Black Dragon Ninjitsu:

Published
by
Witch-Hunter Publishing
P.O. Box 597
MacArthur WV 25873

Copyright Notice:
This book & the title of Black Dragon Ninjitsu are copyright
material of the author, Ron Collins, & can not be reproduced in
written format, copied or stored in an electronic devise without
explicit written permission from the author, except for review.

Disclaimer:
This Book has be published for educational & entertainment
purposes only. The author and/or publisher(s) claim no
responsibility for use and/or misuse of the information,
techniques, methods & formula contained herein…

It is advised that one should not attempt any of these training

methods or fighting techniques without first gaining a doctors’
permission & even then Practice safely…
 Table of Contents
Introduction:
To Be A Ninja……………..………………………………3
Roots of Ninjutsu…………………………..………..…….3
Taijutsu Basics:
Training Methods……………………….…………………5
Combative Techniques….………………………………...14
Intonjutsu:
Inpo Principles…….…………………………………..…..50
Tonpo Principles………….…………………………….....53
Yogen:
Poisons………………………………………………….…60
Pyrotechnics…………………………………………...…..61
Herbal Medicines…………………………………...……..67
Basic Ninja Weapons:
Shuriken...............................................................................69
Bojitsu..................................................................................71
Tantojitsu..............................................................................75
Kusari-jitsu...........................................................................79
Oath of the Black Dragon………...……………………………82

Postscript:
The Path of the Shadow………………………………...…83
 To Be A Ninja…

To be a ninja, to even contemplate the silent Way of the Shadow, one must
be as a predator.
This means to study & learn the way of your prey. This means one must study &
learn the ways of your prey, so that you know their strengths & exploit their
weaknesses. So that you may strike when they are most vulnerable & trap them in
their habits.
To be a ninja, a knight of shadow, you must first be a warrior.
This means to accept responsibility for your actions, acting alone without aid on
your own skill or skills.
A true warrior does not need to fight a battle, but only out think his enemy to
defeat them.
To be a ninja, a complete warrior, one must also be a healer.
This means that he can undo any damage any damage inflicted on a opponent.
Thus, affording one the highest level of self defense making an ally of the enemy.

Roots of Ninjitsu:
Ninjitsu means “stealth art” or “stealing in,” though it can go on to mean
“endurance art” as well. Its original practicers called shinobi or ninja. It is said to
originated from a Chinese military tactic and guerilla warfare book entitled The
Art of War, written by a Chinese general-philosopher named Sun Tzu. Many
assume that Japanese scholars had read this book during their many culture-
gathering missions to China. It is believed from here grew the infamously deadly
clans that were to be feared for centuries throughout Japan. The most famous Ninja
clans came from the Iga and Koga areas of Japan’s main island of Hoshu.
The ninja first appeared during the war between Prince Shotoku and Moriya
over the land of Omi prefecture during the sixth century. During this time, Otomo-
no-Saijin, of the Koga area of Japan, provided Prince Shotoku with important
information. This information led to Prince Shotoku’s victory, for this Otomo-no-
Saijin was awarded the title of Shinobi, or “stealer in,” and the ninja’s legacy
began…
Although the ninja are Japanese, groups such as the Moshuh Nanren and Lin
Kuei of China and the Sulsa warriors of Korea may be further links to the Ninja’s
past outside of Japan.
 Meditation & Mental Exercises:
In ninjitsu there is a certain focus on having one’s mind & body in a fit &
well conditioned form. This is both a cultural aspect of Japan’s religious history &
a warrior’s skill. While most people see only the fist, a warrior sees a canvas. Each
technique leads into the next in a constant flow. This flowing pattern can not be
arranged or predetermined as the techniques are a fewer expression of the art. To
gain an intuitive feel one must condition the mind to see & feel one’s thought as if
in a “waking dream.”
To this extent I have included a few simple exercises & basic meditation.
This will serve to calm & focus the mind steadily building the minds ability to see
what can be & a possibility for each action & reaction of one’s choices.
A mind is useless, without a strong body to affect its will. A strong body is
only meat for a stronger animal, without a strong mind to wield it. Thus both mind
& body must be tempered as steel to cut through life with meaning.

Mental Exercises

The following mental exercise is the gate to higher understanding. Begin by

sitting calmly in a dark room with one’s eyes closed. Make sure there is no noise
or interference. Now imagine black empty space. Within this space a dot of
brilliant light will appear, this light may grow brighter, but not bigger, or dimmer
as you will it. But do not command it with “verbalized thought” (saying to do so in
your mind).
Now imagine, this dot moving into a circle faster & faster until it becomes a
solid ring of golden light. This light then shifts between silver, mercury, copper or
gold at your will. Now this level of exercise may not be easily obtained & will take
time to achieve. This exercise should be practiced for one hour a day. However,
understand that at first this level of focus will not be easily obtained.

When the basic control of the ring is mastered you may begin the next level
of training & mental growth. Now like the folding of paper, the ring should be
willed to collapse within itself creating a ball. Now the ball may be moved at your
command via your simple will power alone. This ball will change substance &
color to whatever the student wills. In time this ball by become any object the
student wills, a sword, a tea cup or a model plane.
After significant practice you should notice a more vivid flavor to your
dreams. You subconscious mind may more readily speak to you in your dreams &
thoughts. Remembering images will come more easily, as will understanding the
level of possibilities you can see in your daily life.

Basic Meditation
By principle alone meditation builds on claming & understanding oneself.
Begin by sitting either on ones knees or sitting “cross-legged.” Slowly breath in
and out allowing your body to become relaxed, relaxation is key to the first steps
of mediation. Now clear your mind of conscious thought & focus on your
breathing, it is very important you find your own pattern of breathing for
whichever mode you prefer.

In (Positive) Breathing
Now focus on your breathing, drawing in fast but deep breaths allows more
oxygen to enter your blood stream. Increasing both metabolism & heart rate, this
method of breathing also increases the amount of nutrients in ones blood.
To the brain this is a signal for increased response. As with an adrenaline
surge, one breaths with fast shallow breaths & this causes the body to lose
coordination. Controlling ones breathing in this fashion allows the body to gain the
effects of an adrenaline surge without the loss of motor function. In fact positive
breathing helps to increase the body’s natural bioelectric energy & strengthen
nerve signals.

Yo (Negative) Breathing
Negative breathing is sadly a very dangerous undertaking. As positive
breathing allows the body to pick up oxygen & nutrients, negative breathing
lowers the level of oxygen in one’s blood. This allows for the metabolism to slow
down, as well as the bodies nerve signal. Negative breathing may be used to block
out pain, or discomfort, or as a door way to psychic energy via a trance, very much
resembling a Native American vision quest.

Zen (Neutral) Breathing

Neutral breathing is not one’s natural breathing state, however all people
have tendency toward breathing either positively or negatively on a subconscious
level. With careful awareness one may simply control this action on a
subconscious level to correct one’s temporal leaning. Neutral breathing is a
controlled, balance breathing form used to return the body to balance.
 Basic Physical Training:
Push-ups:
An excellent way to build up the upper body strength. Alternate the position
of the hands for better results, the exercise can be performed with the legs raised
above the head & shoulders for added resistance. You should strive to complete 65
repetitions at a slow steady pace & 60 repetitions in under a minute.
Alternative push-ups include raising your buttocks above your shoulders.
From here one can either lower one’s body until your nose touches the floor or by
dip-gliding down & forward as if one is trying to slide under a fence without
touching the ground. Push-ups done this way target the shoulders hips & back.
Another alternate push-up is done by tightening the stomach muscles while doing
push-up, which greatly increases the resistance & also builds the stomach muscles
via isometrics.
Pull-ups:
Also very good for developing upper body strength. Hang from a bar, with
arms fully extended & the elbows “locked out.” When one “pulls up” the chin
should clear the bar, & the body kept as clear as possible, which means not to rock
yourself back & forth, bicycle your legs etc, to gain momentum to carry yourself
over the bar.
Alternate your grip. A “palms away grip,” where the palms of your hands
face the bar, strengthens the shoulders & upper back. A “palms to grip” where the
palms face you strengthens the arms & chest.
Sit-ups/Stomach Crunches:
Sit-ups should be executed with the knees bent & arms folded across the
chest & pulled as close to the body as possible. The body is raised at the waist, by
the abdominal muscles & hip flexor muscles, until the elbows touch the thighs then
lower back down until only the small of the back touches the ground. This
completes one repetition.
To strengthen the sides of the stomach, onto your side & raise both legs &
torso by bending at the waist. Once, you have complete a set number of repetitions
repeat for the other side. One should strive to do a set of 100 set-ups at a fast
steady pace.
3 Mile Run (minimum):
Running can increase overall health as well as raise one’s stamina &
endurance. Start by running a mile & a half, and gradually increase to three miles.
Also, try to lower your run time to under 20 minutes. Running up hill is used to
increase both stamina, and strength in the legs, as well as cardiovascular
endurance.
Swimming:
Swimming is known to both build and tone all the major muscle groups.
Swimming also increases stamina and breathing potential.

Advanced Physical Training

Advanced physical training cover exercises that are used to draw on certain,
muscle groups or exercises which break the normal routine of push-ups, sit-ups, &
running. These exercise offer the same or better benefits as the basic exercises but
also flavor & are a somewhat fun.
Rope Climbing:
Rope climbing is used to build strength in the arms, shoulders & legs. A
ninjitsu-ka can supplement his climbing skills with physical training. Rope
climbing skills are a must to “traditional” ninjitsu practicers.
Run Circuits:
Run circuits are executed by running a set distance, stopping and executing a
strength building exercise (i.e. push-ups, pull-ups etc.) and then running the same
set distance. This exercise is the most dramatic for building strength & burning
away fat. An example of a run circuit may be:

Sprint 50 yards Sprint 30 yards

30 Push-ups 20 Sit-ups/Stomach Crunches
Sprint 50 yards Sprint 30 yards
50 Sit-ups/Stomach Crunches 15 Side-Crunches each side
Sprint 50 yards Sprint 30 yards
25 Side-Crunches each side Maximum Set of Push-ups
Sprint 50 yards Sprint 30 yards
Maximum Set of Push-ups Maximum set of Sit-ups/Crunches
Sprint 50 yards Sprint 30 yards
or 30 Push-ups
Sprint 30 yards
Sprint 30 yards 50 Sit-ups/Stomach Crunches
20 Push-ups Sprint 50 yards

Swim Circuits:
Swim circuits are similar to run circuits except, a running distance is replaced
by a swim distance usually about 10 to 15 yard shorter then what one would run.
Swim circuits should always be attempted/practiced with a partner & someone to
observe so that if a mishap should occur one is always safe.
Weight Training:
Weight training is commonly practiced in the martial arts. In the past,
physical labor such as chopping wood, carrying large pales of water or building
small stone walls. Weight training should be practiced & there are several such
books on the subject.

Isometrics:
Isometric exercises strengthen ones muscles by negative resistance, which
force the muscles to sustain an extended period of strain on and to the muscles and
muscle groups. This extended period causes the muscles to tighten & build up
rapidly. However, isometrics do have a draw back, isometrics build only on the
primary muscles used to sustain the action. Isometrics are the root scientific
principle of arts such as yoga.

