Authentic NinJutsu Dave Giddings

What is authentic ninjutsu? Is it just fantasy martial arts based on a hugely exaggerated urban myth? It is interesting to see sometimes the reception ninjutsu practitioners get with other martial arts. It seems to vary from wry amusement to dismissiveness. So how can we present a true or authentic view of this art — and should we? So, to answer the last question first, should we? Well, there are tens of thousands if not more practitioners of Bujinkan budo taijutsu around the globe, so maybe we should. But wait, we said ninjutsu, not budo taijutsu, so why the change in terms? Well, for this there’s a bit of history needed. When Hatsumi sensei first brought the art to the public, through people like Stephen Hayes, Brian McCarthy, Bo Munthe it was focused on ninjutsu — particularly Togakure Ryu ninjutsu, a 1000 year old tradition. But when this was hijacked by the Hollywood ninja boom of the 80’s it skewed peoples perspective. So, to distance the art from this over-the-top superficial celluloid presentation, the term Budo Taijutsu was used to represent what the Bujinkan trained in.

Does that change what we are talking about? Not at all! The Bujinkan is an organisation that has roots in authentic ninjutsu practice. A bit of a bold claim, but there are some simple tests or meters this can be measured against.

Firstly: is there a lineage that can be traced to the time in Japan that ninjutsu was used? Well, Togakure Ryu was developed in the area that is now known as Togakushi. There have been historical documents that show this was the region where the ryu originated from. Japanese history professors who delve into military history all agree that the “Kami” or deity of the Iga and Koka Shinobi came from the Togakushi and Iizuna Mountains. The roots of all ninjutsu are tied to Togakushi and the shugendo known as Izuna no Ho that was practiced there. The Nagano prefectural government acknowledges that the Togakushi Mountain was a hot bed of Shinobi recruiting activity, all through the Kamakura era and Muromachi era (1185 to 1573).

Secondly: does the art reflect forms that promote escape, evasion and survival? The Bujinkan is the only ‘ninja’ art that has techniques specific to the use of metsubishi (blinding powders). It also has techniques and practice that emphasises evasion. It is interesting to note when Hatsumi sensei shows techniques he finishes a lot of the time by walking away from the opponent — emphasising escape from the conflict. One of the big differences in this art and others is its never about ‘winning’ a fight, its more about survival from the encounter.

Thirdly: the dynamics of techniques, can they be applied to any weapon or tool used without a completely new system needing to be learned? The taijutsu in the Kihon Happo and San Shin no Kata are the foundations or building blocks that is used in all applications, whether armed or unarmed. The footwork builds the principle of avoidance, distancing and opening avenues of escape. The strikes, locks and throws are similarly adaptable. A lot of the individual locks, throws and strikes are found in other arts — the difference is in the application. That comes from the principle of the second meter — escape, evasion and survival.

Same stance — different weapon

How the Bujinkan trains does therefore reflect principles of ninjutsu. So why do people see it as less than authentic? Some of that will be down to the individuals pre-existing bias. They may feel that it is not as effective as their own art; or be unable to look at it without the mass media / film images colouring their perception. It also needs to be acknowledged that a lot of reputable Bujinkan teachers (the author included) will use almost stereotypical ‘ninja’ imagery to promote classes, raise profile and, sometimes, just for fun. This can be used as a reason to dismiss the effectiveness or authenticity of the art, but it should be more seen in the spirit intended.

How do we tell ‘true’ ninjutsu from unrealistic or ‘Hollywood’ ninjutsu then? I mean all the above seems well and good but making a call on what is real and what is imitation is harder. Some simple measures to use:

• Does it look like karate or kick boxing in its movements, but in black gi (with or without masks) = not ninjutsu; • Does it talk about winning one on one fights = not ninjutsu; • Is there a lot of rigidity in the postures, a lot of shouting (kiai-ish) when striking = not ninjutsu; • Do they use (don’t get me started) straight swords = not ninjutsu; • Do they use nunchaku, Sai, chain whip = not ninjutsu; • Do they promote grappling on the ground one-on-one, passing guard, etc = not ninjutsu

So, what is ninjutsu?

They promote having the right distance from the opponent to avoid strikes while being able to strike; they use the Ten Chi Jin as a syllabus; they emphasise being relaxed when striking; weapons work is related to the unarmed dynamic; when holding a lock or restraint there is emphasis on being aware of other opponents; use of natural obstacles to impede opponents; escape using distraction and disabling non-lethal techniques. To be honest defining what ninjutsu is can be a lot harder than what it is not, but hopefully this gives some indications on what to look for.

The final point to make on authentic ninjutsu — does it need to prove itself to the martial art community as an effective art? No! Just as with many martial arts, it will suit some, and not others. But this is more about what is authentic ninjutsu, and hopefully this has discussion has illustrated this.

Traditional stance dokkou

Above: training ; Below: Togakushi Shrine

About the Author: Dave Giddings has studied Ninjutsu since 1987, training in Germany, the UK and in Japan as part of the Bujinkan. He has organised and led demonstrations at national shows and written articles on this subject for national martial arts publications.