Togakure Daisuke

: Togakure Daisuke
was born in Shinsyu, near to Azumino
1st Soke
province during the Oho era (1161-1162), at the time of his youth he was known as
Nishina Daisuke. Daisukes father was Nishina Yukihiro, and was a senior vassal
(Samurai) of Kiso Yoshinaka, cousin of Minamoto Yoshitsune, and Minamoto Yoritomo
(the first of the hereditary Shogun's). Nishina Yukihiro Daisukes father was also killed at
the Awaza no Kassan.
In the 1180's, Daisuke was the second son of Yukihiro, fought for the losing side in a
battle in the army of Kiso Yoshinaka. After the battle he managed to escape across
Japan, where he finally ended up in Togakure village in the Nagano mountain region
(Togakure village is now called Togakushi village).
Here he studied the Shugendo sect of Buddhism, and learnt Ninjutsu under Kagakure
Doshi. Kagakure Doshi is reputed to have been a Ninja from the Hakuun Ryu.
Another theory about how Daisuke came to meet Kagakure, is that Daisuke went first to
Iga after the battle, where he was found by Kain Doshi (another name for Kagakure
Doshi), whom some believe to be his uncle, but this cannot really be verified.
Apart from Daisuke, Kagakure also taught Shima Minamoto (who was to become the
second Soke of Togakure Ryu). Kagakure had found Shima injured after a battle he had
taken part in. Daisuke later took Shima into his care, and continued his training.
Kagakure Doshi, taught Daisuke, the Happo Hiken, which included early forms of
Jojutsu, Sojutsu, Naginata, Taijutsu, Muto, Koppo, and Shuriken. This may have been
related to the early origins of the Amatsu Tatara Hibumi. A set of scrolls on warfare
written in the 6049 ad. The Ongyo Jutsu originates from this Amatsu Tatara Hibumi no
maki, being introduced directly from the Hakuun Ryu in to the Togakure Ryu.
When Kagakure took care of Daisuke he taught him all of the Hakuun Ryu skills.
Daisuke adopted Kagakures warrior teachings (Happo Hiken) to his own Shugendo
training, and the beginnings of the Togakure Ryu were formed. Togakure Ryu never had
an official founding, as do some martial arts Ryu-ha. In the beginning there was Daisuke,
his son, who was his first student, and Shima who worked, and studied with Daisuke.

TOGAKURE RYU NINJUTSU

"Hidden Door Tradition, Stealth Methods"
Ninpo Taijutsu
Kamae
Ichi no kamae (Hira no kamae)
Hira Ichimonji no kamae
Hachimonji no kamae (Doko no kamae)
Happo Gakure no kamae
Tonso no kamae
Taijutsu Ukemi Gata
Kaeshi Dori "Turnover attack"
Ken Nagare/Ken Nagashi "Fist flow"
Ichi no Kamae "Posture of one"
Itto Dori "One sword catch"
Yoko Geri "Side kick"
Itto Geri / Itto Giri "One sword kick"
Shige Gaeshi/kasane Gaeshi "Lying-On-Top counter"
Shige Dori/ kasane Dori "Lying-On-Top catch"
Sora Tobi
Yoko Nagare "Sideways flow"
Ushiro Nagare "Backwards flow"
Naka Gaeshi "Front somersault" (Chu Gaeshi)
Yoko Gaeshi "Sideways somersault"
Tobi Chigai "Leaping somersault" (Tobi Gaeshi)
Itto Nage / Itto ryu dan "One Sword Throw"
Teppan nage
Kiri Kaeshi "Cut reversal" (Kiri Gaeshi)
Sute Mi
Santo Tonko Gata
Migi Kata Ude Tonso Gata "Right single-arm escape form"
Hidari Kata Ude Tonso Gata "Left single-arm escape form"
Migi Te Kubisuji Tonso Gata "Right hand nape escape form"
Hidari Te Kubisuji Tonso Gata "Left hand nape escape form"
Ate Komi Tonso Gata "Striking-In escape form"
Kote Uchi Tonso Gata "Forearm strike escape form"
Migi Uchi Tonso Gata "Right strike escape form"
Sayu Kumogakure no Kata "Left-Right cloud hiding form"
Kosei Kirigakure no Kata "Offensive mist hiding form"
Happo Kirigakure no Kata

Ninja Bikenjutsu
Kamae
Ichi no kamae
Seigan no kamae
Chudan no kamae
Gedan no kamae
Tosui no kamae
Hasso no kamae
Daijodan no kamae
Kasumi no kamae
Totoku Hyoshi
Kata
Hiryu no Ken "Flying Dragon Sword"
Kasumi no Ken "Mist Sword"
Muso no Ken / Ura Nami "No Thought Sword Posture" / "Inlet Waves"
Dakai no Ken "Striking and Felling Sword"
Issen Ken "One Flash Sword"
Raiko no Ken "Thunder Light Sword"
Itto Nage / Itto ryu dan "One Sword Throw"
Itto Giri
Kiri Kaeshi
Sute mi
Metsubushi
Kage no itto
Ninja iai / Shinobi iai
Te no uchi / Katate Nuki (Single hand draw)
Sageo gata sono ichi
Sageo gata sono ni
Tai wari itto (itto ryu dan)
Kage no Itto (hidden draw)
Shinobi iai

SANPO HIDEN GATA

Senban shuriken
Shuko
Shindake
GOTON NO JUTSU
ONGYO JUTSU

TOGAKURE RYU DENSHO

The postures of Togakure Ryu.

This is a more pushed back version of Gyokko Ryu

ichimonji no kamae.

45-degree angle (stay close to the opponent) or side to

side for blocks and attacks.

This kamae was for throwing Bo shuriken at the

opponent, amongst other uses. Also known as Doko No Kamae.

This kamae is for using metsubishi (blinding powder).

This kamae is for throwing senban shuriken at opponents and others.

Note- Shuko are used with these techniques.

Attacker is in daijodan and attacks.

Step to a 45-degree angle forward with front leg to the

outside of the opponent..

The back leg then places the knee down, (this may not
always be the case) make sure you protect against the attackers knee, also that you are
close enough to block the sword (for a cut) if need be.

Spring up and jump toward the attacker.

Front double kick with both feet on the opponent.

Land and guard.

The opponent falls.

You can change this to the inside of the opponent.

In this version the knee does not touch the ground, the
object is to be low, then spring high.

This is very important to use the arm and shoulder to

block for incoming cuts if need be.

Attacker in daijodan.

Go to the outside in a 45-degree angle, bringing the rear

foot forward (could use yoko aruki- cross step) on this technique.

Left knee goes down and a right fudoken, shinkenken or

palm strike with the shuko.

Then after striking use the shuko, one on each of the

opponents feet.

Then roll away, never taking your eyes off the opponent.

Roll into a modified ichi no kamae.

Now, the other side.

Note: that you can use the front foot for stepping and the
rear can go down on the knee.

Tsuki or shuko strike to the opponent.

Still strike the opponent with the shuko.

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Then roll behind the opponent.

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45-degree step forward to the outside.

Then protect with the lead hand (guarding the sword,

weapon) the rear hand can perform an urashuto to the temple or neck. To cause as much
damage as possible use the shuko against the neck or temple.

Note- the shuko hand guarding the weapon, actually can

attack the back of the opponents hand or wrist, this will stop the opponent from cutting,
grabbing the opponent here will also cause much pain.
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When using the shuko on the inside, perform an

omoteshuto and use the metal band at the base of the hand to hit the temple or neck. The
claws can be used if needed. Note- the hands are switched to which is guarding or
protecting.

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The hands can be switched here to use the shuko if

needed.

An omoteshuto can be used here if desired.

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From the front.

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A leap can be used here to close the gap.

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Step in with the rear leg and catch the sword blade with
the shuko claws, (or under the tsuba, or the tsuka) or opponents hand.

A urashuto can be performed here or a slap across the

face with the shuko and then a urashuto.

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Then catch the sword tsuba or tsuka, or opponents hand

and take the sword away from the opponent.

Here you can use both hands to catch the sword.

Then perform an urashuto or palm strike with the shuko.

Take the weapon away.

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Same technique, but use an elbow to hit to the face when

coming over to control the sword.

A kick can be used to get the opponent to loosen up.

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When grabbing the sword, place the tsuka under the

armpit and guide the blade with the other hand.

Shuto can be used or Ura palm strike.

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Used the caught sword to cut the opponent.

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Attacker performs a Tsuki. Defender in Hira Kamae.

Evade to the outside by 2 ways, stepping at 45-degree

angle forward or leaning to one side.

Perform a geri to lift the sword.

Perform a Tsuki or palm shuko strike to the ribs.

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From the front view.

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When holding a sword wearing shuko use the shuko to

hold the sword, do not use the fingers, the strength is not enough.

Go down on the knee with the rear leg.

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Cut from left to right, from the opponents hip to the

shoulder.

This is a Gyaku hasso giri like cut.

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This technique is used hide on top of walls and

buildings.

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You can attack with other weapons other than the

geri, the kick is just an example.

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Then after attacking use the wall to disappear.

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This was used in ancient times to escape and rain down

shuriken on the opponents that are chasing you.

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Get in between the attackers and then use Yoko-Nagare

to evade the strike so the attacker hits the other attacker; note- metsubishi is used to blind
one attacker.

Here the metsubishi is thrown in one attackers face.

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This technique is used to blind multiple attackers with

metsubishi and escape.

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When being followed use this technique to break up your

shape at night and escape.

Forward flip here.

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Yoko-Aruki away from the opponents.

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An Oten (cartwheel) is used to get away from the

opponent quickly, also to break up the shape at night.

Again, Yoko-Aruki away from the opponent.

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Use the shuko to climb a tree quickly to escape from

opponents.

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This technique is used when you are hurt and is a last

resort to throw the sword at the attacker if needed.

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Under hand throw.

Overhand throw.

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This technique is used for throwing senban shuriken at

the opponent. This is a modified tonso no kamae.

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In this technique you perform a Tsuki toward the

opponent but then quickly use that as a fake to perform a hasso like cut against the
opponent, the timing has to be just right.

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This technique is used to attack the weakest opponent in

the group but making the opponents believe that you are attacking the strongest, or the
leader and then escaping.

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Shuko are used with these techniques.

Uke uses his right hand to grab Toris right wrist.

Tori and uke both go into Hachimonji no kamae.

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Uke pulls tori backwards three times in a shuffle step, on

the second step tori takes hold of ukes wrist.

On the third step tori does TakeOri lifting up the arm and
kicks uke in the groin or stomach with the right foot.

The Tori turns under the arm anti-clockwise.

Then tori throws uke to the ground by the wrist with

Katate Nage.

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Then Tori scatters Metsubushi into ukes face.

Tori then escapes using do ton, Goton nojutsu.

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Uke grabs toris left wrist with his right hand.

Both go into Hachimonji no kamae.

Uke pulls tori for 3 steps, on the second step, tori moves
his hand to hold ukes wrist. On the third step tori lifts ukes grabbing hand up in TakeOri.

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Tori grabs ukes right shoulder with his right hand. Tori
drops the left hip (bend the left knee), and kicks to the groin or stomach with his right
foot.

Tori stepping straight back, drops to his right knee,

bringing uke with him.

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Tori then scatters metsubushi and escapes tobi-noku

(jumping back) then drops to the earth to hide.

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Note: this is a variation with dropping to the left knee

instead of the right.

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Same technique as above but Uke grabs toris right hand

with his left.

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Note: you can Geri (kick) the ukes leg when throwing to
put more emphasis on the throw.

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Uke grabs toris right hand with his left, Hachimonji no

kamae.

TakeOri with right hand, left hand grabs ukes left

shoulder, geri (kick) with right leg to groin or stomach.

Then pull uke to the left by going down on the right

knee.

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Then use metsubushi on uke and then escape.

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Note: Tori can use his thigh to hold ukes arm locked
while preparing metsubushi.

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Uke is behind tori and grabs the back of toris collar

(right side) with the right hand.

Uke pulls tori back with three steps, on the second step
tori grabs ukes right hand with his right.

On the third step tori drops his body weight and turns
to the left and applies Gyaku Te Dori (similar to ura Gyaku) and strikes uke in Suigetsu
(stomach or chest) with a left ShukiKen (elbow strike). The left hand then takes hold of
the ukes bicep and the right hand lifts ukes right hand from the collar.

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With a rolling motion of the left hand (ura Gyaku) tori

throws uke with Katate Nage.

Tori then scatters metsubushi and escapes with Goton.

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This is the same technique as before but the uke

grabs the toris left side collar with his left hand.

Grab ukes left hand with your left hand.