Palm to Palm: Press the palms together are hard as possible for 15 to 20
seconds, as if praying.
Palm to Wrist: Press your palm to your wrist along the back of your hand
exert pressure
Clasp Hand Pull: Grip your hands together in a clasping in front of your
chest & pull outward as if trying to tear something in two, with maximum
effort. Hold this pressure for 15 to 20 seconds.
Palms to Head: This exercise strengthens the neck muscles needed to resist
choking & absorb impact from blows to the head. Alternate between placing
the hands against the front, back and sides of the head. Exert and maintain
pressure for 15 to 20 seconds.
Deep Stance: A common trait of both Japanese & Okinawan Karate &
Kung-fu styles, is the use of deep stances to build the muscles of the legs
through isometric tension. Stand with the feet just outside the length of your
shoulders. Rest on deeply bent knees & hold this position for several minutes
2 to 5 and longer striving for 5 to 15 minutes.
Stomach Stretch/Cat Stretch: Lie on your stomach push up with your
shoulders & down with your hips. Hold this pose, by tightening your stomach
muscles. This pose should be maintained for 2 to 5 minutes.
Lying Between: This is an excellent method to build the lower back or
abdominal muscles, prop your feet up on an object, your shoulders on
another object. From the above position straighten the body using the truck
muscles & hold this position for 30 seconds to 2 minutes.
 Obstacle Courses: Every martial artist has dreamed of a “secret ninja camp”
to train, complete with obstacle courses as seen on the movies. What I present here
in this book is the “in-home obstacle course.” This allows the reader the ability to
build a set of objects which can be used in privacy & stored away for convenient
use.
 Striking Post: A 3 foot, by 3 foot square ply board about 3 inches thick
serves as the base. A 4x4 post should be nailed at the corners from the
bottom of the ply board. Two other 4x4 posts should be nailed from the
bottom of the ply board to help enforce the post as legs. Rope may be
wrapped around the post to serve as a crude padding.
 Sand Kettle: A large 12 to 16 inch diameter bucket should be filled with
pebbles, rice & later sand. Practice striking into the pebbles 100 times each
time, a day for three days a week. When you can punch to the bottom of the
bucket, up grade to dry rice & eventually sand when one can reach to the
bottom of the sand.
 Cats’ Toy: Hang a tennis ball from a rope. Slap the ball & practice evading
the ball. A cats’ toy nothing more then a ball on a string, hence the name. At
some point add a second & third ball.
 Rope Ladder: A rope ladder is rather simple & cheap to make. More so, it
can be purchased as a safety item for house fires. Hanging the two end points
the rope ladder now functions like a monkey bar set.
 Ho-Bo Steps: Five empty coffee cans & a bag of cement allow for relatively
stable standing posts. These posts can be used in three major ways. You can
use them to practice movement & balance skills by stepping from on point to
another. You can set them on the striking post base & use them practice
movement & striking skills in conjunction. The final method is to use them
as ”land mines” to be avoided while moving about blind folded. The two
former, builds speed & balance where the later builds a since of presence &
perception.

Psychological Training
Taijutsu, unlike modern Karate and Gung-fu, was meant for the battlefield
and to prepare a ninja for the harsh reality of combat requires the mind and body to
be “tempered steel.” A strong body can do little without a sharp and strong mind.
These psychological exercises are meant to strengthen the mind.
Stress, fear & adrenaline are common to fighters & combat. To be effective
you need to “slow down time” & think while allowing reflex & conditioning to
allow you to react without hesitation. A good example of this is the thinker & the
doer type of people. When someone is choking, a thinker will seek help. The doer
is already taking action. This mental strength, also confers to one’s moral code.
The ability to take action, under stress is as valuable. Most people do not
consider how they will act under stress. The adrenaline surge, often causes the
most skilled of fighters to become wild, unfocused gladiators. Useless you train
your mind, to act under stress you fail yourself & your training. I have often
remarked “That I hate ignorant people, but I detest stupid people even more.”
Ignorance is not knowing, but those who willing remain ignorant are stupid for not
seeing their own doomed spelled out in a fool’s choice.

Dodging Missiles: This training requires that a student be placed in an open field
& have fairly large rocks, about the size of a soft ball, thrown at them. The purpose
is to make the student move quickly to evade danger. At higher levels, throwing
knives & shuriken replace the rocks.

In a modern dojo, tennis balls replace the rocks & plastic shuriken & wooden
practice tanto replace the actual knives & shuriken.

The Blind Man: Interestingly enough this method is used by Spetz Noz, Russian
special forces, & was common among the Gypsy tribes & Cossacks. For this
exercise, the student is blindfolded and must try to make contact with a moving
target, a partner with a kick pad usually works best. At the next level, two students
spar each other blindfolded. The final stage of training involves the student, again
blindfold, sparring against a non-blindfolded opponent. This exercise is to cultivate
a sixth sense about danger.

Circle of Death: This exercise readies the student for combative reality. Ten
students are called into a circle, a student’s name is called, and that student enters
the center of the circle. Another student’s name is called, and he attacks the student
in the center of the circle. The student in the center of the circle is given two
minutes to defeat his opponent before another student joins the fray. If the student
gets knocked down before the two minutes is over, another student enters to fight.
Another variation of the exercise, uses strobe lights & loud music to conflict with
the senses. Those old enough to drink, could be allowed to do so to further dull the
senses. From here students must deal with distractions, sensory conflicts, and
multiple opponents. It is not a matter of winning the fight, but learning to find a
mental & emotional platform to act in a controlled manner.
Facing Death: Stress & fear are often, intrusive cause even the most steward of
people’s characters, this exercise is one of control. During this exercise, a student
is held under water for two minutes. The student must remain calm & slow their
heart beat to remain under the surface of the water without resurfacing for air.

An individual should never be forced to remain under the surface of the water
to the extent that it becomes harmful, and the individual begins to panic.

The Hunted: During this exercise, the student is blindfolded and led into the
middle of the wilderness. Still blindfolded, the student is ordered to perform
various exercises to the point of exhaustion. The student is told to remove the
blindfold.
The student is given a 10 minute head start before ten other students or no less then
shodan rank are sent after him. If the student makes it back and/or defeats all the
pursuers, the student then recites the Oath of The Black Dragon and given the title
of ninja & the rank of shodan (first degree black belt).

A test of skill, ability, speed & endurance. The student must possess the skills
needed to survive, the ability to combat his enemies, the speed of mind & body to
act and react without hesitation, and the endurance to keep going.

Kamae

Kamae is a term for posture which is common among many Japanese arts
such as jujitsu, aikido & aiki-jujutsu, kendo & kenjitsu. The reality of the world of
martial arts is easily demonstrated by the ideas of its practicers. It the area of
kamae or dachi, the one can see the many similar stances or postures between all
the apparent martial arts.
The following postures are all common to the various forms of ninjitsu and
taijitsu in the martial arts world. A Tsuruashi Dachi (Crane Stance) of karate is
hichi no kamae of x-kan taijutsu. This doesn’t mean the art or arts are the same.
But, it does mean the principles of you those are fundamentally the same.
Likewise, any martial artist who insists his art is different from all others, is a fool.
There is no new martial arts, only new interpretations of martial arts. This is an
important thing to understand, because you will see common postures to other
martial arts.
Tachi Kamae
This is the “standing posture” of taijutsu. Stand
relaxed, with your feet at about shoulder width apart. Relax
the entire body. Slightly flexing the knees and allowing the
arms to hang freely from relaxed shoulders.

This posture is commonly the one you will be in

should you need to defend yourself. From this posture I one
must get used to moving into a new posture with relatively
free flowing movement. More on this will follow later in this
book

Zazen Kamae

The “Sitting in Meditation Posture” is a concealed

posture, this allows the ninja-student to appear to be relaxed
and vulnerable to attack. The right leg, which lays along
the outside of the lap, is used to sweep an opponent’s
legs, allowing him to fall into a waiting enemy on the
ground. Sit with the legs crossed and back straight. Place the
arms on the knees, as before, relax the body this will be
difficult because the legs will be slightly tensed
naturally.

Fudo Kamae
This is a formal combat posture of
ninjitsu/taijutsu. The “Formal Posture” itself is the
basic foundation of most combat postures.
Stand at a side angle to one’s opponent, with the
feet formed in an “L” pattern & the armes raised.
The stronger arm should be forward. This serves
two major purposes 1) is to place the most powerful
weapon forward & closest to the most vulnerable
targets. The rear arm should defend the body &
shield the body’s natural targets. Your waist should
be slightly coiled.
Tai-Otoshi Kamae
The “Body Drop Posture” is similar to
the low postures of Eagle Claw kung-fu.
Although this low posture leave one open to
kicking attacks, it also provides an advantage.
By intercepting such an attack and using it to
pull the attacker to the ground.
This posture is often the result of rolling
or dropping down. One can either simply drop
straight down or step back or forward before dropping down. Kneel on one knee,
slightly resting one’s weight on the kneeling leg. Push back slightly off the lead
leg. Lean forward slightly at the waist and with the arms outstretched loosely.

Tsuru-Ashi Kamae
The “one-leg” or “crane posture” serves two very limited
objectives. One is to serve as a teaching posture for balance. The
second, is environmental, for striking around corners or fighting
in knee deep water, in the realm of combat experience.
From a fudo kamae, shift weight to the rear leg and raise the
lead foot by bending the knee. Rest the lead foot against the
slightly flexed knee of the lead foot on the supporting leg. The
hand & arm positions are as fudo kamae.

Tsuru-ashi kamae is a between position for kicking, & in

some instances a student is instructed to begin sparring from this posture. This
allows students to practice moving & fighting with limited stability.

Tai-Hoi Kamae
The “Body Encircling Posture” is used when one is
surrounded by multiple opponents, when one is “cornered” or if
it seems more comfortable then fudo kamae. Often this is seen
with students who are used to kick boxing.
This is the basic fighting stance of most military martial arts.
This posture is a variation of fudo kamae, except the arms are
raised, with the elbows parallel to the ground. The knees are
flexed slightly more then with fudo kamae, this permits greater
stability. The position of the arms pulls the shoulder blade apart
from each other, stretching the muscles that protect the upper portion of the spine.
 Taisabaki

Taisabaki is the art of shifting or flowing the body. This is an important

aspect of taijitsu, because it the base for all techniques, though it is not the only
base. Foot work is simple, one foot before the next, one step before the next.
However, using the full weight & force of your own body requires a simple
understanding of how it works.
The first exercise in taisabaki is called the willow tree or reed form, it is not
so much a form as an exercise is balance & body mechanic. Begin in the fudo
kamae, bend the rear knee to move backwards, bend the lead knee to move
forward. Practice moving back & forth in a calm slow manner. This calm manner
over time becomes natural & flows like water. In fact, practicing this form in chest
deep water is an excellent way of feeling this motion.
The second exercise is to practice moving as this flowing rocking motion,
now add a step to above form. Move back & redirect your motion to the left or
right. Move forward & practice stepping forward from the lead leg or rear foot.
Keep your arms up, practice movements & strikes slowly at first as if practicing tai
chi. This helps the movements become more natural & flowing freely. On the
subject of pivoting & pivot steps, there are not special pivots in taijutsu. One foot
across the other & a twisting of the body’s trunk to complete the motion.
The second foundation of taisabaki is position, this is best explained in
principle & not techniques. To explain away an art’s importance with techniques is
a very limited lesson in martial arts. Though, several Chinese martial artists will
hate my enlightened way of thinking.
 Several martial arts such as kung fu only teach a single form in the art. This
was true of Okinawan & several Japanese arts. These form taught both techniques
& principles, however the sign of a true master was to utilize those principles to
find new techniques. The unfortunate result was the unintelligent fools who
refused to principles & fundamentals of the form. Thus the invention of fixed
styles, & robotic form.
To break this habit, many stylist refuse to mimic the faults of their
predecessors. They teach the underlining principles of an art form & allow their
students to grow. Sadly, the names of such men & women are lost, though in the
modern world Bruce Lee & Jeet Kune Do stand out as “Renegades.”

Elemental Principles of Fighting

Principle of Wind…
Evade a Powerful Force

The principle of wind is fundamental concept of avoidance. A much stronger

opponent can over power any technique or action you may take. However, no
matter how strong one is, they can never over power what isn’t there.

Principle of Water…
Combined Strength
Combined strength has many intended meanings. It is both the concept of
using equal intent & power in defensive & offensive techniques, it refers to both
defensive action and offensive action and it means using the opponent’s own force
against them.

Principle of Fire…
Be Explosive & Aggressive
It is commonly said in the martial arts world to “move with your opponent”
or “use an opponent’s force to your advantage. Sadly, this is sometimes not
effective, a strong & fast opponent can both over power you & redirect their
energy as you attempt to redirect it.
Therefore, the only option, the principle of fire; to explode & attack
relentlessly. This means to attack with hard & powerful strikes in a continuous &
fluid motion. This also means to absorb many of the attacks you would avoid,
otherwise.
Principle of Earth…
Restrict Movement & Use Body Position
The principle of Earth is to be solid, this means getting in close & using both
your body & your opponent’s body to limit the natural weapons of your opponent.
This includes attacking at odd angles, moving outside your opponent’s lead
shoulder.
The most important aspect is to attempt to stay behind your opponent, few
people know how to deal with an opponent who stays to their back. Likewise this
makes you “invisible” for all intents & purposes of your opponent’s ability to
observe you.

Principle of Void…
Confuse & Adapt
The highest understanding of the void is creation. It is a representation of
God, alpha & omega, beginning & end. From the nothingness of the void come
principles, philosophy & techniques. These things exist for as long as they are used
then return to the nothingness of the void when they are no longer needed.
A punch only exists in that single moment of time then it is lost forever. No
matter how many times you punch, that punch is lost. Therefore, the principle of
void is to act wholly in the moment & apply all elements at once, then lose
whatever “thing” you have created.
In this, one may block a punch to the face, use the fingers to hide one's action
then move behind that opponent, by brushing the eyes with your finger tips. This
action is a blending of principles, yet it is lost repeatedly in that only this action
can exist one time. Though other actions may be similar they can never be repeated
& therefore must be lost.
By losing the action you do not waste time & energy repeating trying to
repeat them. They exist only once, then are lost.

