technology at the nearest problem. We apply the right technology to the right problem, or we apply none at all.



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