A right ShukiKen to ribs or stomach.

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Grab ukes bicep with your right hand.

Throw the uke.

Scatter metsubushi at uke.

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Uke has a katana in daijodan and cuts with Jodan

Kiri. Tori is in Hachimonji no kamae and lowers his hips.

As the sword comes down, tori rushes in under the

sword (or to the left) and strikes with a boshiken to Suigetsu.

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Then tori leaps back (could leap to the right) to create

space, could use ukemi.

Use Metsubushi and Goton to escape.

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Uke is in daijodan and cuts with Jodan Kiri. Tori is in

Hachimonji no kamae and moves to the left.

And strikes down with a right Shuto to ukes right

hand (wrist), the uke drops the sword.

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Then tori turns hips to the right (or left in the

picture) and strikes with the left hand (or right hand) with Shikan Ken to butsumetsu (tori
can go down on one knee if needed)

Tori then scatters Metsubushi and escapes with

Goton.

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Tori is in Hachimonji or Happogakure no kamae.

Uke has a katana in Seigan no kamae and strikes with

a Chudan Tsuki. Tori shifts to the right and brings the left hand down and grabs the
handle of the sword. The right hand follows and performs a Shuto to the ukes left
forearm.

Tori pulls the katana away from uke, Tori then jumps
backwards (if needed).

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Tori then scatters metsubushi in ukes face and

escapes using Goton.

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Two ukes face tori in daijodan.

Tori is in front with metsubushi in each hand in

Happogakure no kamae. As the ukes prepare to move tori drops his hips opens kamae and
steps back three steps. Ukes follow tori to attack as they move forwards to attack.

Tori then drops his hands to his hips and crushes

metsubushi while raising them and throws the metsubushi in the ukes faces.

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As Tori throws the metsubishi, tori drops low and

passes between the ukes striking them both with boshiken.

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Tori then uses ukemi and escapes using Goton.

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Four uke in front of tori with katana in Seigan.

Tori assumes Tonso no kamae and acts to throw

teppan (shuriken) and the ukes so that they flinch.

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Then when the ukes go to move toward Tori, scatter

metsubushi in all directions to develop a screen. Then throw shuriken at the startled uke
and escape through them with ukemi/kaiten while the ukes are confused.

Escape with Goton.

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When tori is surrounded by three uke in front and

two behind him.

Tori moves forward and throws shuriken to the front.

The uke at the rear try to attack, so Tori throws

metsubushi to the rear into the (kukan) empty space.

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Tori then drops to one knee and throws shuriken in

all directions. Tori then leaps into the empty space that is created using ukemi and then
uses Goton.

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The sword points at the eyes of the opponent.

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This kamae is for leading the opponent in, so they will

attack.

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The sword was used as a mirror to blind the opponent in

daytime if facing the sun.

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This kamae is for blocking shuriken and other

projectiles.

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Standing in ichi no kamae while opponent is in Seigan

Using the blade to push the toris katana in a counter-clockwise manner or a clockwise
manner to open the opponent up and then strike.

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From the front.

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Standing in ichi no kamae while opponent is in daijodan

no kamae.

Opponent attacks.

Using the back of the blade, block the attack back

toward the rear on either the right or left side.

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Then attack by cutting down.

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Standing in Gedan no kamae while opponent is in Seigan

no kamae.

Attack with a Tsuki.

Then when the opponent blocks.

Attack with a cut to do, stepping past the opponent.

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Or step across using Yoko aruki and cut to the neck.

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Or using Yoko aruki again, attack to the forehead.

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Standing in Gedan no kamae while opponent is in Seigan

no kamae.

Catch the blade lightly and quickly step around to the

opponents back.

Then attack.

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You can use a light tapping or guiding to the opponents

blade if needed.

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Push on the opponents blade and then turn the blade

over and hit the opponents blade down and away, then step in past the opponents blade
and then cut to the opponents neck or head.

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A quick Tsuki can also be performed, then cut to the

neck.

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Using the power of hasso perform rapid cuts to the

opponent to eventually wear him down and then perform killing strikes.

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This technique is used when you are hurt and is a last

resort to throw the sword at the attacker if needed.

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The throw can be underhand or over handed.

Then use shuriken to finish off the opponent.

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The throw can be under-hand or over-hand.

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Then use shuriken to finish off the opponent.

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Standing in Seigan no kamae while opponent is in

Daijodan no kamae.

Opponent attacks.

Step to the side (45 degree) or go down on one knee

while leaning to one side.

Use a Hasso Gyaku type cut to hit the opponents

stomach and up into the opponents rib cage.

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Then use a Tsuki to attack the opponent opened flank.

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You can also attack the neck of the opponent with the
Tsuki.

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This technique is used to attack the weakest opponent in

the group but making the opponents believe that you are attacking the strongest, or the
leader and then escaping.

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This technique is for using metsubushi on the opponent.

When the opponent attacks, instantly use the metsubushi

to blind the opponent.

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Then fast draw the shinobi-biken and attack.

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Once again, right when the opponent attacks use the

metsubushi.

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Then attack from a safe area.

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This is used when you are drawing the shinobi-biken

from behind the back.

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When fast drawing a shinobi-biken the blade is about a

foot shorter than a normal katana but the saya is the same length of a normal katana.

This gives the opponent the false feeling that it will take
you just as long to draw your sword. When in actuality the time is much shorter, giving
you the advantage.

Attack the opponents Kote (wrist, forearm) to end the

confrontation.

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When the opponent attacks step inside his attack and

draw the sword and let the opponent cut himself on the blade.

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Then use the sword to control the opponent.

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This time use the right hand instead of the left when
drawing the sword to cut the opponent.

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Use the tsuka to block the attack by guiding it.

Attack using the tsuka, some shinobi-biken had a tsuka

that could come off like a saya with a hidden blade on the end to strike the opponent
with. The hidden tsuka bladed sword was also used against opponents that tried to draw
your sword in a confrontation and would be surprised and defeated by the hidden blade.

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Just walk into the attacker here, using the tsuka as a

weapon.

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Then use the tsuka (and the sword and saya) to hold the
opponent in place.

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Sage-0 Sono ichi is using the Sageo on the saya as a

weapon and also used as a major distraction to your opponent. Here a metsubushi egg is
tied to the Sageo to distract the opponent so the sword can be used to finish off the
opponent.

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Sageo Sono Ni is for using the saya as a weapon or a

distraction for an opponent. In this case two opponents, one in front and one in back.

After dispatching the first opponent in front, the other

comes to attack.

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Throw the saya at the opponent and then close the

distance and strike the opponent.

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Sometimes a leap is used to cover more distance to

attack the opponent.

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Using the sword to throw the opponent while cutting

him.

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After Tsuki the opponent, use your body to throw him.

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Here you hold the blade and use you body to control the
opponent and throw him down.

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SANPO HIDEN GATA

The Three Treasures.
Senban shuriken- throwing stars, for throwing use Hachimonji no kamae or Tonso no
kamae.
Shuko- the hand claws of the shinobi no mono, knowing the Budo techniques of Gyokko
ryu and Koto ryu will help with attacks using the attacks with the claws and metal bands
Shindake- the ninja snorkel tube, used to breathe underwater, as a weapon (hanbo) and as
a blowgun using darts laced with poison.

ONGYO JUTSU
Disappearing Techniques
A. Goton Santon no Ho (The 30 methods)
The highest set of techniques in Ninpo are the ways of concealing and disappearance
called Onshin Tongyo no Jutsu or Ongyo Jutsu. If you can do these techniques you can
make the impossible the possible. Their essence is the Goton no Ho which has elements
of wood, fire, earth, metal and water. These 5 escape techniques are called the Omote
Goton no Ho and the Ura Goton no Ho. The Ura Goton no Ho are the following using a
person, bird, animal, Insect and fish. Together the Omote and the Ura are called Jutton.
Tenton is the collective name given to the following ten ways of disappearing:
1. Sun.
2. Moon.
3. A star.
4. A cloud.
5. Fog.
6. Thunder.
7. Lighting.
8. Wind.
9. Rain.
10. Snow.

Chiton:
1. Wood.
2. Grass.
3. Fire.
4. Smoke.
5. Earth.
6. House.
7. Metal.
8. Stone.
9. Water.
10. Boiling water.

Jinton:
1. Males.
2. Females.
3. Old people.
4. Infants.
5. Nobility.
6. Poor

7.
8.
9.
10.

Birds.
Animals.
Insects
Fish.

B.

Omote Goton no Ho Ten Earth methods of disappearing

1.Mokuton Disappearing using wood and or grass. Using the shadows of trees or grass
during both the day and the night. A distraction such as the use of a piece of string to
move the bush so that the enemy turned his back or placing of ones clothing on a tree to
distract the enemy, allowed one to leave the scene unseen. Of course these techniques
were not only used for disappearing but also for attacking. Climbing a tree with Shuko
and Sokko is one example of Mokuton. Other ways of climbing a tree included using
tools such as Ipponsugi, Kyoketsu shoge and Kaginawa. Throwing water chestnut
caltrops and waxing the wooden floor of a corridor are all part of Mokuton.
2.Katon - The way of disappearing using fire, for example, by gathering dry leaves and
setting them on a fire to distract the enemy and escaping. Light a small explosive with a
portable lighter and throw it to distract. A small explosive can be thrown into a fireplace
or a small portable fireplace with the escape being made while everyone is recovering
from the shock.
The Uchitake, Onibi, Hiya, Higurumaken, Hifukidake, Ozutsu, Kakaezutsu, Sodezutsu,
Nageteppo, Uzumebi and the Kaengusari are all tools of Katon.
In the past fire was both feared and respected by everyone as if it were a God and
therefore the use of Katon was most effective form of escape. Before one can use Katon
it is vital to learn about climatic conditions and ground conditions especially when it
comes to using the wind. Otherwise it can be very dangerous. There are the physical
applications of Katon but there are also the psychological aspects to it. For example
making the enemy so furious that his face becomes red making him unable to judge
things correctly. His body also becomes tense and rigid leaving him unable to use
Taijutsu properly. Sometimes his anger may become so great that he runs the risk of
having a cerebral hemorrhage or an ulcer, which could eventually kill him. Another
example is fabricating a scandal about the enemy so that his honor is tarnished putting
him in a very unpleasant position.
This is also a part of Katon, the following will show why.
If the enemy is imagined to be a pillow and a small piece of red-hot coal is placed in the
center (the fabrication of the scandal) the pillow begins to smoke (the scandal). This
smoke is seen and smelt by everyone around and slowly the whole pillow catches fire
destroying it (the enemy) completely. The Ninja also used natural fires to their own
advantage. Once a Ninjas home often had many calabashes filled with water mainly for
extinguishing fires. However some of these were filled with flammable liquid or poison

water so that in an enemy entered while the house was on fire it could be used against
him.
3.Doton is the way of using earth to disappear. This includes throwing stones or sand at
the enemy, digging a hole with a trowel (Kunai), hiding in a man made rock, setting a
trap so that the unsuspecting enemy falls into it and using the dirt to change the
appearance of the face. The soil is the parent of everything that is born on it. We too are
born on the soil and die on the soil. The seasons change depending on the angle between
the earth and the sun. Between Heaven and humanity is the earth. So earth is the most
vital part of everything. If there were no earth there would be no plants and so no wood
and consequently no fire.
The Japanese expression Doron-Doron when referring to a Ninja is used to indicate an
actual appearance or disappearance of the Ninja. It comes from theatrical dramas such as
Kabuki.
The appearance or disappearance of a ghost is indicated by the sound of drums, which is
imitated verbally by Doron-Doron. This is the poplar idea but from the Ninjas point of
view the words Doron and Doron are the same. Doton in Ninpo means the way to
disappear Doron in Kabuki means the time of a disappearance. So from Doton comes all
other techniques.
Even the Ninjas costume has a close relationship with Doton; its red black color makes it
easy to disappear into the darkness and the earth. Before the Second World War, the
Japanese Imperial Army wore dark brown uniforms and now the armed forces or Europe
and the United States use a mixture of dark brown and green for most everything
including tanks.
These are the colors of the earth and wood. The Octopus and the Squid are also very
skillful at using black ink to perform a vanishing act. Even the skunk uses smell to its
advantage.
The phrase As silent as a forest as steadfast as a mountain is also about Doton.
4.Kinton is the way of using metal tools to produce reflections or noise. These are good
diversionary actions. Using a blade or mirror to reflect the sun into the enemies eyes as a
form of Metsubushi or for signaling, suddenly throwing a small flame from a portable
hand heater to startle the enemy. Reflecting moonlight into the eyes with the sword,
banging on a gong, bell or drum or shouting to startle an enemy is all part of Kinton.
Even throwing a stone into a pond making the enemys mind focus in that direction so
that you can enter from a different direction is a part of this.
The following is a famous Haiku: An old temple pond, a frog jumping, the noise of the
water from this I can understand perfectly well that Basho was a secret Ninja.