Depth & Range of Attack & Defense

 Depth and range are important concepts to both know & especially to
understand. For this illustration the hand position of a fudo kamae is shown.
Though it should be understood, a fudo kamae (formal fighting posture) is only a
general platform to learn to apply proper body movement with combative
techniques.
The outer most area which has NO designation is the move to attack range.
Basically, if the opponent is outside this range either you or they must move closer
to strike. This could be a drive roll, a jump kick or throwing range for any object.
The area designated with an Asian one sign, is your outer most striking
range. Your opponent is within range to strike with punches or kicks.
The area of distance given an Asian two, is your trapping, control &
infighting distance. From here you can apply various striking, trapping & joint-
locking techniques with minor difficulty.
The third and final area is the grappling & extreme close combat range. At
this range, ground fighting & extreme infighting are common. When facing a
grappler, whether trained or untrained, it is important to remember that if the fight
seems evident to go to the ground, it is better to take them down then be taken
down.
Kaiten no Ukemi

In ninjitsu/taijutsu, kaiten (rolls) serve primarily to replace as ukemi (break

falls) as seen in judo or jujutsu. By rolling, the ninja student does not stop one’s
momentum and absorbs the shock of impact throughout the entire body. Instead,
the ninja student rolls with & through the impact using momentum to project one’s
self upward & onto one’s feet.
In combat, using a break fall may add an extra second or two, compared to a
roll, and a break fall leaves one in one position on the ground while a roll gives one
the advantage of distance from the attacker. Also, the art of tumbling (i.e. rolling)
allows a student to cover ground quickly & close the gap between one’s self & an
opponent very quickly. Few people ever expect such an attack or defense.
Likewise, using such techniques is very confusing, this philosophy of action is
seen & the fundamental concept of monkey style gung-fu.
 Yoko Kaiten

The “side roll” is taught first because it allows a student to get used to rolling
& because it is the easiest to learn. The side roll is very similar to the break falls of
Aikido, Judo & various Jujutsu styles.

From a tachi kamae, drop straight down tucking the knees against the chest.
Bring your arms in around your knees and legs. Tuck your head as you roll across
the hips & shoulders but Do Not take your eyes off your opponent. Push off with
your legs & roll across your shoulders, hips & back & into another tachi kamae or
tai-otoshi kamae.

Ushiro Kaiten

The “back roll” is taught second, mainly because this method is a common
defensive action & is primarily used as a “vanishing” method at close quarters.
This roll is used as defense against powerful linear attacks.

From a tachi kamae, drop into a low, “squatting” posture. Fall back onto your
hips while collapsing your body & tucking you chin to your chest. As your roll
back raise your hands to protect your head & remember to keep your chin tucked,
& roll from right shoulder to left hip or left shoulder to right hip to protect both
your shoulders & spine. Push off with both hands to return to a tachi kamae.
 Mae Kaiten

The “front roll” is used to close in, move around “obstacles” in front of you
or defend against attacks from behind or being thrown forward. This roll is often
taught last since this gives the Sensei time to & a chance to explore it’s many uses
with the student. And to allow the student to feel comfortable with falling &
rolling, before seeing the ground rocketing toward their face.

From tachi kamae, drop forward into a ball, bringing the hands forward to the
ground, & tucking the chin as you push off with your legs. Again roll from right
shoulder to left hip or left hip to right shoulder, allowing momentum to carry you
into a tachi kamae.

Kaiten Training

The training for proper execution of kaiten is very time consuming but also
rewarding. Oddly enough it is one of the most fun exercises in ninjutsu training.
Begin by practicing each roll as shown in this manuscript 50times a day for a
solid week. After that week move up to practicing these rolls while jumping, first
an obstacle only 3 feet high, then move up to eventually obstacles around four or
five feet high.
Bare in mind this is the based on a 5 foot average, so height adjustments may
be made for various individuals. The idea is to be comfortable with rolling, jump
rolling & dive rolling. Even practice without using your hands, as this is a
requirement for advancement in rank from a 5th kyu to a 4th kyu.

Atemi-Waza
Atemi-waza in taijitsu is the art of striking with the body. In ninjitsu/taijutsu
students are taught that they are weapons. Ninja students are trained to think &
fight like savage beasts in combat. To the enlightened student of ninjutsu the mind
& the body are an arsenal.
 The following pages will discuss the essential fundamentals of atemi-waza &
general strike techniques. These are generally applied & basic core sets of skills,
these basic skills build the foundation of more complex combinations.

To-Ken

The head fist or “head butt” as it is better known, is a

devastating close combat strike. The striking surface is the
forehead. To execute this strike grab the opponent’s hair, ears
or throat and pull the opponent forward into you, as you whip
the head forward. The nose and face should be primary targets
of this attack.
This attack is also an excellent “set up” to either a throwing technique or
close combat grappling. And, can easily break the nose, or any thin bony area.

Ura To-Ken
The reverse head fist is equally effective as the
to-ken, and has much the same result. However, this
strike is primarily used defensively against rear bear
hugs & offensively as one is rising up from a tai-otoshi
or duck from evading a blow. Simply snapping the
head, it need not be full force to effect a devastating
blow.

Kata Tsuki

The shoulder thrust or shoulder punch is so named because

it draws the source of its muscular power from the shoulders.
From a fudo kamae snap the lead hand forward, with the
shoulder aligned behind the punch. As you strike, drop your
weight slightly by bending the knees. This allows the
muscular & skeletal system to line up, adding the downward
momentum to the strike for added power. This strike has a
same quickness & accessibility as a jab in western boxing or
a straight punch in karate.
Koshi Tsuki
The hip thrust gets its name because it uses the hips to
push the body forward into the punch. This punch is also
considered a close combat power move. Thrust the rear
arm forward & across the body. As the punch travels across
the body, rotate the hips into the punch, pivoting the rear
foot, on the ball of the foot, forward into the punch.
Unlike many karate, kung fu & jujitsu systems, do not
drop the lead arm to the hip, instead cover the “body’s
targets” with it.

Koshi Tsuki (Variation)

`A variation of the classical hip punch is executed by
striking forward with a bent elbow & further turning the
arm & body into the strike. This punch can generate
tremendous power & is excellent for striking out an
opponent’s guard.
In western boxing & kick boxing this method is
considered a hook. It is commonly held practice to
“slip” an elbow in behind the initial strike.
Even in the drawing one will notice that the other hand stays up to protect the
head & body. Other wise the general flow of one’s body responds as a common
hip punch or reverse punch as in more common arts such as karate, kung fu or
juitsu.

Tai Tsuki
The bogy thrust uses not only the power of the
“attacking” limb, but that of the body’s forward
momentum. With this punch, the fist is but the head of a
spear, or arrow, traveling through the target.
From fudo kamae, glide the lead foot forward, while
simultaneously executing a kata tsuki & pushing forward
off the rear leg. Bend the lead knee forward, as the rear
knee straightens to thrust the body forward behind the
punching arm. And again, keep the rear arm up to shield the body targets.
A variation of this technique is to step forward off the rear foot behind the
strike, as one moves into a fudo-kamae and then falls forward into an ashi-tai-
tsuki, stepping body thrust.
Tenchi Tsuki
The heaven & earth strike is a powerful
downward blow, this attack can be used with a
multitude of “hand strikes.” One can use this
attack to deliver a kote (forearm) strike as well.
Bring the rear arm up & above the shoulder.
Strike forward by following a circular arch.
Again, the idea is to strike through the target.
This is achieved by rotating the body behind the
strike as a koshi tsuki.

Chiten Tsuki
The Earth to Heaven strike is a sudden deep penetrating strike
especially effective against a “Boxers Guard.”
The method by which this technique is taught is similar to a
body punch, but utilizes the rotation of the torso. To accent
the sudden power of this strike. Step forward off the rear foot,
rotating the rear foot & torso as the reverse arm shoots up
along a rising arch. Again one should strike through the
target. Like the hooking variation of the hip thrust, this
technique allows one to slip an elbow into the opponent’s
guard behind the rising punch.
Ura Tsuki
The back thrust is in part a reversal of the hooking
variation of hip thrust. The lead arm is shot out away from
the body in a circular motion to the outside of the striking
shoulder. Keep the lead hand up to shield targets of the face
& torso.

This method may be used to

deliver strikes with the knuckles
of one’s fist, knife-edge strikes
or even forearm strikes. There is also the outright
possibility of using this technique to attack incoming
strikes, from the opponent’s arms & legs. One may also
apply this combining blocking & trapping techniques.
Hija Ate
The elbows are powerful close range weapons, in many ways being hit with
a elbow resembles a blow from a baseball bat. Here we see three examples of a
elbow strikes.

A falling or downward elbow where one pushes the knees away from the
body, while striking down with the elbow. This dropping of the body drives both
the body weight & the power of the arm into the enemy.
A rising elbow strike, may be used while stepping forward to drive the tip of
the elbow into an aggressive enemy’s body. This attack may also rise up as an
upper cut or chiten tsuki, at close range & infighting this makes for lethal close
combat skills.
The outside elbow, which is extremely dangerous at close range especially
while trapping & counter attacking, may be used against the head while inside an
opponent’s guard or may executed while turning 180 degrees to strike an enemy
behind you.

Oni-Ken

The Oni-ken or demon fist is a extended knuckle strike

capable of with standing heavier blows then a finger
jab would allow. Made similar to a hei ken except that
the knuckle of the middle finger is extended to create a
smaller striking surface. This places more energy of the
strike into a smaller area, resulting in deeper longer
lasting injuries.
Favorite targets for the oni ken are the eyes, temples, brachial artery, heart
muscle, liver, kidney, stomach or groin. This method of striking is also more
capable or breaking the sternum.
Tegatana
The Hand Sword has multiple striking surfaces. The first striking surface is
the area along the outer edge of the hand between the wrist & little finger. The
second is between the thumb & first knuckle of the pointer/”trigger” finger. Third
& final surface of empact is the extended finger tips.

It is important to tense the muscles of the hand just before impact to reinforce
the skeletal structure from harm. Be careful not to tense the hand to the point
where the hand become rigid & prone to injury.

Shotei
The palm heel is a lethal strike in many martial arts
systems. This strike is greatly more durable than most
fist strikes.
The striking surface is the slightly tensed muscles in
the heel of hand, just above the wrist.

Shuko

The claw hand resembles the tiger claw strikes of hungar & many other
kung-fu styles. There are two major ways of using this strike. The first way is a
stabbing motion which involves driving the finger tips into the eyes & flesh (soft
tissue) of & then ripping away.
The second way is the drive the palm heel into an opponent & slash with the
finger tips along the soft tissue, in a clawing manner. This strike is a favorite
weapon against the face.
Heiken
The black fist is different from many other Japanese punching methods in
that it uses the three knuckles, the middle knuckle & the two on either side of it.
Also the thumb knuckle along the top of the fist or the bottom of the fist can be
used to deal damage.

Curl the fingers into the palm of the hand, laying the thumb slightly flexed
above the top of the hand. When punching, keep the fist loose until the moment of
impact.

Yoko Geri
The side kick is found in almost all Asian martial arts, a
select few do not have kicking techniques. As with the before
striking techniques, the line illustrated above demonstrates the
optimal distance from an opponent for this attack, as well as,
depth of penetration.
Draw the leg up, bent at the knee, to about the waist level.
Suddenly snap the “cocked” leg out to the side. It is important
to bend the anchor leg by the knee. This slightly drops the
body & makes the kicker more stabilized. This also has the
effect of adding the momentum of the drop to the overall power of the kick. It is
important to with draw the leg to the lead position to protect the body & allow for
a stable striking plat form from which to continue attacking.

Mae Geri

The front kick is also widely found in many martial arts,

exception is this rule is western boxing. The striking surface is the
“ball of the foot.” Draw the leg upto to waist level, by bending the
knee. Snap/thrust the leg up to the chest & thrust the leg out.
Ushiro Geri
The back kick is particularly effective as a defensive
“keep away’ to an attacker from the rear. This kick is
directed straight back to an opponent’s groin or stomach.
Though, in application the knee is a better target for this
kick.
From a natural stance or a fudo kamae, bring the rear
leg if in fudo kamae any leg from tachi kamae will do.
Thrust the leg back using the heel of one’s foot. In a
singular attacker situation one should turn about 180
degrees with this strike to face the opponent. Against multiple opponents, one
should only turn about 90 degree to maintain a view of the other opponents.

Mawashi Geri
The mawashi geri is a very popular kick, more
commonly called a round house kick. The mawashi geri
is also infamous in muay thai as its used to attack the
thighs & knees of an opponent.
Stepping off the rear leg & pivoting on the balls of the
lead foot. Kick out with the rear leg in a circular motion,
the proper striking areas are the shin with the toes
extended away from the body (as shown) or the ball of
the rear foot.

Hiza Geri
The knee strike like the elbows are very powerful weapons
dealing damage similar to clubs. A rising blow to the thigh (outer
or inner), ribs, groin or knee is very damaging. It is important
however to understand that there is little stopping one from being
taken down at close range while using knee strikes.
As with all striking techniques it is important to remember to
strike through your target, when kneeing an opponent’s groin true
to drive the knee into the chest, or into the ribs on the opposite
side of the body from the one’s you are striking.
Tobi Ashi Geri
The jumping step kick is one of ,many unique
techniques of taijitsu. Where an opponent would try to
block the snapping leg, the support leg is used to propel the
fighter to his target & strike unexpectedly.
This method is little more them a double front kick
while jumping toward an opponent.

Tobi Ashi Barai

Often called the dirtiest kick in martial arts, this sweep is
actually a tobi ashi geri ending in a stomp to one’s enemy’s
knee, or ankle. This allows the full momentum & body weight
of the jumping step to drive into the opponent’s legs leaving
severe injury most likely breaking the opponent’s leg in some
fashion.
It is important to surprise the enemy with either tobi ashi
geri or barai, as these techniques are very powerful, yet are
extremely risky to use in a fight.

On Jump Kicks & Sweeps:

While one may notice that not allot of attention was placed on sweeps,
common sense would dictate that a sweep is primarily a low kick to the ankle or
knee. While special attention given to the tobi ashi techniques. This is because
while a jump kick is exactly that jumping & kicking (front, back, side or round)
these kicks “feint the kicking leg” to draw attention away from the actual attacking
limb.
 Ninjitsu/Taijutsu Striking Points& Effects:

1) Crown of the Skull: A powerful blunt force can cause sever shock to the
central nervous system.
2) Mastoidal Opening: This point lies just behind the ear. A powerful strike
here can be crippling and possibly fatal.
3) Base of the Skull: A powerful blow here can fracture the vertebrae at the
base of the skull, causing death or paralysis. It is, however, far more likely to
stun your opponent.
4) Vertebrae of the neck: Any powerful blow to the vertebrae of the neck can
cause the same effects as striking point “3”
5) Coronal Suture: A powerful blow to this point can cause hemorrhage,
paralysis, blindness or death.
6) Optic Nerve: A powerful blow to this point can cause pain,
unconsciousness, or blindness.
7) Sinus Cavity: A powerful blow to this point can cause great pain,
unconsciousness or death.
8) Bridge of Nose: A powerful blow here can cause great pain or
unconsciousness.
9) Eyes: A powerful blow here can stun, blind or through damage to the optic
nerve to the brain, cause death.
10) Anterior Nasal Spine: A powerful blow here can stun or “knockout” an
opponent.
11) Chin: A sharp powerful blow here can disorient or cause unconsciousness
12) Side of Neck: A powerful blow here can cause a stunning effect, internal
bleeding and/or unconsciousness
13) Windpipe: A powerful blow here can cause breathing problems, pain or
death.
14) Trapezius Muscle: A powerful blow here can cause great pain and
numbness in the arm, this also applies for constant pressure.
15) Collar Bone: A powerful blow here cab cause great pain and if broken,
internal bleeding and numbing of the arm. This bone can also be dislocated to
achieve the same effect as a fracture.
16) Brachial Artery: A powerful blow here can cause great pain and numbness
in the arm and shoulder.
17) Suprasternal Notch: A powerful blow here can cause pain and/or dislocate
both collar bones.
18) Gladiolus of the Sternum: The depression of the sternum, a powerful blow
here can break the sternum; cause severe skeletal damage and immobility
from pain. This is also the point used to execute a heart punch.
19) Lungs: A powerful blow here can disrupt breathing and in extreme cases,
internal bleeding of the lungs.
20) Solar Plexus: A powerful, or even a not so powerful, blow here can disrupt
breathing and cause great pain. Above the solar plexus is the Xyphoid
Process; an extension of the sternum, a powerful blow here breaking the
Xyphoid Process from the Sternum can cause great pain and massive damage
to internal organs.
21) Floating Ribs: A powerful strike here can cause much pain and possible
immobility by breaking the rib, and possible internal injury if the rib is driven
into internal organs.
22) Liver: An extremely powerful strike to this point can cause great pain and
possible liver damage. If the damage is great enough, death from liver failure
might occur weeks or months later.
23) Kidney: Although the kidneys are located on the back side of the body, there
is a small “channel” within the body that can cause great pain with an
extremely powerful blow. And possibly shock the kidney.
24) Stomach: A powerful strike here can cause great pain and in extreme cases,
when the blow is delivered from a master, a severe peptic ulcer and a very
slow painful death.
25) Hip: A powerful strike to this point can cause pain and numbness, with some
extreme cases the hip can be dislocated or broken.
26) Groin: It is no large surprise that attacking this point cause allot of pain,
however, many people do not know a powerful blow here can cause
immobilizing pain, unconsciousness, or slow and extremely painful death,
through a core body infection.
27) Spinal Region: Any powerful attack anywhere along the spine, especially
between the “shoulder blades” or lower back, can cause great pain and
possibly paralysis.
28) Kidneys: A powerful strike here can cause great pain, however, an extremely
powerful blow to this point can rupture the kidneys causing the blood to
become filled with toxins. Generally one will die from such a blow within a
few weeks to as soon as twenty minutes.
29) Final Vertebrae of the Spine: A powerful strike, usually a stomp, to this
point can possibly separate the spine from the hip bone, causing permanent
loss of the use of the legs.
30) Tail Bone: An extremely powerful strike to this point can cause severe
damage to the central nervous system, and limited mobility through skeletal
damage. The effect of the damage can range from pain, unconsciousness,
temporary or permanent paralysis.
31) Bicep: A powerful blow here will cause numbness in the arm.
32) Triceps: Like the bicep a strike here can cause numbness and pain in the
arm.
33) Ulnar Nerve: Constant pressure to this point causes great pain and
numbness. A powerful strike to this point can cause great pain and possibly
dislocate the elbow.
34) Outside of the Elbow: Pressure to this point causes pain and numbness,
however, a forceful blow to this point can break the elbow.
35) Inside of the Elbow: Attacking this point can and will create the same effect
as striking the outside of the elbow.
36) Ulnar Nerve: A powerful blow to this point can cause a painful numbing
effect in the hands and arms.
37) Ulnar Nerve: A powerful blow to this point can cause a painful numbing
effect in the hands and arms.
38) Nerve between the last Two Knuckles: Constant pressure to this point can
cause pain and numbness in the hand.
39) Armpit: A powerful blow to this point can stop the heart or at least cause
numbness in the arm.
40) Hollow of the Elbow: A powerful strike to this point can rupture blood
vessels and cause great pain and numbness.
41) Radial Nerve: Grabbing or striking this point can create pain and numbness.
42) Nerve between Thumb & Hand: Constant pressure to this point can cause
great pain and numbness in the hands.
43) Ulnar Nerve: A powerful kick or strike to this point can cause and
numbness.
44) Radial Nerve: A powerful blow to this point can cause a painful numbing
effect.
45) Calf/Thigh Ligament: A tearing grab to this point can cause severe pain and
impaired movement.
46) Thigh: A blow to this point can cause severe pain and numbness.
47) Side of Knee: A powerful strike to this point can easily dislocate/”break” the
knee.
48) Front of the Knee: A powerful blow here can cause minor pain, if the knee
is straight, possible “breakage.”
49) Calf: A powerful blow here can cause minor pain and discomfort.
50) Ankle (Inside): A powerful blow here can cause a painful numbing effect.
51) Achilles Tendon: A powerful blow here can cause severe pain and
numbness.
52) Shine: A powerful strike to the shine will cause a sharp pain.
53) Ankle (Outside): A powerful blow here produces the same effect as striking
the inside of the ankle.
54) Instep: A powerful stomp to this point causes breakage of the bones of the
foot.
55) Ligament of the Hip & Thigh: A hard strike to this point can cause pain
and numbness in the entire inner thigh and hip.
 Kansetsu-Waza
Kansetsu-waza, are control techniques, though this is generally meant to
mean physical control or joint manipulations. These following methods are limited
to specific applications of principles. In a dojo setting these basic principles would
be applied first in slow non-resistant training exercises for hours a day, for weeks
at a time getting progressively faster. Then once a certain level of understanding
had been achieved, one would move up to partially resistant training & eventually
fully resistant exercises & finally sparring.

Judan Uke
The high block or more properly deflection, is not a “hard
block” as in Karate where the forearm acts as a weapon to
counter attack the opponent’s attacking limb.
Instead the attacking limb is pushed along a circular arc that
travels over the body & to the high outside edge of one’s body.

Chudan Uke

A chudan uke, or middle deflection operates on the same

principle as the judan uke. Except, that this deflection does not
raise the attack to expose the ribs or body. The middle
deflection, is commonly used against quick successive strikes.

Gedan Uke
The low deflection is used is several ways for several
purposes. The first way is to, block low attacks such as kicks,
deflecting the attack along low arch away from your body.
Another way, is to deflect attack that come at your head &
body down & away. This allows your opponent a slower
with draw time to retaliate successively.
Juji Uke

The cross deflection is more of a trap, lock or

break. The concept of high, medium or low is
irrelevant. The juji uke is applied by crossing
the arms in an “X” as the opponent penetrates
you trapping range. If
done successfully you
may break the arm as demonstrated in the drawing
above. Another outcome is to trap the arm & pull the
opponent closer as you close the gap moving to their
outside-the-shoulder & eventually behind them
position. Possibly slipping in an elbow or other strike.

Koken Gyaku

The “bent wrist lock” is used to separate the bones of

the wrist. This wristlock techniques is executed by
pulling back on the wrist while pushing forward across
the knuckles. This uses the hand & wrist against
themselves, causing the smaller bones of the hand to be
crushed in a similar fashion at to brass nut cracker.
Juji Gatame
The cross arm lock begins with the
application of a bent wrist lock. From
there step back, jerking the opponent’s
arm & keep the elbow hyper extended
your forearm. As your arm presses down,
your opponent’s wrist should be pulled up
hyper extending the arm.
This technique is most often applied
from a juji uke. I should also mention that should you lock your opponent’s arm in
this fashion, a sudden downward drop of your body with your weight focused on
the elbow with easily destroy the joint.
Ude Garami
The bent arm lock, can be applied as a throw, or
as part of throw. Step forward reaching around the
opponent’s forearm, while hooking the hand from the
rear of the opponent’s forearm. Pulling the now
trapped forearm back and down, if you can stabilize
the opponent’s body with your own you may be able
to dislocate the shoulder with a sudden jerk.
A very effective variation of this technique is to
allow the opponent’s arm to straighten, transferring
the pressure to the elbow.
Kote Gaeshi
The outward wrist twist can be considered an
arm-lock, because when properly executed, it places
pressure on the shoulder. This pressure is usually
sufficient as cause severe pain and/or throw an opponent
off balance and backward to the ground.
After seizing the wrist twist the little finger toward the
thumb, pulling on the wrist & pressing across the
knuckles as with the earlier wrist lock. From here jerk
the wrist to the outside of your opponent’s shoulder. If
done properly, this technique will crush the wrist and pull the opponent off balance
and backward.
Hiji no Koroshi

This technique means “killing the elbow” and does

exactly that. By striking the hollow of the elbow with
the narrow of the forearm, pushing down on the elbow,
while you push the opponent’s hand up toward their
shoulder, rips the elbow apart.
The arm that is held in the hollow of the elbow acts
like pivot. This turns the opponent’s own forearm into
a lever. When pressure against the forearm is added, it
pulls the elbow free of its “hinge.”
Hiji no Osae

The elbow control is effective for breaking the joint as well. This technique
requires either you to be faster then your opponent or to daze him in someway,
usually with a nerve strike.
From any blocking method, step forward wrapping your arm around their arm
from the inside to the outside. From here you can lift up locking the elbow with
your arm as your shoulder braces the forearm, hyper extending & trapping the arm.

Kata no Koroshi

This method of killing the shoulder, is not very useful as an arm lock. In a
similar fashion as to the elbow control above, except you must keep the opponent’s
elbow bent. As you step completely forward into your opponent’s body, wrap your
arm around the elbow, as it bends, pushing the elbow in with your own arm and
securing the opponent’s forearm between your own & your elbow of the same arm.
By lifting up at this point, you may force the shoulder free of its joint.
As the elbow is trapped in the bent position it causes the elbow to act as a
fulcrum to rotate the shoulder cuff and tear the ligaments & muscles that hold it in
place.