The psychological Aspects are as follows; if an enemy wants money, giving it to him can
open many doors. The Japanese word for money and gold is Kin, hence Kinton. So when
large quantities of money are involved everything is possible. If a person wants money,
status and honor the Ninja can already control him. Money has a direct influence on
status, the honor and also women. So if one wishes to be a true Ninja, one must be very
careful not to be blinded by gold.
I am not saying however that one should think about it. We are presently in a period in
which we need to have the following five powers well balanced: Spiritual power,
Physical power, Technical power, Wisdom power and momentary or economic power. A
true Ninja never drowns in the sea of gold, yet knows how to produce it well.
A Ninja is also very skillful at using the Golden Spheres. Bed techniques are used by the
Ninja as a background technique, while the Kunoichi uses them as foreground
techniques.
In Gyokko Ryu Ninpo, using a pair of iron balls to make the fingers strong and agile was
a basic everyday technique. Sometimes they were used as a weapon. If a person is skillful
with these balls he is also skillful at manipulating the enemy as if he were a ball.
Matahari was therefore very skillful at using Kinton.
5.Suiton Is the way of disappearing using water. Floating on it, swimming over or
under it, using special boats and rafts, using water spider (Mizugumo) or water pistols
(Mizuteppo) or even cutting through the banks of a river to flood a village are all part of
Suiton.
If a person likes alcohol, giving him an excessive amount is also part of thins. If a person
has a great weakness for woman, drowning him with them is also a part. This also holds
for material things, a Ninja must be very skillful in using money, alcohol, women and any
material thing. He must be able to determine whether the drinks offered to him have been
poisoned.
Using the five senses as well as the sixth sense is the only way of doing these things, but
be certain tools may also be used. Gold placed in a drink laced with poison changes color.
A coral bead put near poison breaks up. A Ninja never allows himself to drown in
anything whether it be women or alcohol, he must swim freely and easily.
The next section I would like to talk about is Ongyo-Jutsu. This is special disappearing
techniques and they are of the highest level of strategy the ninja has in its arsenal. To be
able to conceal yourself in the face of danger and survive from your enemies attack is
called Onshin Tongyo (Tonko) Jutsu.
One of the methods studied was the Ten Chi Jin Santon no Ho. Together created 30 ways
to blend and disappear.

The first set of ten is called Tenton and it uses the heavens: using the sun, moon, a star, a
cloud, the fog, thunder, lightning, wind, rain, and snow.
The next set is called Chiton and it uses the elements of the earth. Using wood, grass,
fire, smoke, earth, house, metal, stone, water, and boiling water.
The third and final set is Jinton; this is the use of living objects. Using males, females, old
people, infants, the nobility, the poor, birds, animals, insects, and fish.
You must study and be aware of all 30 opportunities. To even master only one will give
you incredible ability to escape.
Here are two examples from each section.
Tenton: As the clouds move across the sky shadows will drift, images on the ground will
move and you must move with them. From the shifting of the clouds the light in the
night sky will darken and give you opportunity to move freely, but you must also use the
light of the moon or sun to see your enemies movements as well.
Chiton: The trees make good resting places to sleep, see over distances, once you are
above ten feet the average eye will not see you. You must blend and adapt to the form
and shape of the tree, move with the wind and allow the branches to move freely, climb
when the wind blows be still when it does not. Everyone is afraid of fire. Fire will make
everything run away, and attract attention. In the night the bright flames will destroy
vision and give you the time you need to escape.
Jinton: Old people attract very little attention and can move freely because they are no
major threat. They are also a great source for local information. If a flock of birds
suddenly fly's away this could mean people are close to you and this will give you the
direction and distance from your location. Remember this can also work against you. At
night, use the insects for the same reasons. The ten chi jin is a very good way to start your
shinobi training but you must spend as much time getting familiar with each one of the
thirty skills to be able to use and predict your outcome.
The next section is known as the ten earth methods of disappearing. Called the Omote
and Ura Goton no Ho.
The first in this section is Mokuton no Jutsu. This is the strategy of hiding oneself in the
bushes or behind trees, and then either attacking or escaping, using wood element
techniques as concealment.
Some of the principles behind Mokuton no Jutsu is:
Using the contrast between sunshine and the shade created by brush or grasslands.
Wearing branches, leaves, and grasses on the body as natural camouflage. Waxing

wooden floors, and using string tied to branches to capture the enemies attention to
mislead them. Also to attack from the trees was part of this section.

Katon No Jutsu is the second method. This is done by using fire to disappear. By creating
natural fires from the combustion of various substances, including powders, grasses, oils,
small explosives, one way the ninja made black powder was the combination of
paulownia wood ash and sulfur. Fire is very powerful, and can be used many ways. One
way is to set the grasses on fire around your enemy to lead them into a trap. Using fire as
a shock method to frighten the enemy and make them choose rash decisions. To throw
fire directly on the enemy or into a fire place or stove would stop people in their tracks
and the only thought was to put the fire out. This is when you would attack. When you
use fire are careful of the weather conditions such as rain and wind. You can also make
someone be on fire without flame. You make them incredibly mad, and the term red-hot
is used this will put smoke in the mind and they will have a difficult time seeing
correctly.

Doton Jutsu is the third method. This is using earth element techniques. By using the
terrain and its features as a tactical advantage, you can make attacks from uneven terrain;
throw mud and stones instead of shurikens. The ninja would often throw stones in the
opposite direction to cover the movement and true direction. Digging holes to hide or
survive in a fire, or to dig tunnels to escape. The use of the earth was used to build traps
from trees to mountains. Boulders sent down a mountain, large trees rolling down hill to
destroy many opponents in seconds this is Doton Jutsu. Any way to use the earth and its
features fit into this topic.

Kinton no Jutsu is the forth method. This is the use of metal elements. The use of
polished blades or hand held mirrors to reflect the light of the sun into the eyes to blind
was used to attack and or escape. Metal tools used to make noise or cast reflection are
good diversionary techniques. Even ponds and lakes can be used to make illusions. To
throw a stone into the water to distract the attention or to skip a rock along the water to
make it look you have been this way, are part of kinton jutsu.

Suiton no jutsu is the last of the omote section. This is the use of water. Floating on it,
swimming in it, or the use of special boats. To destroy a dam to flood an entire village,
using the tides to your advantage. Water cannons or pistols to shoot poison onto your
enemy. The skill of underwater combat, and holding your breath. The use of a bamboo
snorkel. The snorkel should be 1 1/2 foot long, and you should stay under for no more
then 12 hours. Underwater combat should be from very close distances quick tight strikes
and the attack should be from below attacking up. Water is very effective when you need
to cover your tracks.

The next section is called the Ura Goton no Ho.

The first one is called Jinton no Jutsu. This is using one or more people to disappear.
This is acting and has many levels to study.
Danton masculine characteristics.
Joton Feminine Characteristics.
Roton Traits of elderly people.
Yoton traits of the young or infant.
Kiton mannerisms of the aristocracy.
Senton mannerisms of the poor or lower class.
The use of make up and Henso-jutsu are very important here.

Kinton no Jutsu is the next section. This is the use of birds to disappear. There are four
classes of animals the ninja must study.
Kinton - the study of birds and flying animals.
There are two methods to studying animals. The first is to domesticate animals to do
deeds for you humans could not do as well. Or you should study animals to learn things
about nature.
For example, fish are impossible to domesticate but you can study how they move
underwater and become a better swimmer because of it. In the past homing pigeons
where used to communicate. Chickens were used to make noise, falcons were used to
hunt food for you, and ducks were used around water to create attention and cover your
movement.
Juton no Jutsu is the way to use animals to escape. The study of all animals that may
stand in your way, like guard dogs. There are ways to deal with this. One way is to feed
the dog over time, if need be you may then poison the dog easily. Placing a dog in heat of
the opposite sex near the dog will keep their attention. Letting a cat out in front of the
dog, then disappear and the dog will chase the cat. A small bowl of antifreeze will take
care of most dogs. Letting go of a small rat will cause panic and attention. You must also
know the weak points of many animals such as a cows and horses nose; a cat is the back
of the neck, pigs front feet. And all animals including humans have a fear of fire.
Chuton no Jutsu is the method of using disliked animals. Snakes and toads, and spiders.
This is done to surprise your enemy, and take their mind off of you and onto a little
creature. Let a bat loose in someone's home and they will run and scream in fear, a
poisonous spider in someone's bed, all have the same effect. Use this aspect to make
motion and distraction, this will give you the location of everyone, and their mental state
is on edge but consumed. Remember as you create motion your shinobi skills must be

good and you must be ready to fight or escape if seen. Use this to leave false information,
or to find information.
Gyoton no Jutsu is the method of using fish or aquatic animals. If you dress as a
fisherman, you can hide a tanto in the fish and secret messages as well without causing
attention to yourself. The poisons of some fish are deadly and easy to get. You must learn
how to move in the water and use all forms of water; ice, fog, rain, snow, boats, rafts,
scuba gear, and sea navigation.
Here are five more principles that are secret. These have no name are Kuden. Usually
never written down, and only passed from teacher to student by word of mouth.
Nitton no Jutsu is the use of the sun. When fighting you should keep the sun to your back
and the sun in the eyes of the enemy. If you are forced into the sun you must have a
mirror or a polished blade to use the sun against him. Use the sun to drop down as you
attack from above. Use the sun's reflection off of water to blind and or escape.
Getton no Jutsu is the use of the moon. Use the moon to cover your movements. Timing
is very important and you may only have a few chances in the sky. As the moon lights up
the sky use this to see. When the moon is covered by clouds use this to move.
Seiton no Jutsu is the use of Astronomy. This information is used for Navigation. Well
known stars like the Big Dipper and the North Star, Venus, and Jupiter can determine
direction. Use these landmarks for attacking and rally points for all escapes.
Unton no Jutsu is the use of the clouds. You should always use cloudy or inclimate
weather to your advantage. Clouds cast shadows and can conceal your movement and
effect light. You need to study the wind and the land to predict the movement of light.
Clouds are very important to study.
Muton no Jutsu is the use of fog. Fog is unlike clouds and has a life spanned and
determined path. Fog prevents people from seeing clearly, and changes the appearance of
objects. Temperature and climate has a lot to do with the lifespan of fog. The study of
Tenmon and Chimon will help you with this list.

GOTON NO JUTSU TECHNIQUES

SUI TON NO JUTSU
KAKU SHU KOSHIKI EIHO
Tachi Oyogi
Nuki Te
Aori Hira Noshi
Ho Baku Oyogi
Doku Mizu
Gi Hen Kaku Ran No Ho
Mizu Gumo
Sui Chu ki
KIN TON NO JUTSU
Kodama No Ho
Hikari No Ho (Aizu)
Hikari No Ho
In Yo No Ho
MOKUTON NO JUTSU
Gi So No Ho
Uzura Gakure No Ho
Metsubushi No Ho
Gi Hen Mokuton No Ho
To Bo Kugihon No Ho
DO TON NO JUTSU
Metsubushi No Ho
Mogura No Ho
Rak-ka No Ho
In Ton No Ho
Do Ton No Jutsu (Seki Tori)
Seki To No Jutsu
KA TON NO JUTSU
Hi Zeme No Ho
Net-to Zeme No Ho
En Maku Kaku Ran No Ho
Oni Bi No Ho
Soku To Ki No Ho

GOTON NO JUTSU
Methods of fighting, concealment, infiltration and escape using the five elements of
Water, Metal, Wood, Earth and Fire.
SUI TON NO JUTSU (WATER)
Using water to escape, deceive, infiltrate and attack.
KAKU SHU KOSHIKI EIHOSwimming methods to move quickly, silently and with weapons.
Tachi OyogiUsing one arm for balance and swimming and the other arm for holding weapons. The
legs push out or use a circular motion for movement.

Right leg moves in circular motion.

Left leg moves in a pushing motion.

One hand holds the weapon and the other paddles

and pushes down.
Nuki Te-

Using a breaststroke type style, frog kick technique while arms used to crawl. The
weapon is either on the back or in the mouth. The legs use the frog kick technique to
cause movement.

Aori Hira NoshiThis technique was a favorite of the Togakure ryu. It is used for quick silent swimming.
The front arm performs quick strokes below your body; the rear arm makes large strokes
along the line of the body. The rear leg kicks water with the top of the foot (instep), the
front leg kicks water with the sole of the foot like the breaststroke. Both legs move
together in a scissor type action.