Te no Koroshi
This method of attacking the hand breaks the fingers free of
the wrist bones. Also this method is capable of ripping the
muscles and tendons of the hand apart.
To “kill the hand,” grab both the little & ring fingers, and
the middle & first fingers. Pulling them in opposite
directions as you, as you twist the fingers, ripping the hand
apart.
Shime Waza

Choke holds have various methods or functions, they are extremely effective
against most opponents. Though there are several other books & videos on the
subject I will demonstrate only one here.
Hadaka-Shime

The rear naked choke is extremely effective because it

does not rely on a collar or lapel of any garment.
From behind an opponent, wrap one arm around their
neck. Squeezing it between your bicep & forearm, you may
grab their shoulder, or your own if you can reach it, for
added control & stability. Your other arm should press
against the back of their head. This allows you to slow or
stop blood flow to the brain, and renders an opponent unconscious in 3 to 5
seconds if done effectively. If you have nothing to hold, you may lock your
forearm of the choking arm against the forearm of your hand which pushes the
opponent’s head forward.

Nage-waza
Nage-waza, throwing techniques, are limited sets of skills used to off-balance
and drive an opponent to the ground. Throwing techniques set up opponents to be
controlled & often use the added force of weight & gravity to injure the opponent.
Throwing techniques also serve to extend the control of a joint & deal added
damage from falling and/or being fallen on.

Soto Gari Nage

The outside reaping throw of ninjitsu/taijutsu is different from most

variations of these techniques in San Shou, Judo or Jujitsu, as the ninja student
falls with their opponent.
 As your opponent attacks, with a punch, deflect their arm toward their chest,
while your lead hand moves up along their chest to attack their neck. As you do
this step behind your opponent, with your lead leg. Push back against their neck
attacking one of the four target areas detailed above.
As your opponent is driven back into the ground, note the placement of the
leg in the diagram. You may force your opponent to the side with your leg while
finishing off the opponent or locking their arms with a kansetsu technique.

On the above four points, extreme care must be taken with all these points.
As illustrated, to proper way to grab muscle & ligaments uses the second knuckle
of the thumb.
1) Carotid Artery- Grabbing the carotid artery can cause severe pain and
combined with vicious twisting motions can rupture the artery.
2) Sterno Mastoid Muscle- This muscle overlaps a branch of the arteries, if
grabbed and heavy pressure applies, can coause enough pain to send the opponent
into shock.
3) Thyroid Cartilage- This cartilage serves as armor for the thyroid gland and as
an opening to the trachea, crushing this point closes the trachea & limits air flow.
4) Trachea- The cartilage rings of the trachea prevent the air way from being
completely sealed, however this is still very painful and can cause
unconsciousness in some people.

Uchi Gari Nage

The inside reaping throw, usually comes as a result of a constant &

successive assault. As you close with your opponent into grappling or infighting
range certain attacks leave natural set ups to flow into another attack or counter.
Too much focus on such natural occurrences lead to fixed responses.
It this example a knee to the groin, causes an opponent to lean forward,
which also sets them up for a head butt to the face. Now in true form of flowing
with the current action, the leg used to attack the groin is shot back in a hooking
arc so that the Achilles tendon is attacked causing the opponent to fall back.
 Now a simple sweep can serve to end most fights, and a inside reaping throw
is no exception. However, as detailed above, one may drop their knee into the
opponent’s groin or xyphoid process and further continue the attack.

Ippon Seinage

The one-arm shoulder throw has many variations. For example, one could
use the head, or hair, to drag an opponent over the shoulder to effect this throw.
Although this could possibly break the neck.
One can also grab an opponent coat, or jacket along with the arm, in
execution of the shoulder throw. Which makes it a Morote Seionage, or double
arm shoulder throw.
Pull your opponent’s arm over your shoulder, so that your shoulder rests in
your opponent’s armpit. Raise your arm beneath your opponent’s shoulder, then
bringing it down, locking your opponent’s arm, as the elbow is hyper-extended
against your chest..
Step forward, dropping your weight to drag your opponent over your
shoulder and onto the ground. Once on the ground, a joint lock or fatal strike may
be applied.

Goshi Nage

The hip throw is used in judo and jujitsu as well as ninjitsu and many other
martial arts systems. This is because the hip throw is often the most basic
application of throwing principles. However, in Judo, or other competition martial
arts, one is taught to remain standing. Not so in ninjitsu. One falls with the
opponent to finish him off on the ground.
Step back, driving your hip into your opponent’s groin. Looping your arm
around your opponent’s back & up hooking beneath the shoulder in the arm pit,
while at the same time, pushing off with your leg. In this way, as the ninja student
lifts the opponent with his hip. One must also push with both the hips, the arm
hooked beneath the shoulder and pull the opponent’s arm as you twist forward.
As your opponent is taken off balance and thrown to the ground, the ninja
student falls onto his opponent (which isn’t recommended against multiple
opponents) to finish off the opponent on the ground.

Kata Garuma Nage

Although this technique is effective, it also brings great risk, as one must
close deeply on an opponent. This throw also leaves one open to knee strikes.
Step forward, penetrating deep into an opponent’s guard, while dropping to
one knee. Grab the rear arm while dropping to the lead knee and sweeping your
opponent’s rear knee with your arm. As one sweeps the knee, drive your should
into the opponent’s groin.
Lift the opponent up while pulling his arm and rolling him across your upper
back. Bringing him crashing to the ground, injuring his head or neck. This rolling
action is what gives this throw its name, kata garuma, the shoulder wheel throw.

Tai Otoshi Nage

 The body drop throw is used to bring down a larger, stronger opponent. This
throw is used to “crack” open the coronal suture or fracture the vertebrae of the
neck. This throw is capable of crippling or killing an opponent. Whether it is a
front kick to the groin or stomach, or even an attempted tackle from one’s
opponent.
Simply step forward, looping one’s arm around the opponent’s neck. Step
forward again once more, dropping your weight as if trying to drive the opponent’s
head in their own groin area, causing the opponent to fall forward, striking his head
with full momentum and body weight on thr ground. With this throw the
opponent’s head is crushed between the ground and their body, one’s own sudden
momentum of whipping the body into the ground can cause whip lash effects
against the neck, crippling or killing the opponent.

Katate Nage

The single arm throw is more a take down then a throw, and changes in focus
in two major variations of this throw. As your opponent strikes step inside &
forward, thus removing you from the area of assault, your corresponding arm
should move up & to the outside of the opponent’s attacking arm.
Like the elbow control technique taught in past chapters, you lock the
opponent’s elbow, forcing them into compliance, by pulling their elbow against
your chest. From here force the arm down & behind your opponent maintaining
the elbow lock. At this point your hand should move from the elbow to push the
head down, while the opposite hand moves to lock the arm.
At this point one controls the opponent & pull back against the elbow as your
drive the body forward with your legs. Breaking the arm and leaving the base of
the skull as a target for a stomp kick as one leaves the area.
 Ninjutsu Psychology
The seven deadly mistakes most martial artists & everyone else make…

Fear- Never be afraid of injury or death…

Often times it isn’t fear of being hurt but idea of what that pain may relate to
that frightens us. For myself, my greatest fear was keeping myself in check against
my own darker half. Fear is away to be controlled through inhibition. What is their
to fear, if not the idea of something bad. How many times have we all said, “That
wasn’t as bad I thought it would be..?”

Pride- Be not boastful of your skills, humility hides your true skill and can even
save your life…
I’ve met many a fool who thought that in defeating me in a fight they would
achive some grand prize. What prize can their be in foolishness? Often times no
one cares what you know in martial arts, unless you use your skills in a
professional arena or are a teacher. Get on the internet any day of the week &
you’ll a thousand people bragging about what they or their sensei can do. What
does it matter? If you seek to use the skills you have learned for fame or a moment
of looking good, then you are not a martial artist but a martial hobbyist.

Fanciful Techniques- May get you killed and have no “battle field” use…
A further extent of a martial hobbyist ego is fanciful techniques. What good
is a hand spring or leaping cart wheel kick off a wall if you can’t effectively use it
in a fight against drunken mugger with a lead pipe? Looking pretty is a further
extension into the ego, abilities a child would use for fun & self gratification. Not
the skilled and determined resolve of a trained warrior.

Desire- Sex, money and a thirst for individual power can be used to trap you by
your habits…
Not only do we see the classic examples of desire as a fault but the
commonly mistaken desires of protecting others or the desire for justice. Even the
desire to harm another for a slight against you is a weakness. If you want
something or someone they own you by the cord of desire. Desires are common &
left unchecked they can do more harm then they may bring you pleasure.

Anger- A short temper and rash action will get you killed…
Anger is the embodiment of fear, we fear what we do not understand, so
those who are different are in effect the subjects of our own anger. Those who fear
being wronged often lash out at those who whether correctly or incorrectly are not
seem to do their jobs. Those who fear looking weak, often grow angery at
themselves when the butt of a harmless joke or prank and take that anger out of
others near by.

Being Technical- What happens to work in the Dojo won’t

necessarily work on the “battle field…”
Form is important in the Dojo for most instructors it is a symbol of the
student’s personal discipline, but form is not necicary in a real conflict. Skill is
more then looks, skill is the understanding & ability to improvise methods based
on principles learned.

Not knowing Yourself- Not knowing yourself, your strengths or weaknesses can
only make you weaker…
Learning yourself, your strengths and your weaknesses. Study your
opponent, even as you fight them. For these are tactical weaknesses of the
individual mind. But, do not over look them in yourself as you look for them in
your opponent.
 Inpo:
Principles of the Hiding Art…
Principle of Earth- Which suggest hiding in small gaps between two larger
objects. One may escape detection in this way, since most observers will scan past
them as he walks around. Such as hiding under overhanging brush, grass, or even
the earth itself. One technique based on this elementary school principle is the
science fact that the closer an object comes, the larger it appears. This means that a
tiny grain of sand may had an entire army or even a single man if it is close enough
to the eyes.

Principle of Air- Means to climb a wall, tree, etc, any high position, and to
“blend” or “melt” (conform) into the shape of the object. An example may be to
climb a tree and hide in a gap between two branches. By holding the limbs with
one’s hands and hanging the legs along the trunk to assume a “Y” silhouette
overlapped the trees own shape.

Principle of Water- Which suggests hiding your trail by passing through water or
hiding under the water’s surface. Though in day light hours unless the dirt and mud
at the bottom is used to cloud the water, an observer may easily spot the ninja
student.
In a combat scenario, the water may allow poor footing for your enemies or
pursuers. And, if you conceal yourself under water, you may pull them underwater
to be drowned or murdered in some other fashion.

Principle of Fire- Suggests hiding behind a source of light, to erase siloette and
shadow for the observer. This principle is both easiest & hardest to effectively
preformed. This principle may also betray you.
As an example of this one may use a flash light to blind their opponent.
He/she may then need only attack in the direction of the light source to reach you.

Principle of the Void- In zen alchemy the void of nothing creates existence &
when something is destroyed it returns to the nothingness that it began. Though the
four primal elements, where first and make up all of matter they came from the
nothingness of space or the void.
So then on one hand this principle is hiding in plain sight, using various
postures to assume a silhouette of something you are not. One the other hand, we
see the combining of principles to find new and creative examples of using those
elements of creation.
 Seeing Through the Darkness
To see through the darkness of night or even a dark room involves a method
known as “scanning” is employed. Scanning is an off-center vision techniques
which, when employed, draws the strain of focusing on an image off the cone cells
of the eye, which as not sensitive at night, and onto the rod cells of the eye, which
are slightly more sensitive at night.
The untained man knows not the limitation of his eyes and will stare hard,
straining the eyes & causing the image to fade more. For this reason, the ninja was
not only a superb warrior of the night but was nearly invisible at night or in
darkness. And for this ability, which gave even one man an advantage over many
and coined the term “shadow warrior.”

Stealth
Ninjitsu is an art that uses stealth to evade danger, while most people see the
history of ninjitsu as a military art for specialized forces, it was used by the
common people to avoid harm.
The following is a collection of skills & knowledge broken into the simplest
of terms. Whether these skills are argued as the traits of elite warriors, mountain
priests or secrets by forest demons is childishly short sighted. Stealth is an art
perfected long ago by our hunter-gather ancestors. Whether you call it ninjitsu or
not is totally up to you.

Camouflage:
Colors that are no reflective or shiny are called drab colors. Color is the last
aspect recognized by the eye, but as color may allow one to blend into a larger
mass, it conceal shape if one is simply still.

Jungle Terrain- Olive greens, brown & tan in a leaf-like pattern

Desert Terrain- Tan
Woodland Terrain- Light drab gray
Snowy Terrain- Drab white
Urban Terrain- Light gray or medium dark tan
Night/Shadow in General Terrain- Flat black, drab midnight blue or a drab
charcoal gray

Noise & Movement:

Adjust movement to terrain, cover, and visibility. In low visibility, belly
crawl. Sprint or dash from cover to cover, giving several minutes between sprints.
Side step along walls to help shield your silhouette from view. Use slow walking
or crawling around good cover. Use a light sprint to close in on a sentry or targeted
opponent within ten to fifteen feet away.
The most important rule to the rule that in an emergency do not move. If you
think you’ve been spotted remain perfectly still, frozen in your tracks. If you do
need to move while following this rule drop as softly as possible to your stomach
and listen for signs you were spotted.

Aruki: Stealth Walking Methods…

Cross Step: Using this technique it is possible to move quickly and quietly in
narrow passages, corridors and hallways. This technique is also used to project a
smaller silhouette and allow the practitioner to quickly and easily take a fighting
posture.

Cat Step: This technique is used to move about in total darkness. Most of your
weight is held on the rear leg, while the forward leg moves about feeling for
obstacles in your path.

Rocking Step: By keeping your legs close together and rolling your feet from the
back edge of the heel, lengthwise across the sole, imitating the movement of a
rocking chair. This technique is used for silent movement over loose rock and dirt
terrain.
 Tonpo:
Escaping Art
If captured by an enemy, or more practically, a terrorist or kidnapper or
rapist, the ability to escape from bonds can save your life. But, when the bonds are
“broken,” then what? Tonpo is not only the art of escaping but also evasion, as this
to is part of escaping. Likewise, surviving while on one’s own and away from
others is an element of tonpo.

Ropes & Cords: Ropes and cords can be removed in basically two ways. First, by
cutting the cords and second by untying the knot itself.
Cutting Method: Cutting the ropes is self explanatory. But, one must hide the
blade upon his person so that it can not be discovered if searched. Conceal the
blade, most likely a razor blade, in a small pouch or sewn into a garment. The
razor blade can be used both as a tool for cutting through bonds and as a weapon
(tool) to aid your escape.
Best places for concealing a blade:
1) Cuff of pants…
2) Back of shirt or jackets…
3) Back of pants along the waist…
4) Seam of high-top shoes along ankle…
5) Under the sole of a shoe (along ankle)…

Untying Method: Possibly the hardest method or removing rope. The untying
method is done in two stages:
Stage One- Loosening bonds, sometimes one may escape being “tied up” by only
using step one. This tactic is only used if tied loosely. Begin by loosening the rope
enough to allow freedom of movement, but not too loosely as this will tighten the
knot. If you can already move your hands freely skip this stage & go straight to
stage 2.
Stage Two- Pulling out the knot. Once you acquire the freedom to move freely
enough needed to reach the knot, try to loosen the knot itself and finally “pick” the
knot free.
Handcuffs & Shackles: Handcuffs and shackles are removed in basically two
ways as well.
Key Method: If you know the types of handcuffs and shackles being used, you
may acquire a “master” key and conceal it in the same places as you may conceal
your razor blades.
Picking Methods: There are many methods for picking handcuffs and shackle
locks. The basic methods can be presented here for escape methods, but it is the
principles behind each method that is important.
Shimmied Method- Some handcuffs can be shimmied open by using a thin piece
of wire. Insert the wire along the end edge of the shackle and force back the
catching mechanism. This method will present a smooth surface along the “catch”
teeth to allow the shackle to be pulled free.
Picking Method- Some handcuffs can be opened with a modified bobby pin used
as a pick. Or, if a torsion wrench is required to pick the lock, an ink pen’s pocket
clip bent upward to a 90 degree angle can be substituted for torsion wrench.

Crashing Out: Crashing out is the method to bypass locked doors and windows
when time and opportunity may not allow for lock picking.
Doors: Doors may be “busted” through in generally two ways, but these two ways
are only examples. Kicking open and charging or ramming open is the two
examples of crashing out the door.
Kicking Open- A door which opens to the outside can be kicked open using either
a side or front stomp kick. Kick as close to the latch as possible. The objective of
this method is to generate enough force to shatter the door-jamb with the bolt.
Ramming the Door- By charging or ramming a door with your shoulder, about
the same result as a kick can open the door. Spring forward, slamming your
shoulder into the center of the door. This causes the door to bow and the bolt to
move free of the door-jamb.
Windows- Windows may be “busted” through by either charging through the
window or throwing something through it and then pass through them.

Survival Basics:

The element of survival is often missed in the aspect of study in tonpo. I was
once told the greatest man is the one who can exist anywhere simply off of what
God had created for us. In truth, that was the element missing in most modern
ninjitsu schools. Even so called “traditionalist” often miss the core meaning of
ninjitsu.
Ninjutsu is not a martial art in the traditional sense, it is a way of living your
life. Freedom isn’t decided by the rights you are given by the state, freedom is
decided by your ability to choose. Choices have repercussions, and we must stick
to those choices and suffer their repercussions no matter how bitter or sweet they
are.
 Law is unimportant, God who was born into this world to act with freedom,
as Jesus Christ said in Galatians 3:10 “For as many as are of the works of the law
are under the curse; for it is written, “Cursed is everyone who does not continue in
all things which are written in the book of the law, to do them. ”, Galatians 3:11
“But that no one is justified by the law in the sight of God is evident for “The just
shall live by faith.”& Galatians 3:12 “Yet the law is not faith, but “the man who
does them shall live by them.”
We are not, as humans, meant to be herded like cattle. Yet everyday we
dredge to our enslavement to society, to an unspoken law that we must serve our
country. Like all feudal peasants we work & toil for what reason? Because, it is
expected of us… The days of clans, or families coming together for a greater truth,
seems so far removed from our world, that we must embrace a fictional element of
truth. In all ninja movies the idea of a clan existing to this very day seems the most
pronounced element of the ninja-boom culture. It was never the ninja’s “power”
that made them so respected & attractive, it was the idea of a clan, a family. Living
in the “old ways” of a family in a world where we are all slaving peasants blinded
by a promised of freedom but are not truly free.
Ninjutsu was an art form only when it became systems, the skills present in
the art are some of the oldest used by man. Native American Indian tribes
practiced many of the same skills, and had little reason to evolve technology to the
level of the European settlers. They worked with nature & found a comfortable
middle ground. Their leaders served them, not in the reverse of our present culture.
Ninjitsu represents the first & most trusted of ways of humanity a return to self-
discipline and self-reliance. Ninja clans are painted as mercenaries, assassins &
thieves by popular fiction, yet I ask how would this world paint those who do not
need to be apart of the game of masters & servants? Ninjitsu is an art of
selflessness and selfishness, a symbiotic relationship with nature and the natural
order of life.
Thus we see the first two laws of survival; move with nature and, take charge
of your survival. We also see what we fear to see, the animal within us all. Like the
Indian tribes of America, the Asian cultures identified the instincts and traits of
people along side those of animals. Ninjutsu is recognizing the animal within and
remembering the power of choice. Survival begins both metaphorically and
literally with a choice…
Laws of Survival in an Emergency…

1) Try to Stay Calm…

Often the first instinct of an emergency is to panic, to worry, instead seek to
remain calm and think about your actions and their consequences. If for whatever
reason you can not remain calm, take a moment to get the emotions out of your
system but try not to influence anyone else in doing so.

2) Take charge of your situation…

This doesn’t mean to dominate the situation, but do not allow yourself to be
dragged down by group sentiments, or if alone prepare to do what is best for your
own safety. We all have heard to stay near the sight of a crash, but what if you to
make it a hospital in view of another emergency or need.

3) Seek shelter & safety…

Long before you consider food a requirement, seek to find a safe place to rest
and recuperate. A shelter allows one to tend to minor injuries, avoid the hazards of
the elements. It gives you a temporary base to act from.

4) Use your resources…

Resources go beyond items in your possession, material in your environment
you can use to aid your immediate goals. Resources; refers to your personality,
your knowledge and your ability to make choices.

5) Try to Blend with your Environment…

Follow the pattern of nature, whether you are lost in a city or a wilderness.
Follow the patterns of those around you, certain types of people gather near places
often open to the public. Animals often gather near places with abundant food and
water.

Shelter in the Wilderness:

The ninja of old was a master of survival and modern practicers should also
seek to learn such things. Presented here are the basic applications of survive and
paramilitary operations. To the art of ninjitsu there is only one common trait that
separates it from all other martial arts. The ninja have always stressed ability to
adapt and survive.
Shelter Beneath:

Shelter beneath objects may protect your from the elements and also provide
you a place of refuge. In a winter wilderness environment shelter beneath over
snow covered evergreen trees (as illustrated above), whose cones may be warmed
to feed the ninja-student with pine nuts.
In an urban environment, such things may be readily available but would
require you to live as a homeless person. Though for the ninja-student this offers
the ability to go unnoticed as few people desire to see the homeless.
In the desert one can easily seek shelter by crawling
beneath the sand allowing the sand to absorb some of one’s
body heat. One should be careful that the sand does not
prevent the ninja-student from breathing, using a straw or
tube to allow one to breath in this way.

This was a common survival method of

Arabian peoples when lost in the desert. A
blanket may be further used to protect one’s
comfort.

The Spider Hole:

The spider hole is a common trait in Asian survival and military actions.
These holes were used in World War II by the Japanese and Korean military and
the by the Viet Kong to hide from enemy forces.
The spider hole is a waist deep hole with a
camouflaged lid. This lid may be made of boards,
cardboard and even a lid weaved from supple tree
branches and covered with a sod cover.
Like the above examples, these tiny holes can be
grown into large several roomed “tunnel forts” that
almost invisible to all but the most advanced of
technologies.
 Yogen:
Art of Ninja Chemistry

Yogen, the art of chemistry is a very broad & bold subject in its own right.
Yogen not only covers the making of poisons, smoke bombs, and other
pyrotechnic devises, but also herbal medicines and other healing potions.

[Note to Reader: There are many more toxins that one can use. It is suggested that
if the student wishes to learn more about poisons and poisoning that one consult a
medical journal.]
 Poisons:
Traditional Toxins

Tetradoxin- Tetradoxin is a very old poison of the ninja, it is drawn from the
blood, liver, and gonads of the Puffer or Blowfish.
Death Cap- The Amantis Phaltoides is said to be one of the most deadly
mushrooms in the world.
Destroying Angel- Amantia Virosa is another deadly mushroom. Sickness from
the destroying angel or death cap appears 8 to 24 hours after eating. The apparent
recovery after one day is followed by a relapse, from which 90% of cases die from
liver failure. Neither mushroom has a known cure or antidote.
Snake Venom
Cobra- Cobras are highly venomous serpent whose venom attacks the heart.
Mamba- The venom of the mamba attacks the heart and central nervous system.
Krait- The venom of the Krait is twice as deadly as that of a cobra, venom is
extremely powerful and may take several hours before symptoms show.
Spider Venom
Black Widow- Black widows are usually fatal to children, but can also make an
adult feel very sick.
Funnel Web- Funnel webs are found only in Australia, this spider can kill an adult
in 90 minutes.
Modern Chemical Toxins
Cyanide, Arsenic and/or Prussic Acid- These three chemicals are very deadly
chemical toxins; which may be acquired through the “Black Market” or distilled
from some insecticides & rat poisons.
Nicotine Sulfate- Nicotine can be extracted from the pesticide Black Leaf 40,
which is no longer sold, and many other garden insect poisons. Nicotine Sulfate
can also be distilled from tobacco snuff & cigarettes. The poison can be absorbed
into the skin if left unwashed. Or, if mixed into a drink, a dropper full should be
sufficient.
Distilling Chemicals
Chemicals may be extracted through distillation; this is done by cooking the
non-active ingredients away from those ingredients which are active, or desired by
the distiller.
For toxins which occur naturally in the natural world. These substances are
generally water based and maybe concentrated by boiling away the water which
acts as a carrier. Alcohol may be added to final mix to help the water in the
substance to evaporate & concentrate the chemicals in the solution.
 Pyrotechnics

We have all marveled at the ninja on TV vanishing in a puff of smoke,

though few sensei will ever pass such knowledge on to their students. Ironically,
that ninjitsu being degraded to a jujitsu system is an affront to the spirit of the art.
In the following chapter you will find formulae for smoke & flash powder, and
various mixes form blinding powder.