Ho Baku OyogiThis is a last resort swimming method for when you are bound. Float face and chest up,
move like a fish to swim using your body in tandem with your legs to move backwards.
When reaching the shore, slide your back up the shore to get up on land.

Doku Mizu (water cannon)The water cannon was used with applying water based poisons to opponents. Could also
be used to administer low-grade acids to harm the enemy. The cannon is made with 2
parts made both from bamboo. 1. One skinny bamboo piece with cloth or plastic wrapped
on one end. (Plunger). 2. Thick large bamboo with a hollow open end, the opposite end
has a small hole (use cork material to stop it up).

Gi Hen Kaku Ran No HoThis technique is a method of evasion. When pursued by the enemy, throw a big rock,
large stone or tree branch into the water to make the enemy think that you jumped into
the water and then hide in the opposite direction to escape.

Mizu Gumo (floatation device/water spider)One of the many floatation devices used, can be made with a truck inner tube weaved
with rope and leather. Place legs through and sit in the middle.
Paddle is made of a large bamboo tube; with bamboo strips on one end that fan out for
the paddle and the other end has a weighted chain at the end. Also used is the Kama yari
to push off the shore and the hook on to trees and land. Use the legs like a swimming bird
to keep balance in the water.

Sui Chu ki1. Using a bamboo tube to breathe underwater

2. Horn for signaling and distraction
3. A weapon as a last resort
To stay underwater use one hand to hold onto reeds and shore material. The other hand
holds the breathing tube and your nose. Breathe slowly and deeply. For insect protection
have a fine mesh over the tubes breathing hole.

KIN TON NO JUTSU (METAL, SOUND AND LIGHT)

Using the metal, sound and light from metallic objects to attack, infiltrate or escape.
Kodama No HoUsing sounds by hitting metal objects to distract the enemy. Also to be used to escape,
infiltrate, attack (attacks are made swiftly) or signaling.

Hikari No Ho (Aizu)-

To reflect light with a mirror as a signal by prearranged code. Some mirrors can be made
from metal to be used as a weapon (hand held or thrown as a shuriken).
For signaling- you can alter the angle or use your hand to cover the mirror when it is
reflecting light to signal.

Hikari No Ho (metsubushi)A method of using reflected light from a sword or a mirror toward the enemy to blind
him and then strike him down.

In Yo No HoThis is the art of taking advantage of the light and shade to attack an enemy (whether in
daytime or night time).
Night example- Hiding in the darkness as an enemy passes through a brightly lit area
(the enemies eyes will not have adjusted to the darkness quick enough). The shadow that
the light causes can be used to hide in and attack the enemy suddenly.
Day example- Hiding in the shadow of a large tree on a bright sunny day and attacking
the opponent as he passes the area.

10

MOKUTON NO JUTSU (WOOD)

Using trees and vegetation for escape, infiltrating, or creating confusion to make an
attack.
Gi So No HoThe technique of using the local plant life to conceal yourself within the surroundings.
A. Break up the line of the shoulders (this makes you harder to see by the enemy).
B. Use a cord wrapped around your chest and back to harness the branches and
vegetation. Cords can be used around the midsection and legs to increase the
camouflage.
C. Use the local foliage for the best concealment.
D. Cover the line of the shoulders and most of the face.
E. Using an outer mesh shirt and pants will work great, or use the modern day
special operations ghille suit.

11

Uzura Gakure No HoUsed when camouflaged and attacking when an enemy draws near (use a quick leaping
strike with no kiai.)

Metsubushi No HoUsing a thorn bush branch, bamboo, or a tree branch attack the enemys eyes with it, then
while he is distracted, attack or escape. Conceal it at first then surprise the opponent.

12

Gi Hen Mokuton No HoUsing a Kamayari to distract an enemy by shaking nearby tree branches or bushes to
make the enemy think that is where your location is. Shake the branches vigorously then
escape quickly. This technique is to draw the enemy away. This technique can also be
used with string or twine to move the branches.

13

To Bo Kugihon No HoThis is a technique of using wood or branches to strike and attack the enemy, causing
distraction for escape, or infiltration.

DO TON NO JUTSU (EARTH)

Using the ground surface or soil to escape, infiltrate or attack.
Metsubushi No HoUsing dirt, gravel, or stones to blind the enemy.
A. Use tabi or shoes to kick dirt into the opponents eyes
B. Grab a handful and throw into the opponents eyes.
Note- After throwing the metsubushi, escape or attack. Make sure of the earth type and
wind direction before using this technique.

14

Mogura No HoThe technique of hiding underground, in a pit or hole and attacking the enemy swiftly
with a spear or sword when the enemy passes by overhead. (This technique can be used
to attack an enemy in the attic of your house or those walking over a bridge.)

15

Rak-ka No HoThis is a technique of luring the enemy into a pit and then attacking (using a spear, yari,
kamayari, sword or a ranged weapon). Make sure to use give and take to lure the enemy
into the pit. (The pit can be lined with stakes with poison or water with snakes, etc).

16

In Ton No HoA technique of hiding in a hole or hollow (tree trunk or tunnel, or such) after cutting
down an enemy. (Note- make sure that you hide your tracks or have a distraction set up, a
previous set of tracks away from your location, a piece of clothing to lead the enemies
away in the opposite direction.

17

Do Ton No Jutsu (Seki Tori)

Using snow and ice for escape, infiltration or attack.
Seki To No JutsuUsing a small snow hut or hole to lay in wait for attack or escape. Using large icicles as
daggers to attack with leaving no visible or traceable weapon. Icicles can be poisoned by
coating the ice with a fine mist (water soluble poisons or non soluble) or actively coating
it.

18

KA TON NO JUTSU (FIRE)

Using fire, smoke, heat and boiling water for escape, infiltration or attack.
Hi Zeme No HoTechnique of drawing an enemy into a trap and surround the enemy with fire then cut the
enemy down one by as they try to break through to escape. Timing and the direction of
the wind are very important.
Note- to escape fire circle trapsA. Cut the grass down by cutting from the base of the grass, the earth or sod.
B. Dig into the earth and cover yourself with dirt to hide from the enemy and flames.

19

Net-to Zeme No HoTechnique of throwing boiling water into the enemys eyes from an unexpected direction.
When the opponent flinches you can attack or escape. Make the use of the best location
and make the attack by surprise.

20

En Maku Kaku Ran No HoTechnique of using water on fire to cause a smoke screen. Using smoke creation devices
to distract the enemy.

21

Oni Bi No HoThe technique of making torches from clothes soaked in oil on bamboo poles to scare
people away or for distraction.

Soku To Ki No HoTechnique using a metal and ceramic box with a wooden mouthpiece that has metsubushi
and charcoal embers, to attack and blind the enemy by blowing through the box while
wearing an oni mask. This was used to frighten the enemy and give the ninja mystical
devil flame throwing myths. Used to blind the enemy to attack or escape.

22

Receipe for Metsubishi and Neggo teppo

1. Get an egg and hollow it, get the yoke out. This takes two holes one on the bottom and
one on the top. Or one whole and a straw.
2. Put in flour or baby powder, or use a 50/50 split for training purposes.
For combat applicationsBlinding- Use fine cayenne pepper or other ground pepper, metal shavings, wood ash and
baby powder for a four way split mix. Use black colored wax to cover.
Explosive- Use gunpowder, magnesium, flash powder, metal shavings, and saltpeter
(potassium nitrate) mix. Use red or burgundy wax color to signify. Make fuse for
lighting.
Stink- Use ground sulfur 2/3, salt peter powder, magnesium powder and flash powder 1/3
mix.
Use yellow or blue wax color to signify. Make fuse for lighting.
Poison- Use liquid animal poisons and or insect poisons and mix with flour or baby
powder. Let poison powder dry then ground up and put into the egg. Use green wax color
to signify. Throw in the eyes, nose and mouth of the opponent.
Napalm- mix gasoline and dish detergent or mix gasoline and packing Styrofoam peanuts
together. Put contents in the egg and create a long wrapped fuse around the egg (from top
to bottom) so when the egg breaks the lit fuse will ignite the contents. Use red and black
wax to signify.
Smoke- Mix sugar and saltpeter (potassium nitrate), You need a 3:5 ratio of sugar and
saltpeter. Use white and black wax to signify. Make fuse for lighting.
Smoke bomb notes- the more saltpeter, the faster burning, and more powerful burning
bomb you have. To make it you stand a better chance NOT burning down your house if
you didn't just try to melt sugar and KNO3. That poses the greatest risk of ignition. Use 6
oz. KNO3, 3 oz. sugar, 2 oz. Karo syrup and only enough water to help it dissolve. I
cooked for an hour until it was like runny mashed potatoes, and then filled the tube.
There is no need to let it brown at all. This mixture can burn for quite a long time.
3. You can use white rice paste or white wax for training or colored wax for combat
applications to cover the egg to give it a studier structure and to identify.
4. Impression markings can be used on the eggs as well, so in a desperate situation you
need not to visually identify the type held to be used.

The Ninja Exploding Smoke Bomb

It took me years of searching to be able to find a smoke bomb that when struck on the
ground would cause a flash of light and a cloud of smoke. There are a thousand reasons
why these are useful and fun, but the most common reason people search for this, is the
ninja aspect of it. Ninjas used the dirtiest of tactics to realize their desires, including
misdirection and camouflage. When a ninja was in a bad situation, he would through a
ball to the ground, distracting his enemy with a flash of light and a cloud of smoke,
allowing him to escape. There used to be items available called Torpedo that would
cause a great cloud of smoke to emit when struck, now these are next to impossible to
find, and rather dangerous to manufacture. The following is a wonderful alternative that
can be made far more safely, although care must still be taken.

Materials:
3/4-inch metal ball (Steel or chrome preferably)
Scotch tape
Course sand paper
One roll of paper cap gun gaps
4 by 4 square of magicians flash paper
1-teaspoon white or silver flash powder

Magicians flash paper and the flash powder can be found at most magic shops, either
online or locally. I used to get mine from http://www.skylighter.com/ until I learned how
to make it myself. This is a different kind of flash powder than the kind you often read
about on the Internet. It does not have a loud bang.
Only the paper caps for toy guns can be found at almost any toyshop, and often at places
including Wal-Mart.
The 3/4 metal ball could very well be a large marble or ball bearing or other such item.
Chrome seems to be the optimal weight in my experience, but other materials have
worked well! I order mine off the Internet for about $0.50 each. Ive also seen them at
farm supplies stores, eBay and lots of other places.

Preparation:
Take a piece of some course sand paper, and rub it against your metal ball until it
becomes rough. Feel free to ding it up all you wish.
Take your roll of caps, and, with the explosive part out (paper side in), wrap the entire
ball, so that as much of the surface of the ball is covered as possible. Often one will use a
little over half a roll of caps in this process, although this varies with the size of the roll.

Take a small piece of tape, and secure the caps to the ball. I always try
to avoid putting tape over on of the cap heads. The tighter you can wrap the caps on to
the ball, the more efficient your smoke bomb will be.
Now, place the cap-covered ball in the center of your 4 by 4 sheet of flash paper, and
roll the paper into a tube. Fasten the paper in this position with a small piece of tape. It
should now look like a paper tube with a ball in the center.

With this completed, you are ready to add the powder. This is the time to prepare it. If
you are using white flash powder from a magicians shop, you will need to mix the two
bottles together now.
Take 1/2 of a teaspoon of the white or silver flash powder (or the same amount of
colored flash powder if you wish to use one of those recipes) and pour it into one side of
the tube.
Nicely fold the paper down and tape it shut.
Although it can be twisted shut, this is more dangerous as if too much pressure is applied,
it could detonate in your hand. Not good.
Now add 1/2 pf a teaspoon to the other side and repeat the process of folding and taping.
Place your completed ninja smoke bomb in a safe place.

Use:
To fire, simply throw the ball to the ground on a hard surface. The weight of the ball will
cause the cap to explode, thus triggering the flash powder and igniting the flash paper.
The result is a flash of fire and a cloud of smoke.

Warning:
As with all pyrotechnics, if proper care is not taken, serious injury could result. Never
throw directly at another person, and always take great care with the finished product. A
sharp bump could cause ignition. Although safer than any other method Ive yet

discovered, I still take as much care with these as I would with any other pyrotechnic
device. NEVER PUT IN POCKETS OR BACKPACK, ETC. Be responsible and safe.

Trouble shooting:
Do not fear if your first attempt isnt a huge success. There may be a few variables you
need to check out. Once you get them down, you will have them work every time. Here is
a list of things to try.
Ball size and weight:
A ball that is too small or too light may not have enough force to light the cap.
Number of caps:
If you use too many caps, they can hinder lighting process by taking some shock out of
the impact. Try using just enough to cover the ball and slowly work up from there. Less
caps is better, although if you dont have enough, when thrown, nothing will happen.
Amount of powder:
Yes, the most common problem. We all want to put lots of powder in to get more smoke.
The bad part is that too much powder will dampen the impact and it will be a dud. Try
teaspoon in each side, and working up.
using a bit less than

TOGAKURE RYU
SHINOBI STEALTH WALKING
Shinobi-Ashi- Stealth Step
Without making a sound, begin by placing your fourth toe on the ground and
immediately following up with the middle toe, and then lastly the heel.
If using tabi use the tips of the toes then gradually and lastly place the heel down.
Uki-Ashi- Small Step (also known as Ko Ashi)
You walk only on the tips of the toes, your heel never touches the floor. Great for a quick
sneak attack.
Inu-Aruki- Dog Walking
This method is used to creep and crawl through low places on all fours, like a dog. Drop
down to your hands and knees, and then alternately place your hands firmly on the
ground and move forward or backward as needed.
Kitsune-Aruki- Fox Walking
This is a method of walking on all fours. This is a fox like noiseless scamper on only the
toes and the fingertips.
Yoko-Aruki- Sideways Walking
First press your back firmly against the wall. Then, facing the direction you want to go in,
open your arms and legs out as wide as you can. Cross your far leg and arm over your
forward ones and repeat, sliding along like a crab. This allows you to travel further with
fewer steps.
The Yoko aruki movement is as an actual walking method used to quickly move through
narrow spaces. By turning the body parallel to the plane of motion (sideways) the
practitioner can maintain sight in a wide field both in front of ones body and behind. The
footwork is frequently combined with a swinging arm motion to assist in maintaining
balance as well as feeling for obstructions.
Shin-So-Toh-Ho-ArukiThe most silent method of walking, you place the balls of your feet on the back of your
hands and, bent over in that position, walk forward and backward on your hands.
Nuki Ashi- 'Sweeping Step.'
This technique permits the ninja to cross wooden planks or straw matting undetected by
giving him complete control of his body weight. From a low crouching position, the
balance and then the body weight are slowly shifted to the forward leg until it supports
the entire body. The rear leg is then pulled forward and in toward the supporting leg. The
ankles barely brush each other as the moving leg goes forward and out with the toes
pointing slightly inward. With the weight on the stationary leg, the outside edge of the
moving foot can be used as a feeler to probe lightly for any obstacles that might be in the

way. The foot is then eased to the floor, outer edge first. The weight is gently shifted to
this foot, and can be withdrawn quickly if any creaking of the floor is noticed. This
groping foot then becomes the new support foot as the ninja continues forward. With his
hands moving lightly like tentacles, the ninja takes on the appearance an octopus feeling
his way across the ocean floor.
Ryohebi Serpent Moving crawling along the ground on all four limbs, keeping low to
the ground and having one leg always stretched out and the other leg tucked in so you can
spring up to attack or move very quickly.
Karasu-Aruki Crow Walking (side running) taking side steps with the feet without
crossing the feet over like Yoko Aruki
O-Ashi Great Step (similar to Yoko-Aruki, but taller steps. This is used to cross fields
or bodies of water silently). Using Yoko-Aruki but using very tall steps with the tips of
the toes touching the ground first then the heel.

Guidelines for Stealth Walking

1. Maintain balance control by allowing your body weight to sink and be carried by
deeply flexed knees.
2. Remember 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.
3. Stay alert to the entire scene. Do not become so engrossed in watching your feet that
you do not notice other people an element entering the surroundings.
4. Use all joints 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.
5. 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.
6. 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.
7. 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.
8. 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.
9. 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 may be the
only way to move silently without being seen in some locations.

SHURIKEN

Mastering the Ninja's Throwing Star

Table of Contents
SECTION I
1. Introduction
2. History of the Shuriken
- Where did it come from?
- Uses (distraction, harassment, signaling and sending messages, setting fires, etc.)
- Myths (poisons vs. rust, killing tool, 'ninja' weapon and the law, etc.)
3. Mastering the Basics
- Types of Shuriken
- "Star" (3-point, 4-point, more points)
- Bo
- Modern equivalents
- Grips
- Hand-held
- For throwing (cutting, sticking, etc.)
- Grip-change maneuver
- Throwing Postures
- Horizontal throw
- Vertical throw

- Understanding distance with the Bo Shuriken

SECTION II
4. Defenses Against Strikes and Kicks
5. Defenses Against Grabbing Attacks
6. Defenses Against Other Weapons
7. Defending Against Someone Throwing a Shuriken at YOU!

Chapter 1
Introduction to World of the Ninja Star!
This may not come as a huge surprise to you, but the number one request that I
get through my classes, seminars, and through my web site is for information
about the study of weapons. And no other weapon, except perhaps the sword,
inspires more mystery and curiosity than the shuriken or Ninja star.
This book is a basic training manual designed to lead you into the foundational
skills for developing mastery with the "throwing star." It is one of many books,
currently available, and yet to come, where I will be sharing my thirty-plus years
of study, training and experience so that you can master these skills and
increase your own level of understanding, proficiency, and of course, safety.
In the following pages and chapters, I'll be discussing not only how to use this
weapon in different situations and against a wide variety of attacks, but also
topics like;
A history of the shuriken and its development.
Myths and realities about the ninja star weapon.
The proper steps for training if you really want to master this powerful weapon.
The different types of shuriken.
More.

Chapter 2
Power in the Palm of Your Hand!
The weapon, commonly called a "ninja star" is properly called a shuriken
(pronounced "shoo-ree-kehn") in the Japanese language. As a weapon, it is not
limited to the Ninja Warriors of the tiny island nation, however.
The history of the throwing star can probably be traced back to the time when
man first picked up a rock or stick and threw it at his enemy or an animal
attacker. Once he realized that items like this from his natural surroundings could
be used as weapons, it wasn't long in the grand scheme of things before he was
creating his own, 'improved,' versions of rocks and sticks - weapons with much
greater capacity to do damage.

A Lesson From History

Atop Togakure mountain (present-day Togakushi), in the ranges northwest of
Nagano, Japan, there is a museum dedicated to the Ninja warriors of old. Every
year I take students to Japan for training with my senior teachers and the
grandmaster of our art.
As a part of this trip, students are also lead on tours and day-trips to places, like
Togakushi, that are significant to the history of our martial lineages.

In this little museum, students can see examples of:

Some of the earliest shuriken prototypes.
Inevitably, they're always surprised to see that, contrary to the heavy,
cumbersome, and overly ornate designs being sold as "martial toys" through
catalogues and in supply houses today, many of the original shuriken of our Ninja
ancestors were nothing more than chiseled stones or sharpen sticks tied to
create star-like patterns.

Dispelling the Myths

This sudden realization brings home the lesson that, for the most part, shuriken
were NOT killing weapons. It's not to say that they could not knock someone out
or puncture the flesh. But, the materials themselves, and the technology for
creating them, were not advanced enough to produce the same items that are
being sold today with the weight and surgical sharpness to cause greater
damage.
Students suddenly realize that many of the myths and legends were just that myths. However, we know that myths and legends usually have their basis in
fact. And the same is true about these weapons. In fact, it was in the ninja's best
interest to allow myths and stories to persist, especially if they would cause their
enemies to fear them even more.
One story about the ninja star that is probably the most commonly talked about
today, is that ninja operatives dipped their throwing stars in poison.
Now, before I say anything about whether or not that's true, let's take a walk
down "common-sense" street, shall we? Let me ask you a couple of questions.

First, how would the ninja carry such a weapon? If the pointed tips of the weapon
were dipped in a lethal, fast-acting poison, how would the ninja avoid being
accidentally poked by his or her own weapon? I mean, after all, the shinobi
operative was required to climb, roll, bend, and crawl to get to their objective.
What was the likelihood that they wouldn't inadvertently jab themselves through
their clothing?
Hmmm.... perhaps they could carry them in tough-skinned, leather pouches.
Perhaps. But then... how would they be able to draw and throw the weapon at a
second's warning, should they have to? And speaking of drawing the weapon
under pressure...
... What if they accidentally pricked a finger during the draw? See what I mean?
The reality of the situation is more likely linked to the fact that...
...There was no cure for tetanus, or lockjaw, in the ancient world of the East or
West. All it took was a little rust, and you now had a weapon that could deliver a
much greater killing potential. But, fast acting? Hardly. After all, few things are as
fast acting in our own modern world as the myths attributed to the poisoned ninja
star.

Other Myths
There are countless myths about the ninja, his skills, and weapons. Some of the
other ones that I routinely encounter from intelligent, and well-meaning
individuals, and even martial arts teachers, include:
The shuriken was a killing weapon. Uh, no. Outside of an accidental cut
across a shallow artery causing a deeper than usual cut, the typical star, thrown
from a distance, does not have enough weight, momentum, or depth-potential to
penetrate the body deeply enough to reach the life-sustaining organs.
Even the idea that the point of the star could "penetrate the gateway to the brain"
the eye - and kill, is bull. The accuracy, timing (for the blade to meet the eye
socket of a "moving" adversary), and design of the weapon just do not allow for
this to happen.

Another common myth is that the ninja carried a bunch of shuriken around with
them. Again, lets think about today's world. What would happen if you got caught
with a bunch of shuriken by the authorities?
Right!
And, in ancient Japan, nothing would have screamed "Ninja! like a bunch of
these little babies tucked away in a pouch, especially being carried by someone
wearing one of these ninja night suits peddled in the magazines and catalogs!
Again, the reality is something a bit different. What if the shuriken was designed
from, or disguised as something else? What if, with the proper disguise himself,
the ninja operative could get away with carrying dozens of these metal plates,
and even if he was searched and they were found, nothing would happen?
It's true. And the disguise was often that of a simple... carpenter.

Take a look at the picture above that shows a "star" shuriken and a throwing
spike, known as a bo-shuriken, locked together. Do you have any idea what that
set-up could be, especially to a carpenter four or five centuries ago?
The reality is that the spike is a nail and the "star" is a carpentry tool known as a
kugi-nuki or nail-puller." Often, modern practitioners of the martial arts look at
something from days gone by and try to make an assumption about it based on
modern knowledge and technology. When, in fact, that assumption couldn't be
farther from the truth. Long story short, the nails of ancient Japan had no head
and, since there were no claw hammers either... get it?

The stars themselves were simply flattened squares that were used like washers
(also called senban - but more on this later) that the spike would be bent over to

hold corners and such in place. The spike was driven through the hole in the
center and then pounded at an angle across the plate to hold it in place. If a
mistake was made, with or without the plate, another one could be used to pry
the nail-spike up and then slipped over the shank to pull it out of the wood.
I know. Not as glamorous as the image of a black-clad ninja stalking around the
country-side, but neither is the sight of a country-side littered with the bodies of
stupid ninja who would have believed they could do what the creators of these
myths suggest!

Common Uses of the Ninja Star

The truth is that the shuriken was a hand-held or thrown weapon used primarily
for distracting, confusing, and unbalancing an adversary. And, in a time where
superstitions about gods and demons were common, as well as a rigid code for
doing any "thing" was in place, unconventional tactics born of unconventional
thinking was perfect for tipping the advantage in the Ninja's favor.
As a throwing tool, the shuriken could have been used to cut a sentry from a
distance. From a hiding place near a gate the ninja wished to enter, the blade
could be thrown in such a way as to create a cut before spinning off and
disappearing. The guard, believing that he was being attacked by an invisible
swordsman and not wanting to take any chances, would run off to get help,
leaving the area unattended.
The weapon could also be tossed or thrown from within a defensive situation in a
way and with the timing that would conceal it. The assailant, being cut or hit by
an unseen weapon, is suddenly confused and open to a follow-up attack. In
addition, the weapon could be used as a delivery device for carrying messages
or burning compounds for setting fires - something that was a constant threat in a
culture where wood and paper were the primary building materials!
While we're at it, we should probably also get over the idea that the shuriken was
something that was limited to just a ninja weapon. Sorry, just isnt so.

There were many Samurai lineages throughout history, and individual warriors
themselves, who employed the use of thrown blades as well. But, just as with
any of the tactics, skills, and tools associated with the ninja... it's not so much
about this or that being a Ninja "thing," as much as it is in the way the Ninja
employed it. To be a Ninja is to think, outside-the-box of conventional thought,
understanding, and wisdom. It is a realm that, when actualized, allows the
practitioner a tremendous sense of freedom to operate and produce results in a
way that seems to be almost magical to everyone around them.