Mechanics of a Smoke Bomb

1) Friction fuse Igniter (Match Heads)

2) String or Tape
3) Retaining Wire (not needed if tape is used)
4) Fuse
5) Small “Inner” Cloth Sack or Plastic Baggy
6) Smoke Power
7) Explosive Powder
8) Large “Outer” Cloth Sack

The match heads are struck, which lights the fuse. The fuse sets off the
explosive powder, which both ignites and propels the smoke powder, creating
the infamous “cloud” of smoke.

Constructing the Friction Fuse Igniter

Kitchen Matches
Duct Tape
Fuse
Retaining Wire
 Constructing the Smoke Bomb
Step One: Construct the friction fuse igniter, this simply done by wrapping the
kitchen matches around the fuse, and taping them into place.
Step Two: Pour about two to three ounces of gun powder (explosive powder) in
the middle of a three inch by three inch, thin cloth. Gather the cloth into a tight,
little sack, wrap the wire around the top of the sack. Tie the sack down tightly with
tape or a piece of string about four inches in length.
Step Three: Pour four to six ounces of smoke powder into the middle of a nine
inch by nine inch thin cloth or plastic bag. Place the Igniter and tie down tightly
with about eight inches of string.
Smoke Formula
All parts are mixed by weight and not volume. Never “cross breed” smoke
formulas or parts of formulas. One may adjust all smoke formula by adding
cinnamon oil, hot sauce or crushed peppers, to create a middle tear gas like effect.
For which adding commercial mace is an excellent addition.

Black Smoke:
Formula One:
Hexachlorothane…………………...3 parts
Napthalene…………………………1 part
Magnesium Powder..........................1 part
Formula Two:
Ivory Black………………………...1 part
Potassium Chlorate………………...3 parts
Rosin……………………………….1 part
Sugar (Granulated)...........................1 part
White Smoke:
Formula One:
Hexachlorothane………………….....1 part
Zinc Dust……………………………2 parts
Formula Two:
Ammonium Chlorate……………….1 part
Potassium Chlorate………………....3 parts
Sugar (Granulated)............................1 part
Formula Three:
Potassium Chlorate…………………3 parts
Salammoniac (fine grade)…………..3 parts
Sugar (Granulated).............................1 part
Red Smoke:
Paranitranilane Red…………………3 parts
Potassium Chlorate………………….1 part
Sugar (Granulated).............................1 part
Blue Smoke:
Indigo (Synthetic)……………………8 parts
Sugar (Granulated)..............................5 parts
Potassium Chlorate………………….7 parts

Flash Powder

Flash powders are used to create a sudden and potentially blinding flash of
light. Ninja students can use flash bombs to temporarily blind and stun an
opponent, robbing him of his night vision. Again, the formulas are mixed parts by
weight.

White Flash Powder

Potassium Nitrate………………….1 part
Powdered Magnesium……………..1 part
Brilliant Flash Powder
Aluminum Powder………………….1 part
Potassium Dichromate……………...1 part
Flash & Smoke Powder
Black (gun) Powder………………..1 part
Powdered Magnesium……………..1 part

It may be helpful to know that any flash powder formula can be used to
substitute the explosive center of a smoke bomb. I would also stress that in making
any of these devises, make sure of any local laws, observe the laws and be careful
of how and where you use such devises. Care should always be taken to remain
safe.

Flash Paper

Flash paper is a specially treated paper that when lit, quickly burst to flame
leaving no remains. Flash paper makes excellent “note paper” for those times when
you need to be rid of the notes, or as an ignition source for several flash and smoke
devises.
Flash Paper
Sulfuric Acid…………………..…..4 parts
Nitric Acid………….……………..5 parts
Mix in a large glass bowl, and slowly adding the acids in small quantities of
each, avoid slashing and heat as much as possible. Rubber gloves and goggles are
required as you soak white tissue paper or, white printer paper (if for a writing
assignment), allow it to soak for 10 minutes and dry in a cool place with plenty of
air flow.
Store the flash paper in a cool, dry place, between two pieces of card board,
remember flash paper may be set off by friction from another piece of flash paper.
Thus, it is rarely used to set off smoke and flash bombs

Blinding Powders

Metsubushi, is the traditional term for blinding agents, while most think of
literally “blinding powders” many of these inventions where quite lethal and
permanent.
Carry in mind that crushed chalk, flour, salt, dirt or sand may be used to
temporarily blind your opponent in a fight. The following formula are presented
here to act as an example of how these basic formula and the principles in their use
by be adapted by the ninja-student.
Powder Formula
Burning Cloud Powder
Potassium Nitrate………………….1 part
Powdered Magnesium……………..1 part
Flash Paper…………………………as shell
Tears of Blood Powder
Crushed Glass….………………….1 part
Metal Shavings………..…………..1 part
Salt………………………………...1 part
Pepper Ash Powder
Crushed Peppers…………………..1 part
Ashes or Sugar (powdered)……….2 parts

Needle Tube
A plastic tube about the size of your thumb, can be loaded with small pins or
any such blind powder above, though the burning cloud powder must have special
preparations to attempt this exercise, which can be blown/spit into the eyes and
face of an opponent doing serious bodily harm.
 Natural Herbal Medicines
Like the ninja of old, the modern practicers of ninjitsu must have a working
knowledge and basic understanding of herbal medicines. Sadly, many ryu
(schools) no longer teach this aspect of the ninja arts. But, these lessons are still
taught within the Black Dragon schools.
Plant Preparations
Knowing what plants cure what illness is not enough. One must also know
how to prepare the plants. So, before the natural medicines are presented here, the
ways of preparing them is presented here now.
Infusion: Cut and crush the herb, pour boiling water over the herb, stir and leave to
cool. Do Not strain, allow the herb to sink and leave the to cool. If no boiling
water is available, chew or suck leaves to extract juices, then spit out the pulp.
Decoction: Cut, scrape and mash the herb roots. Soak the mashed roots in water,
about half an hour. Bring the solution to boil and allow to simmer till about 1/3
(half a pint) of the solution has evaporated.
Poultice: Mash the root, leaves or whole plant and compress the plant into a flat
pad. Add water to the pad if it is too dry. Apply pad to the wounded area, cover
with a bandage or large leaf and bind the poultice into position.
Expressed Juice: Crush the stem and leaves into a juice pulp with rocks, sticks or
your hands. A commercial juice machine is excellent for working within your
home. Squeeze only the juice into an open wound and spread the pulp around any
infected areas. Bind the pulp into position the same way as before with the
poultice.
Herbal Remedies
To Stop Bleeding:
Giant Puffball Mushroom: Pack Spore as a poultice
Plantain: Pound leaves into a poultice
Cleansing Rashes, Sores & Open Wounds: Use externally to bathe 2 to 3 times
daily or, if indicated, as a poultice.
Burdock: Decoction of the root, crushed raw and mixed with salt for animal bites.
Chickweed: Expressed juice of leaves.
Comfrey: Decoction of root as a poultice
Dock Weed: Crushed leaves
Elder: Expressed juice of leaves.
Oak: Decoction of Bark
Scurvy Grass: Crushed leaves
Shepherd’s Purse: Infusion of whole plant, except roots, as poultice
Sorrel: Crushed leaves
Tansy: Crushed leaves
Fevers: These plants will induce perspiration to break a fever.
Elder: Infusion of flowers and fruit
Lime: Infusion of flowers
Aches, Pains & Bruises: Use externally where indicated.
Birch: Infusion of leaves
Borage: Infusion of whole plant except for the roots
Burdock: Decoction of the Roots
Chickweed: Infusion of whole plant except for the roots
Comfrey: Decoction of the Roots, applied to the area of swelling
Cowberry: Infusion of leaves and root
Dock: Crushed leaves, apply leaves to bruises
Poplar: Infusion of leaf buds
Sorrel: Crushed leaves, apply leaves to bruises
Tansy: Crushed leaves, apply leaves to bruises
Willow: Decoction of bark to relive head aches.
Colds, Sore Throats & Respiratory Illness:
Angelica: Decoction of the roots
Bilberry: Infusion of leaves and root
Borage: Infusion of whole plant except root
Burdock: Decoction of the roots
Comfrey: Infusion of whole plant
Horseradish: Eat the root raw, stepped in a tea
Lime: Infusion of the flowers
Nettle: Infusion of leaves
Oak: Decoction of bark, to be used as a gargle
Plantain: Infusion of leaves and stems
Poplar: Infusion of leaf buds
Rose: Decoction of hips
Willow: Decoction of bark
Upset Stomach:
Bilberry: Decoction of fruit
Bracken: Infusion of leaves
Bramble: Infusion of leaves
Dandelion: Decoction of the entire plant.
Horseradish: Infusion of the root
Mint: Infusion of entire plant, except root, with powdered charcoal and water.
 Ninjitsu weapons arts vary greatly and many schools adapt adding new tools.
Many Koga Ryu schools have chosen to add modern firearm, improvised
explosive, commercial demolition and even tools such as sai and nunchaku taken
from Okinawan Karate. There is but one weapon in ninjitsu, the mind, all else is a
tool.
While many people may consider this “proof” of false claims to ninjitsu, I
see this as “proof” to a living art form. Ninjutsu is a way of thinking, a way of
living and a way of surviving. Each tool, called a “weapon” in name only, taught
here serves to give the practicers access to many weapons, specifically those that
may easily be improvised.
 Shuriken-jitsu
The ninja art of throwing weapons, these weapons may be spikes, throwing-
stars or knives. These weapons may be improved using pencils, heavy metal ink
pens, broken glass, or even common rocks. This is the art that allows the ninja-
student to strike from a distance as an enemy closes in, being injured or distracted
before combat begins.
Shuriken takes many forms, from darts to daggers, from stars to spikes.
Unlike, popular movies ninja-students will not learn throw a star shaped piece of
metal through someone’s skull or be able to hit someone in the eye from one-
hundred feet away. Shuriken have three purposes; 1) to distract an opponent, 2) to
deliver a poison and 3) hamper an opponent with injury.

Shuriken Types:
 Throwing Stars-
These are infamous weapons of all 1980s pop-culture ninja movies, though the
use of these weapons is often neglected as a tool of ashigaru (foot soldiers) and
samurai. Like much of Japanese culture the three, four and five point throwing
stars can be traced to Chinese culture. An often over looked aspect of these
weapons is that they can be impelled on the ground to act as caltrops.
Broken glass, coins or scrap metal make excellent improvised shuriken
 Throwing Spikes-
The more common throwing spikes are a very difficult weapon to master, often
taking several months of constant training to learn and requiring hours of practice
to stay in fighting shape with such weapons. Often times, a pencil, pen, nail or
sharp stick may replace a commercial version of such a weapon in self-defense
setting.
 Spiked Balls & Caltrops-
Often rarely seen in movies are the infamous caltrops and spiked orbs called
“Tetsubushi”, these are generally considered a weapon for hampering movement,
though tetsubushi may be thrown into the face or used to strike someone with,
tucked into the palm of your hand.
 Throwing Knives-
Finally was see the use of knives not as something that is wielded in melee
combat but as something that is used for distanced attacks, as I have stated
shuriken are generally used to hamper an opponent, and knives are no different.
Bare in mind throwing a knife into a board is not the same as lauching the dagger
into a person. Against a living target one strives to either deal damage from the
slicing blade or stun them as the heavy handle strikes them.
Proper Grip
Throwing spikes, stars and daggers use a variety
of gripping methods. Firstly, throwing spike are held in
place in the groove between the pointer and middle
finger. The thumb holds the spike in place, as the arm
extends forward along whatever arc you use.
Throwing spikes are very light and are only
useful at close distances, for a 4 to 5 foot range the
spike point should be toward the finger tips. At a range
of 4 to 8 feet, the spike should point toward you and at
a range beyond 7 to 8 foot the point should once again
be positioned as the 4 to 5 foot distance.
Secondly, is more of a variation of the first
fitting the knife in the palm of the hand, held by the
thumb. The ranges for a throwing knife vary depending
on the size, shape and make of the weapon. The third
grip is the common method of holding the blade or
handle loosely between pointer finger and the tip of the
thumb. This is the grip most commonly use and in open preparation of throwing
the weapon, the latter two grips are used for “concealed carrying methods” in
preparation to be thrown.

Lunging Throw

The lunging throw is used generally as one advances

to catch an opponent off guard, and is frequent
combined with the second open hand grip.
Hold the shuriken in the rear hand, step forward
swinging the arm in an arc toward the opponent,
releasing the grip as the weapon arms glides into
shoulder range
Reverse Throw
The reverse throw is so named because it operates on
the same body mechanic as the reverse or “hip” punch.
Chambering the arm as you would for execution of a ten-
chi strike, torquing the body around the center axis of your
spine, bring your arm down, releasing the shuriken as it
and your arm descends to chest level.
 Though this method generates allot of power, and capable of hurling a
shuriken at great distance it is easily telegraphed.