It is true that, since the lineages of Ninjutsu are older, and stem from an age
even before the time of the people we have come to know as Samurai, that they
not only used the shuriken first, but developed it to a much higher degree than
anyone else. This is true of the shuriken as much as it is of any other principle or
concept in their arsenal.
And this brings me to, what I believe to be, the greatest myth of all. This myth is
even stated right there in the name that most people give to the weapon:
"throwing star."
In truth, the last thing that a good combatant wants to do in a violent situation is
to throw away his weapon. This is just as true for weapons like the spear and
knives, as it is for shuriken.
And therein lies one of the weapon's greatest strengths...

To be concealed in the hand during punching and grabbing, and then

brought into play at the perfect time to inflict greater damage to an
opponent during defensive action!

Of course the ninja had methods for throwing this powerful little weapon. But,
they also had methods for throwing a staff, sword, and many others, too. That
doesn't mean that was their primary or favored tactic, though.

Going Beyond the Form

One of the major principles involved in mastering the shuriken is to go beyond
the form. In the art of Ninjutsu, all weapons can be categorized under five
general classifications.
The ninja prefer to focus on principles and concepts over set-in-stone "forms."
So, instead of trying to learn and list a whole set of similar weapons like long
sword, short sword, ninja-to, knife, etc...
...We say "bladed."
And so it goes with the remaining four classifications:
Stick
Flexible
Projectile, and...
Combination
Understand?
So, which category does the shuriken belong to?
Careful. This could get tricky. Remember how I said the ninja learns to think
outside the box? Well, here's a good example of that in action.
While some would classify the shuriken as a "bladed" weapon, because it is a flat
blade, at least in its hira "flat" or shaken 'wheel' form, others would say that it's
a projectile weapon because its thrown. But...is it limited to either of these?
I would submit that it might even appear to be a combination weapon, as it has
multiple purposes or characteristics combining more than one of the other
classes. But is it this either?
It's not a combination weapon in the sense that a yari ("spear") or naginata
("halberd") is. Each of these is a bladed weapon attached to a stick or staff. And
it's not like the kyoketsu-shoge (pronounced 'kyoh-ketsoo-show-gay') or kusarigama ('koo-sah-reegah-mah') "chain & sickle" weapon.
See. It depends on how you view it. And with the right perspective, the shuriken
is at the same time, part of any of these classifications, and yet free of being
limited by any of them as well. Truly a Ninja's weapon!
Do you see where I'm going with this? If you do, then you already see that this is
not just another book about...

Martial arts
Ninja, or...
Weapons

It's a whole lot more. And, if you look closely at the lessons being conveyed, you
just might find the hidden key to living and thinking like a Ninja, each and every
day of your life - in everything you do!
In upcoming chapters, we'll take a look at, not only the different types of throwing
methods, but also at some of the ways that the ninja-magician can use the
shuriken as a hand-held weapon to confuse, damage, and defeat his enemy.
You'll find techniques and tactics against punches, kicks, grabs, and weapon
attacks that will definitely help you to break free from the limited thinking caused
by these and other myths.
But for now, let's start our training by laying a proper foundation for defending like
a master warrior...

Chapter 3
Mastering the Basics of the Ninja's Shuriken
Before we get started into the physical training and skills with the shuriken
weapon, it's important that we get a handle on just exactly what a shuriken is. We
talked a little bit about this in the previous chapter, especially when we dispelled
some of the myths surrounding this mysterious little piece of ninja hardware.
The word shuriken is made up of three syllables, and when written using SinoJapanese kanji characters, we see that it is
broken down into:

SHU = "hand"
RI = "hidden", and...
KEN = "blade"
Which gives us the meaning of a 'blade
concealed in/by the hand.' But, knowing what we
do about the earliest forms of this weapon, we also know that this name probably
came later in history - with the concept of a "blade." And, you'll notice that,
nowhere in the name are the words or concepts of "star," or "throwing."
There is, however, a very similar word, shiriken (pronounced, shee-ree-ken)
that developed as a method for throwing a knife or short sword. In this case, the
kanji for ri (ree) is that of flipped or reversed, etc. In this case the sword was
flipped or held in reverse fashion with the hand on the blade and the butt-end
pointing at the enemy. The weapon was then thrown at the adversary for a kill.
Ill be making mention several times throughout the book, about the tendency of
some to superimpose their own assumptions about what something means. To
many English speakers, whose ears are not tuned to Japanese pronunciation
and linguistics, shuriken and shiriken can sound identical. In some cases, its
merely poor research by one teacher that gets passed along as the gospel for
all future followers to believe in.

This kind of thing, if extended globally, can be seen in many of the lessons and
ideas passed down from our Japanese warrior ancestors. Modern-day martial
artists have long been mistranslating many concepts out of a basic ignorance of
how the Japanese saw a particular thing in the days, years, and centuries before
the landing of Admiral Perry and the introduction of Western things into the tiny
island-nation.
Let me just finish by adding that, the shuriken are not the only things being
misunderstood and re-translated with someones ideas. We can begin with the
basics themselves. And, when something as simple as the word koshi, usually
translated as hip in the modern context, is encountered in a historical technique
description on a scroll, can be end up being very different when seen through the
eyes of a 14th or 16th century writer, you start to understand just how big of a
problem we could be facing.
That being said, lets move on to...

Types of Shuriken

Contrary to popular belief, there are actually several types, or forms of shuriken.
Whenever I point this out, many of my students readily jump to the conclusion
that Im talking about how many points the "stars" have. When, in fact, I'm not
talking about that at all.
What I mean is that there are two basic types of shuriken. If we can drop the
concept or notion the weapon being a "star" at all for the moment, and remember
that the definition of the word "shuriken' doesn't translate to "star" anywhere
within it, we can make progress. That's because the star-shaped weapon that is
most familiar to both martial artists and non-practitioner's alike is only one form of
the weapon - regardless of the number of points. After all, a "star" is a star.
The two types of shuriken are the;
Hira-shuriken (aka Shaken) - flat, wheel blade, and the...

Bo-shuriken - "stick" or spike

Each type had many names associated with them. The names were either...
Lineage-specific, as with the number of points on a hira-shuriken
Based on the object the weapon was made from (i.e. kugi-gata nail-form,
hari-gata needle-form, etc., or...
Based on the actual object that was thrown (i.e. kunai-gata utility-tool-form,
kankyuto-gata piercing-tool (for leatherwork and armor-making) form, etc.
As the last class points out, the idea was to learn the concept so that you could
use whatever was at hand. Other items that were thrown were things like the
kogai ornamental hair pin used by Japanese ladies, and hashi chopsticks.
Though there were different forms and lineage-specific details for using these
weapons, like all true budo tactics, there are common principles and concepts
that are universal for each type of shuriken - wheel or star shaped, or the stick
of leaf form.
Let's briefly take a look at each major type.

The Hira-Shuriken
This version of the weapon is indeed the star-like pattern you're probably most
familiar with. Also called a shaken or "wheel-blade", this form was usually
constructed from very thin plates of iron with a various number of points
according to the ryu-ha or school.
Within the Togakure Ninja school that I have been taught, there are typically
three and four pointed versions, although there can be more.
The point (so-to-speak) of having fewer tips was precisely to allow the Ninja to
hold the weapon in special ways to give that added something to punches and

hand techniques when fighting at close-quarters. The 4-pointed version is called

a "senban" shuriken in the Togakure school. And, as I pointed out above, the
word senban means "washer" in Japanese, and points directly to the disguise
and impersonation skills of the ninja. Of course, in their original form, the hirashuriken of yesterday look very different from the pretty little toy "stars" being
peddled in martial arts supply stores here is the West.

The Bo Shuriken
This version of the shuriken weapon, unlike the "star" or "wheel" form, is often
overlooked by most, as it doesn't fit the conventional throwing-star model. In fact,
theyre often considered by many to be more in the category of throwing knives
than shuriken. This, of course, is not the case.
Bo shuriken are, just as the name implies, straight, stick-like, spikes. They can
have either one or both ends ground to a point. And, while most of those
available today possess a round shank, it's more likely that the models of ancient
times were more square and slab-like. Since they would have been cut from thick
plates of heated metal, and the lathe technology for metalworking was not
prevalent, it's far more likely that this is true.
Bo shuriken also have several methods for throwing, depending on whether or
not the Ninja wanted the spike to fly straight into its target, or turn end-over-end
to get there.
But, with either the throw, the grip was the same, using a unique positioning of
the fingers that form a channel that the bar can slide through and maintain its
intended trajectory.

Modern equivalents
Again, we want to get out of the limited thinking that cages the minds of the
average person if we're to master the skills and what it means to be a Ninja. Just
as with our shinobi ancestors, the law frowns on the use and even possession of
these weapons in many places around the world. No matter though. Because,
just as authorities never outlaw pens, umbrellas, brooms, and closet dowel rods
for hanging our clothes and therefore they will never take 'stick" weapons away
from us (even if they outlaw every martial arts weapon in the book!). The same
goes for such items as ashtrays, saucers, cell phones, and other items
resembling the model of the hira-shuirken, they can never take away all of the
things around us that can be employed like a shuriken without radically changing
life as we know it.
Get the idea?
Just as learning how to use the Kubotan: self-defense keychain allows you to
employ the same tactics, skills, and techniques with a pen, ruler, or other small,
hand-held item, learning to use the shuriken literally multiplies what you have athand to use in your own defense - a hundred-fold, if not more!!!

To get you thinking along these lines, here's a short list of items that can be
used, both hand-held and/or thrown, as a weapon once you've mastered the use
of the shuriken:
Credit cards
Coins
Business cards
Small, flat stones
Chopsticks
Pens & Pencils
Wallet
CD/DVD (and their cases!)
Small Picture frames
Small Books
Tea Saucers
Drink Coasters
Cookies/Crackers
Nails
Chisels
Wrenches & Screwdrivers
Scalpels
Meat Thermometers
Medical Thermometers
ID and Security Badges (especially the stiff, laminated kind)
Police and Security Badges
Small, flat medicine boxes (like those that decongestants, etc are sold in)
Waitress' Meal Check Book
Floppy Disks
Knitting and crochet needles
...In fact, anything that is shaped like either version of the shuriken can be
pressed into use. Even your cell phone, iPod, eyeglasses, toothbrush, or a
sandwich can be pressed into service once you understand the concepts that
gave birth to the original weapon. The difference, of course, is whether or not it
has an edge, what kind, and how you can press it into service to defend yourself.
You know... Everyone gets so caught up in the idea of these way cool martial
arts weapons, as though they have some kind of magic power, in-and-of
themselves. But, the truth is, historically, they were just tools - everyday tools pressed into service AS weapons.
Nunchaku are rice flails for separating the grain from the chaff.
Tonfa were gristmill handles.
Sai are farmers sickles.
Shuriken were taken from... Well, you know...

Im always telling my students: Go to Lowes or any hardware store. Walk in, go

to the garden and other tool sections, and look at all the way cool martial arts
weapons!
The point here is that, if youre going to get past the usual mindset that limits
most martial artists and potential warriors, youre going to have to see beyond
the names, conventional titles, and specific forms of things.
But hey...that's what training is for!
You're not going to learn things like that sitting on your duff behind a computer
screen...just reading about how it's done!

Holding the Weapon for Maximum Effect!

Basic Grips
As a means of getting you started, I've selected a few of the most common grips
that I teach my students when presenting this material. Once you become
proficient in these (please note that I didn't say... "After you learn these"), then
you can start adding more or experimenting with some of your own ideas. But, be
careful with the "I made it up myself" routine. Unless you have the experience of
using this, or any skill, under duress, when a blood-thirsty attacker is putting the
pressure on you, you can't be sure if your home made technique is going to work
or not. And learning that it really doesn't in a life-or-death situation is not my idea
of a good time.

Holding the Hira-Shuriken for hand-held Defense

When holding the standard, 4-point shuriken for hand-to-hand combat (it's not
recommended to try to hold a star with more than four points), it's important to
make sure that the weapon you're using is either not sharpened at all, or is only
sharpened at the tips.
That brings up another myth about the throwing star. And that is that it has to be
sharpened from tip to center along the blades.

Maybe it looks more lethal that way, I don't know. But again, theres a problem
with this. First, the entire bladed section isn't going to touch the target and
therefore doesn't need to be sharpened. The shuriken that I have made for my
students are from an original pattern. These shuriken are so thin that they cut
extremely well and don't have to be sharpened at all!
The other, more critical problem is that...If your star is sharpened too much, you
can't hold it for hand-to-hand combat and therefore seriously limit its uses. In
other words, you HAVE to violate the first principle of combat and force yourself
to...throw your weapon away!
Now... how smart is that? Would a real ninja box themselves in like this?
No. Of course not!
Take a look at the picture of the hira-shuriken gripped for hand-held usage.
Notice the finger placement? This is very important as this position allows for the
most flexibility, strength, and adaptability when using the weapon in-close.

From this grip, we can...

...Punch directly into a target...

...Execute a clubbing, parrying, counterstrike to an incoming limb...

...Employ hooking, trapping strikes and cuts to hidden targets...

...Hook onto soft, exposed parts of the assailant's body or clothing (like a claw)
with the bottom point,

And...We can also flip the weapon over from hand-held...

1
...To throwing position...
3

4
...And back again...

1
...To hand-held position...

3
... In one quick, deft motion!

Practice the maneuver until you can do it with your eyes closed - while moving
and without cramping your hand or dropping the weapon!
There you go. One grip...5 or more uses...just to get you started!

Holding the Bo-Shuriken for Hand-to-Hand Combat

Due to it's simple shape, the bo-shuriken's use is pretty self-explanatory. Take a
look at the pictures to see the fore and reverse grips for the weapon. For those of
you who have properly trained with a knife, the answer is "yes," the thumb
belongs along the shaft of the weapon. Unlike the knife, with a much larger grip
area, using the thumb as shown here weakens the grip. Not so with the boshuriken. Its slim design requires some reinforcement to increase leverage and
strength during pressure point and stabbing attacks with the weapon.

(Fore Grip)
The reverse grip is easy to hide when the arms are hanging naturally at your
sides. In addition to stabbing, this position makes it possible to hook, grab, and
control parts of the assailants body while other weapons or tactics are being
used.

(Reverse Grip)

Holding the Hira Shuriken for Throwing

Again, the hira, or star-wheel version of the shuriken, has two basic grips - each
grip matching an intended throwing method. In keeping with the Ninja's principle
of naturalness" and doing that which will produce the results we want in the
easiest way possible, we want to hold the shuriken star so that our grip and
extending arm will naturally produce a throw that will do what we want.
The two most common intentions when throwing a star-shuriken is to either:
1. Stick it in something, or...
2. Have it cut the target and spin away.
I know that, for most, the idea of getting a throwing star to stick into its intended
target really gets their blood pumping. Watching my students get frustrated
because their shuriken hit the exact spot on a target but failed to stick, is a
common occurrence in the dojo ("training hall"). But, let me ask you...
...What would happen to a ninja in 16th century Japan who threw a star at a
Samurai dressed in wooden or at the very least, thick material-based armor?
Nothing would be more surprising than to have your assailant pull the weapon
from his armor (or body), and throw it BACK AT YOU!
And besides, against a Samurai in full armor, the only exposed places to target
would be the slight opening between the top of the men "face plate" and the front
rim or visor of the kabuto "helmet.," the hands, and the feet (remember, it was a
sandal-based society).
To get an idea about the size of these targets, look at these rectangle blocks.
Andeven at a distance of 3 to 6 feet, these targets, especially when moving,
can be VERY difficult to hit.
We'll talk more about the difference between throwing at a stationary target and
actually trying to hit a moving adversary in the heat of a fight in the next section
on throwing the shuriken.
For now though, just like I teach in my combat handgun courses, it's important to
understand the effect that our grip and posture has on keeping a weapon on
target when we're under pressure.
Take a look at the two grips pictured next.

Target area of the palm-side of the hand of a Samurai in full Armor

(Remember that the back of the hand would have been covered in armor, leaving half the
target area as the exposed fingers!)

Target area of the face on a Samurai in full Armor

You'll quickly notice that the hand position is very different for each. It's precisely
this difference that causes the shuriken to leave the hand and travel to the target
in a manner consistent with the effect we're trying to cause. And that is either to:
1. Stick, or...
2. Cut
Grip for throwing the shuriken in a way that will cause it to stick into it's intended
target (less spin)

Grip used for creating a buzz-saw-like spin-cut at the target (more spin)

Remember: Due to the fact the ninja star is designed primarily as a distraction
tool and is not likely to cause damage enough to disable your attacker, the spincut throw is the preferred method for most defensive uses. That way, he cant
pull the star out of the wall or his body part (his anger intensified by the pain!),
and throw it back at you.
Ironically though, the throwing method for getting the star to stick...is the easiest
to learn!
And finally...

Holding the Bo-Shuriken for Throwing

Unlike the usual grip used by most knife throwers, the grip used for launching the
bo-shuriken is unique. The hand is formed in a way that uses the fingers to
create a channel that the weapon sits in. The channel also acts as a guide, much
like the barrel of a gun, to give greater control as the spike leaves the hand on it's
way to the target.
Even though it has, like the star, two throwing methods, the grip for the boshuriken doesn't change.
The basic grip for the spike-like bo-shuriken

(Point forward)

(Point backward)

In Conclusion...
Remember that what I'm presenting here is one way to do these things. I believe
it is the right way, not just because it's what my teachers taught me,
but...because Ive tried other methods and found that they were not in alignment
with the Ninja's principle of naturalness. In other words, after trying many
different ways, these methods allow me to produce the results I want with the
least amount of energy, power, and wear-and-tear!

However...If you find that another method works for you and you can produce the
same results with the same or less effort, then by all means...USE IT!
Just make sure you're being honest with yourself and not just selecting a method
because it's what you learned first, it's fancy, or it's a favorite.
That being said, and now that we've looked at how to hold the weapon, let's
move on to...

Throwing Postures
Just as important as your grip, is the posture from which you use to launch the
shuriken. And while a master practitioner should be able to throw from just about
any position he or she finds herself, we have to begin somewhere, don't we.
The following pictures show the basic bladed stance for launching the hirashuriken using both a horizontal "Frisbee-like" throw, and an overhand "baseballlike" throw.
Please note that I used the terms "Frisbee" and "baseball" to give you a
reference point that you're familiar with, NOT as a description of how to actually
throw the weapon.

For Vertical, Overhand Throwing

For Horizontal Throwing

Understanding distance with the Bo-Shuriken

One of the important principles that you'll need to understand for effectively using
the bo-shuriken is that of distance. Because the spike doesn't have the benefit of
multiple blades that radiate out from center, like the "star" weapon, you'll need to
be able to calculate the rotation of the weapon to insure that the point meets the
target at the right time.
As a side note, remember that you're throwing a piece of metal at someone in the
heat of a fight. Can you imagine being hit in the face, or anywhere on your body,
out of nowhere...with a piece of metal?!
The point is, even if you don't make the weapon stick into the target, remember
the important thing...you HIT the target with a solid object! And, unless youre
fighting the Terminator, he WILL respond!
As a means for practicing to get to know the flight dynamics of the bo-shuriken, a
good rule of thumb is that the weapon will make a half-turn about every three feet
it travels to the target. This is assuming, of course, that you're using the throwing
method I describe here.

Throwing for Accuracy and Power

The key to throwing the Ninja star or spike with precision and enough power to
do the job, lies in the Ninja's use of the body in motion. The ninja's Taijutsu "body
art" of relaxed, flowing, movements that gets the body weight fully behind the
weapon is the key. Regardless of whether we're delivering a punch, kick, cutting
with a sword, or throwing the shuriken, the principle is the same.
If you're unfamiliar with Taijutsu, or the ninja's unarmed fighting style, the
following description may help. But, remember that nothing beats actual
experience with a master teacher.

Look at these pictures to get an idea of the flow inherent in the movement of
launching the throwing star weapon at a stationary target. Remember that, we
are really practicing the proper skills for being able to hit any target, whether
stationary or moving, with these skills. And, while it may seem like a good idea to
"cheat," and change the way you're doing things, you will only be lengthening
your learning curve. This will only mean that it will take much longer to master
these skills.
Here are the steps for throwing the flat, star-like weapon at a target horizontally...

Horizontal Throwing
From a basic bladed posture like the ninja's ichimonji no kamae; hold the star in
the lead hand using one of the grips shown in the previous section. The lead arm
should be bent so that the weapon is held, palm-up, in front of the midsection.
Then, using a smooth, gliding movement, shift your weight forward over your
lead knee while simultaneously extending your lead arm out towards the target.
The elbow should remain in a tucked position in front of the ribs, then extend out
in a straight line towards the target as the hand and lower arm shift into place.
This movement is very different from the arcing "Frisbee" throw that I often see
being done. This type of throw should be avoided, even if it is tempting to do
when throwing.

The main reason for this is that the practitioner has to time the release of the
weapon at the precise place along the arc for the weapon to move in the correct
direction. And, if you've ever thrown a Frisbee this way, you know how much your
friend has to move to chase and catch the toy!
The throwing of the blade is more like dealing cards. Instead of flipping the wrist,
creating the telltale arc, simply extend the weapon towards the target in a straight
line, as if you were "feeding" the weapon to the target.
You'll know when you have this correct as the lead arm will be pointing directly
at, and not past, the intended target at the moment of release. If you've gone
past the intended target, you know that you're throwing an arc.

Vertical Throwing
From a basic bladed posture like the ninja's Doko no kamae; hold the weapon in
the rear hand using one of the grips shown in the previous section. For this
description, I'll be focusing on throwing the nail-like bo-shuriken, but the basic
principle and technique holds true for the hira-shuriken.
The lead arm should be straight in a good kamae-based, covering position (you
may be moving away and parrying or covering against an incoming attack). The
rear arm is bent, with the forearm vertical so that the weapon is held, fingers-up,
beside the ear or top of the head.
Then, using the same smooth, gliding movement described for the horizontal
throw, shift your weight forward over your lead knee while simultaneously
extending your rear arm out towards the target. This extension should, again,
create a natural straight line and not be swung in a downward arc from the
shoulder. The elbow should remain in a tucked position beside the ribs, then
extend out in a straight line towards the target as the hand and lower arm shift
into place.
This movement is very different from the arcing, whipping, "baseball" throw that I
often see being done. This type of throw should be avoided, even if it is tempting
to do when throwing at a stationary target. The main reason for this is the same
as for the horizontal throw - you have to time the release of the weapon at the
precise place along the arc for the weapon to go where you want it to. And, in the
heat of combat, against a moving target... you don't have that luxury!
And, just with the horizontal throwing action, you'll know when you have this
correct as the lead arm will be pointing directly at, and not below, the intended
target at the moment of release. If the spike is not sticking in the target where
your fingers are pointing, either your throw is too weak or you're whipping.
Here are the steps for throwing the spike-like, bo-shuriken weapon at a target...

In both forms of throwing, it is the extending arm and final natural movement of
the hand and wrist that creates or eliminates spin on the weapon as it leaves the
hand.
There is no need to force anything, if you know what is happening with and as a
result of the body movement.
As you can see, as with all things related to the ninja and the true budo of real
warriors, there is much more to the shuriken then meets the eye.

But, as I said, just reading about how to do it wont do much for improving your
skill level beyond where it is right now. If you want to just have something to talk
about with your friends in the dojo, over coffee, or on the net...you probably dont
need to do much more than maybe re-read a section or two to make sure you got
your facts straight.
However, if your goal is skill proficiency and mastery, then theres lots of work to
be done. And that will require effort, discipline, and commitment to putting in the
time needed. Even then...
Were only halfway.
Now that weve covered the history, background, and basics of throwing the
shuriken - what, to most people, is the obvious or omote aspect of this weapon,
lets turn our attention to the hidden or URA realm of...using the shuriken as a
hand-held tool for self-defense.
In Section II of this book, Ive outlined some example techniques for using both
the hira and bo-shuriken against common punching, grabbing, and kicking
attacks. Youll also find a few techniques for using the shuriken in a close-range
encounter where swords are involved.
My goal was not to overwhelm you with a ton of techniques. But, instead to cover
the essential principles and concepts for using the weapon effectively, and in a
way that takes advantage of its ability to seemingly come out of no-where to
confuse, harass, and inflict damage upon the unsuspecting assailant foolish
enough to attack you in the first place!

SECTION II
Hand-held Self-Defense Tactics with
the Shuriken!
Chapter 4
Defenses Against Strikes and Kicks
When using the shuriken as a close-range self-defense tool, remember that the
weapon is there to assist your techniques, not make them something they're not.
No weapon can make up for lousy skill when it comes to self-defense. If you can't
do things like evade strikes, maintain your balance, and move freely and quickly
without a weapon, it's not going to be any different with one. Just as a person
who couldn't hit the broad side of a barn with a rock, that same person isn't going
to do any better just because he's throwing a shuriken!
The following techniques are some basic and not so basic examples of using
both the hira and Bo shuriken against punching and kicking attacks. Please note

that we are using a rubber, practice weapon, like our students train with. This is
both for our partner's safety and to be able to practice without causing damage to
ourselves should we make a mistake.
Also note that, because we are using a mock-up and not the actual tool, you will
not see the blood, torn flesh, or hear the blood curdling screams that will
accompany the proper application of these techniques in action under real
conditions.
As an added bonus to your training, make sure that you also train with these
techniques WITHOUT the weapon. After all, they are simply unarmed techniques
where a weapon has been introduced to make them even more effective!

Hira shuriken vs. a Straight Punch

From your new position of safety, you can flip the shuriken over into throwing
position and send it flying towards his face if he attempts to recommit to the fight.

Defense Against a Straight Punch #2

Defense Against Punches and Kicks with the Bo Shuriken

Defense Against Grab and Punch Combination with the Bo Shuriken

NOTE: As an advanced training exercise, you can combine this technique with the last one using the first move in this string continue where the last one in the previous technique left off.
Remember that kata are moments of potential in time, not set-in-stone things.

A broken or impaled body part like this is an excellent control from this point out.
All you need to do is hold onto the affected area and strike or move it to intensify
pain whenever the assailant tries to continue. Eventually, he will need to move
away to take care of his injuries or simply pass-out from the mind-numbing pain!
In using the bo-shuriken with the fore grip, simply apply the same principles and tactics
as those used with the Kubotan, self-defense keychain weapon.

Defense Against a Kick with the Hira Shuriken

Chapter 5
Defenses Against Grabbing Attacks
Just as with the defenses against punches and kicks, the shuriken becomes an
aid to an already effective technique. The benefit in a grappling situation though,
is that the pain caused by the weapon allows you to break the attacker's balance,
attention, and will so much easier.
It's important to remember to keep the weapon concealed, even while using it. If
the assailant realizes what you have, he will take steps to defend and protect
himself against it. This means that hell also turn up the volume on his attack hell fight harder. Knowing what weapon you're using gives him an advantage
where, only seconds before, not knowing kept him in the dark and even more
confused about how you were causing so much pain!

Remember that the following techniques use just as much, if not more,
psychology, as they do physical technique. If you can remember this important
point, and use it to your advantage, not just with the shuriken - but always - you
can gain control of a situation long before the assailant ever realizes that hes
lost it!

Defense Against a Bully-Type Grab with the Shuriken

Heres a technique that can employ either the hira or the Bo versions of the
weapon. As long as you do this convincingly and don't over-act, he'll believe that
he has control of this limp, rag doll of a wimp that he's just taken a hold of. In
reality, what you're doing is employing the Ninja's kyojutsu tenkan ho method of
'disguising truth and falsehood' to get your hands into position above his
grabbing arms.

Defense Against a Single Hand Grab with the Hira Shuriken

Defense Against a Wrist Grab with the Bo-shuriken

Defending Against a Double Lapel Grab with the Hira Shuriken

Chapter 6

Defenses Against a Sword Attack

Here are a few for the traditionalists!
In ancient Japan, it was not uncommon for a Ninja operative to be unarmed when
encountering a fully packed Samurai or Bushi. In this case, the ninja had better
be able to pull a trick or two out of his pouch, if he or she stood a chance.
As an important note, it's important that we respect the skills of the swordsman even a mediocre one. Contrary to the techniques that are routinely depicted in
martial arts magazines, videos, and on web sites these days, it is VERY difficult
to beat a trained swordsman. Hell...it's difficult to get in on, let alone beat, an
untrained person flailing at you with a knife, machete or any other weapon, like a
shoto or katana with a 28 - 36" razor blade attached to it!

Defending Against a Downward Cut Using Taihenjutsu & Shuriken

Unlike most martial systems, where the practitioners resist or avoid going to the
ground at any cost - or those who take a fight to the ground as a default as
though equalizing a fight somehow increases your chances of survival, the
Ninjas taihenjutsu (body-changing arts) utilize rolling, leaping, breakfalls, and
other ground-covering maneuvers for both offensive and defensive tactics.

Defense Against a Sword Draw-and-Cut "Stand-Off"

From a stand-off kind of position where you can't wait for the attacker to make
the first move, you can throw a shuriken that has been previously concealed in
your sword-drawing hand to distract him long enough to execute your own drawand-cut maneuver. After this first move, the rest is easy!

Chapter 7
Defending Against Someone
Throwing a Shuriken at...YOU!
As much as martial artists and those studying self-defense would like to believe
that their techniques and weapons are unbeatable, the truth is that...
...You don't really know a technique or weapon as well as you should if you can't
defend against it!
Think about that for a second. Are your techniques really THAT superior?
Is any weapon really THAT invincible? If so...
...What will you do if someone attacks YOU with it... just lie down and die?

No.
Mastery in the Ninja's arts of "winning against all odds" demands that you not
only know how to use a weapon like the shuriken effectively, but also that you
know how to defend yourself against it should someone try to us it on you.
The point of the following techniques is this:
You don't truly know a weapon unless you understand it's weaknesses and
limitations.
But... never forget the most important lesson of all:
You are defending against the "opponent," not just the working-end of his
weapon!

Unarmed Defense Against a Thrown Shuriken (Strategy #1)

Using last-second, evasive turns and shifts of the body to avoid incoming blades
is the best course of action if you can't find objects with which to hide behind.
Also, putting sufficient distance between you and the weapon thrower also
increases your odds of not being damaged. And, even if you are hit, moving with
the attack or being farther away lessens the damage that can be inflicted on you.

REMEMBER: The shuriken is a harassment weapon and not likely to do serious damage if it hits
you. Keep your wits, even when damage occurs in a fight, and youre more likely to keep your life

Unarmed Defense Against a Thrown Shuriken (Strategy #2)

Contrary to the movie images popular in the media and even in video games
today, showing the Ninja catching blades between his hands, a true Ninja never
willingly comes in contact with a live weapon, unless he or she has no other
choice. Evasion is always preferred over trying to block or catch a weapon,
regardless of whether were talking about a shuriken, katana blade, or even an
unarmed fist.

Using a Weapon As a Shield Against Incoming Shuriken

The trick with this technique is to avoid using big, sweeping movements against
any single weapon. Understand that you only need to protect a small profile and,
creating the correct position makes it very difficult for an attacker to get even a bo
shuriken in on you - no matter how good he is!

"Ninja Magic"
What is written here is by no means a complete account of the kuji-in or the kuji-kiri that
gave the Ninja mystical powers, but rather a reference to the meditative skill that the
ninja practiced.
"KUJI-IN"
What I am presenting here is by no means a complete account of the Nine Finger Cuts
that gave the Ninja mystical powers, but it will serve the would be Maho Tsukai
(sorcerer) as a very useful and provocative primer. The exact origins of the nine cuts are
unknown, but it is believed that the Tantric Buddhist Schools of Shingon and Tendai
Mikkyo first introduced them to Japan. It is a common misconception that the techniques
of Kuji were the sole domain of the Ninja. This is not true, as even a cursory exploration
of the Koryu (traditional feudal arts of the Samurai) will reveal. For instance, the Yagyu
Shinkage Ryu and the Tenshin Shoden Katori Shinto Ryu both made use of the Kuji In
and Kuji Kiri.
Though the techniques of Kuji In and Kuji Kiri are closely tied to one another, they in all
actuality serve two very distinct functions. The Kuji In hand positions are used to invoke
nine levels of mystic power. They are a method of focusing the mind and activating these
powers, each in turn. The Kuji Kiri, however, is a form of practical sorcery, the method
of which we will discuss shortly.
When utilizing the Kuji In, you may find the outward technique less important than your
inward understanding of the concepts symbolized by each of the "cuts". In the beginning,
rely more on what you feel internally, and less on written interpretation.
The Nine levels of the Kuji-in:
Rin Kyo Toh Sha Kai Jin Retsu Zai Zen -

Strength
Direction of energy
Harmony of the Universe
Healing of self and others
Premonition of danger
Knowing the thoughts of others
Mastery of time and peace
Control of the elements of nature
Enlightenment

THE MUDRAS, MANTRAS, AND POWERS OF THE KUJI IN

RIN
STRENGTH of mind and body
MUDRA: DOKKO IN (VAJRA)
MANTRA: ON BAI SHIRA MAN TO YA SO WA KA
This Kuji not only focuses physical strength and intelligence, it also confers physical well
being and attitude.
Middle fingers extended, others interlocked.

KYO (PYO)
DIRECTION OF ENERGY
MUDRA: DAIKONGO IN
MANTRA: ON I SHA NA YA IN TA RA YA SO WA KA
This at first glance may seem to refer to directing energies into
action, but it is also the power to increase one's own inner energy.
Index fingers and thumbs extended, middle fingers curled over index fingers. Others
interlocked.

TOH
HARMONY with the universe
MUDRA: SOTOJISHI IN
MANTRA: ON JI RE TA RA SHI I TA RA JI BA RA TA NO-O
SO WA KA
There is more to this than meets the eye. Submit to the All and share its momentum and
its wisdom. The intelligence of an individual is always less than the combined
intelligence of group. Study on this.
Last two fingers extended to form a V (tips touching). Thumbs extended, others
interlocked.

SHA
HEALING of self and others
MUDRA: UCHIJISHI IN
MANTRA: ON HA YA BAI SHIRA MA TA YA SO WA
KAON NO-O MA KU SAN MAN DA
What would you find more useful, the ability to kill or the power to heal? With the
development of your inner power, you will find that you succumb to infection and illness

less and less often. And that you can confer these healing properties upon others.
Index fingers and thumbs extended, others interlocked.

KAI
PREMONITION of danger
MUDRA: GEBAKUKEN
MANTRA: BA SA RA DAN KANON A GA NA YA IN MA YA
SO WA KA
With the achievement of this cut, you can feel the emotional intent of others, giving you
the advantage of knowing how others will react in a given situation.
All fingers interlocked.

JIN
KNOWING THE THOUGHTS OF OTHERS
MUDRA: NAIBAKUKEN
MANTRA: ON HI RO TA KI SHA NO GA JI BA TA I SO WA
KAON CHI RI CHI I BA RO
Achieving adepthood with this Kuji confers the ability to "feel" thoughts. Not just
revealing the thoughts of other to you, but also cloaking your thoughts from others.
All fingers interlocked inwards.

RETSU
MASTERY OF TIME AND SPACE
MUDRA: CHIKEN IN
MANTRA: TA YA SO WA KA
This is mastery of perception on many levels; this is more than just
transcending the limits of perception. It is also the power to grasp the relativity of
perception as it relates to space/time. The implications of this Kuji are profound.
Index finger of left hand pointing up with the fingers of the right hand curling round it.
The thumb of the right hand should be pressed against the outside edge of the nail on the
index finger of the left hand).

ZAI
CONTROL of the elements of Nature
MUDRA: NICHIRIN IN
MANTRA: ON CHI RI CHI I BA RO TA YA SO WA KA

This represents not so much a control over nature as much as an understanding of the
elements of nature so deep that the Ninja appears to be able to control nature due to
profound insight into its workings.
Fingers outspread, palms out. Index fingers and thumbs touching.

ZEN
ENLIGHTENMENT
MUDRA: ONGYO IN
MANTRA: ON A RA BA SHA NO-O SO WA KA
"Know thyself" As the Sufi says: "If you can go ten minutes without a conditioned
reaction, then you are illuminated".
Right hand covering Left hand. Thumb tips touching

"KUJI-KIRI"
Pictured below are the names of the Kuji forming a grid of nine slashes. The grid is
drawn starting with Rin, then Sha, then Toh, and son following the across then down
pattern.

The method is incredibly simple and well suited to Chaos Magic. Simply write the
symbol of desire (traditionally in Japanese Kanji, but any sigil will suffice) and using the
Kuji, draw the grid over the symbol.
As an example, if you wished to heal an illness, draw a picture of the person, then the
symbol over the part of the person that is diseased including the grid. After this talisman
has been activated, you perform the "method of the tenth cut" (that is, you rub the
talisman across the affected part of the person's body). Needless to say, a curse might be
cast in a very similar fashion.
Another method of using the Kuji Kiri is to draw the talisman on the palm of the hand
using your index finger.
**NOTE**
This is just a brief amount of knowledge of the kuji. There is much more information
about this means of meditation and mental practice of the ninja that will not be written
here. I believe that all of the advanced techniques and teachings should be practiced
traditionally from teacher to student.