Bo-jitsu

The ninjitsu art of stick and staff fighting is an easily learned skill. Modern
practicers of Koga Ryu Ninjutsu from several different schools, have integrated
other weapons into the classic format of stick and staff combat. Some schools
teach the Chinese three sectional staff, while most beginning with Seiko Fujita,
have added the Okinawan invention of nunchaku. These will be covered with the
lesson on Kusari-Fundo, as must of the techniques are very similar in form.
Like shurikenjitsu, bojutsu is a fundamental art form for the ninja student.
Sticks and staffs have been a basic weapon in concept. Allowing the student use
improved and readily available items. Even a rolled up newspaper or magazine
may be fierce and lethal weapon in the hands of a skill men or woman. There are
many principles of taijitsu which can be applied to bojutsu, the body mechanics of
all martial arts are similar in focus. You will no principle in taijutsu, that is not
shared with western boxing or wrestling or judo or kung-fu or savate, applying
these principles nay simply require a different focus or slight adjustment
application. This may occur within the same system, for example San shu or judo,
where many of the same principles are adjusted during execution to build the
otherwise large amount of throwing techniques.

Bo-Kamae

Bojutsu, is an art form of its own and while admit to a more indepth
understand of the basic principle present here, these are the most basic skills for
applying the weapon’s use.
The basic bo stance of ninjitsu keeps the lead end of staff low, this is to draw
attack to the head and to seem less threatening. As common to ninjitsu combat
philosophy sweeping an opponent’s leg and “vanishing” is classically the
objective, if you can to fight then doing as much damage as possible is
recommended.
 The above drawing not only shows the Basic Bo Stance but the most
common paths of attack. Through as I pointed out earlier in this book all of the
attacks and defenses with weapons rely on the same principles as the unarmed
combative techniques.

Paths of Attack:
There are many angles of attack, going up, going down, to one side or the
other. All attacks follow a path, and that path changes with needs and
requirements.

Thrust:
The most damage done by a stick strike
comes from jabbing the end of the staff forward. The
body must push forward behind the thrust by using
the knees just as if one was executing tai-suki or ashi-
tai-tsuki. It is import to put one's body weight behind
such a strike.
Thrust attacks are used to target vital points
such as the throat, eyes, sternum, solar plexus,
stomach, groin or instep.

Reverse Strike

The reverse strike, like the hip thrust or Koshi-Tsuki uses

the same body mechanic. And in doing so, creates an arching
swipe that can both deflect and strike. Common targets for the
reverse strike are the temples, jaw, neck, collar bones, lower
ribs, biceps, forearms, hips, outer thigh, inner thigh, knees, &
ankles.

Stepping Strike
Combining the two basic principles of the Ashi-Tai-Tsuki
and the Koshi-Tsuki are basic priniples of the stepping staff
strike. As the ninja student step forward off the rear foot, the
student must twist the body so that the reverse end of the staff
strikes the target.
Although this method of striking is basically the same
motion as the reverse strike in both principle and mechanic, it
is likewise very different in that it allows for a single
powerful strike at a distance. This striking method is also a perfect set up for a
thrust & reverse strike combination.

Retreating Strike
The retreating strike is a variation of the thrust,
except in reverse order. As the body flows backward
using proper knee movement the forward end of the
staff is brought up sharply, using the body reverse
momentum for power and is perfect action to be taken
with a circular deflection pattern to deflect and strike
an enemy in combat.
Weapons of Bojutsu:
There are several weapons in Bojitsu, as a cumulative set of skills. Bojitsu
once consisted of only staves, clubs and canes, as now grown to include nunchaku
and makiwara. Here are is a list of such tools presented to the student of ninjitsu.
Bo: A long-staff, about 6 to 8 feet in length
Jo: A medium length short staff about 4 to 5 feet in length
Hanbo: A short staff or club about 3 feet in length
Nunchaku: An Okinawan weapon, originally used by peasants to turn rice grain
into rice mil.
Makiwara: An Okinawan weapon as well, Makiwara are used to “strengthen” the
fist and strike with the ends of the small fist sized stick.

Stick Grappling
The hanbo is used like a bo or jo except that at closer ranges in can be used to
grapple with an opponent. The joint locks applied with these tools is a pale
reflection of the basic principles applied in taijutsu to lock and disable an
opponent. Given the unforgiving nature of the stick, such locks applied in combat
often break the joint rather then locking it.

Juji-Gatame with Hanbo

The hanbo can be driven into the floating ribs and
wrenched forward as the opponent’s arm is pulled toward
you and the hanbo pushed forward.
Ude Garami with Hanbo:
The hanbo can be used to act as a fulcrum, between the
forearm and the upper arm. Pushing the hanbo forward,
while pulling the wrist forward can destroy the elbow quite
easily. The Ude Garami, with a handbo can also be used to
off balance and opponent with pain compliance and force an
enemy to the ground before breaking the elbow or tearing
the shoulder out of place.

Juji Shime with Hanbo:

The cross choke is an effective method of neutralizing an
opponent when fighting with a stick. Hook the hanbo around an
opponent’s neck with a reverse grip, reaching across to grab the
free end.
Proper execution of this technique uses the forearms to push
the back of the opponent’s neck into the hanbo as the is pulled
into the throat.
Juji Gyaku with Hanbo:
The juji gyaku, cross wrist lock, is a variation of the juji shime
applied against the wrist, though any of the above methods may be
applied to an joint, with proper experimentation and skill.
As the opponent reaches forward to grab one’s lapel. Bring the
hanbo up sweeping across the center of the body, so that the stick
sweeps up around the wrist. Pull out and down with the elbows so
that the wrist becomes trapped between your body and the hanbo.

Tanto-jitsu
Tantojutsu is the art of the knife; ninjitsu has a unique focus and ability to
apply to knife fighting skills. First is in the method used to fight, and second is the
application of the skill.
Many jujitsu-ka, traditional Japanese jujitsu practicers, have noted that jujitsu
while seen as a hand-to-hand form of combat also includes knife fighting skills and
techniques. Infact I once attended a seminar on knife fighting, the instructor an
evangelist preacher named Michael Crane, noted that an expert knife fighter used
the reverse grip, as opposed to the standard fencing grip.
Knife Grips:
The common misconception of knife fighting is the use of a
proper grip. There is no proper grip to knife fighting, only proper
application of a grip.
In both illustrations one sees the thumb used to brace the blade
and the handle. This allows more control other the knife and a
brace to build a better result in dealing damage.

Standard Grip: The standard grip of a knife is used from those who prefer the
fencing stance of knife fighting. They use the knife to keep their opponent at a
distance, while this keeps an opponent away from you; this is also common to
knife thrusts.
Reverse Grip: The reverse knife grip is used to drive the knife handle into a target
area, snapping the wrist to slash the flesh of an opponent leaving a gaping wound,
or a slash and backhand thrust into an opponent's vital areas.

Tanto-Kamae

Knife Fighting: The aspect of knife fighting as it applies in ninjitsu is to apply

common sense. There is no special techniques to the application, knife strikes
should be treated as common atemi-waza applications of unarmed combat. The
common stance of Tanto-jutsu is to hide the knife behind the forearm.
A common aspect of ninjitsu is grab and trap aspect of fighting. A practicer
wielding a knife may use a ura tsuki is deflect and grab the attacking limb and then
use the trapped limb to pull the attack in where a knive slash or thrust can end the
confrontation quickly.
 Targets for the Knife:

 A. Temple: Cutting the temple can cause a slow bleed out, but a thrust can
cause instant injury to the brain.
 B. Carotid Artery: Cutting into the carotid artery can cause an enemy to
bleed to death within 20 minutes.
 C. Brachial Artery: A downward thrust behind the collar bone can sever the
brachial artery, again causing the enemy to bleed out within 20 minutes.
 D. Armpit: A thrust in the arm pit will sever the Brachial artery and
depending on the length of the knife, maybe puncture the lungs.
 E. Tricep: A slash here can severely limit the movement of the arms.
 F. Pectorals: A slash here can severely limit the strength and effectiveness of
the arms.
 G. Bicep: A slash here can severely limit the strength and mobility of the
arms.
 H. Hollow of the Elbow: Not only will this affect the effectiveness of the
arms but it will sever major arteries.
 I. Wrist: Cutting the wrist will cause the enemy to drop whatever item or
weapon they will be holding, provided you sever the tendons.
 J. Diaphragm: A thrust to the diaphragm will sever the muscle responsible
for breathing.
 K. Belly: A thrust and sideways slash will open up the belly and rupture the
internal organs of the target insuring a slow death.
 L. Radial Never: A slash or thrust here will paralyze the leg and cause
severe bleeding.
 M. Ulnar Artery: Cutting the ulnar artery will hamper the enemy’s mobility
and cause them to bleed to death within 15 to 20 minutes.
  N. Thigh: I stab to the front of the thigh will hamper speed and mobility but
not deal any fatalistic damage.
 O. Hollow of the Knee: A slash to the hollow of the knee will sever tendons
and ligaments needed to stand and walk as well as veins.
 P. Knee Cap: Cutting either above or below the knee cap will destroy the
enemy’s ability to walk.
 Q. Achilles’ Tendon: Cutting the Achilles tendon will prevent the enemy
from walking.
 R. Instep: A slash or thrust to the instep will cause the injury which is will
prevent the leg from baring weight.

Surprise Attacks with a knife:

In Secrets of the Ninja, Grandmaster Ashida Kim discussed sentry removal
techniques involving knife attacks. In truth these are not techniques limited to
sentry removal, but surprise attacks that can easily disable and defeat an opponent.
Most knife attacks in the street come as surprise attacks.

Severing the Brain Stem: By thrusting a knife laterally behind the jaw one can
sever the brain stem, or when facing an opponent from the front, pulling their head
down and stabbing the knife directly into the base of the skull. Severing the brain
stem causes instant death.
Slitting the Throat: By clasping a hand over the enemy’s mouth, to prevent
screaming, and pulling the head back, one exposes the neck. The knife should cut
from side to side. The blade should follow a deep arcing path severing both carotid
arteries and the trachea.
Severing the Hypoglossal Artery: By grabbing the mouth of the opponent and
pulling the head, one exposes the underside of the jaw. An upward thrust of the
knife will sever the hypoglossal artery, underneath the tongue and sever the
tongue.
Kidney Thrust:
A very slow and painful way to die, this attack leaves an
enemy writhing in pain. Grab the target’s mouth pulling them
back and off balance and thrusting the knife into the lower back,
at kidney height and slashing the blade for side to side.
This method of attack causes all the harmful toxins to be
dumped into the enemy’s body and causes them to die with 20
minutes from blood loss. No medical expertise can cure the
toxins released into the body.
Attack to wound:
Few people except those who have extensive guerrilla warfare training
understand the concept of attacking to wound. Such attacks which are intended to
only wound are used to slow down regular forces against which the faster and
lighter guerrilla forces can out maneuver the larger and slower regular forces.
This concept of attacking to wound, can be used in application against an
attacker on the street. Wounding an attacker can legally save you for possible life
in prison for manslaughter. The truth is there are few states which allow self-dense
as a plausible reason for killing an attacker, and many states who have self-defense
laws have weakened them to such a degree one can not legally defend one's self &
properly defend one's self at the same time due to “Justifiable Use of Force”
restrictions.

Fighting With Two Knives: The ninja-student who desires to fight with two
knives should consider using the reverse grip for the lead hand and a standard grip
for the rear hand. This allows the lead hand to cut the attacking limb of the enemy
and reverse hand to thrust at major organs and vital targets.

Kusari-jitsu
The chain in ninjitsu follows the same general movements as with using
nunchaku. Like before, one can see the basic body mechanic of all kusari
techniques are found in the basic principles of taijitsu. I have waited until to cover
the bojutsu element of using nunchaku do to the relative comparative nature of
using a kusari-fundo or chain whip.
Unlike using staves or shuriken, a considerable bit of preparation is placed on
the construction of the nunchaku. The most effective and simplest way to
manufacture nunchaku is to use nylon cord and lead pipe barely thicker then the
cord when knotted. Tie two knots, one at each end of the cord. Crimp the pipes to
prevent the knot from moving out of the pipes, thus building a set of cord
nunchaku with heavy-weighted metal handles.
A kusari may be created from something as simple as two lug nuts tied to the
end of a shoe laces or one’s own belt, provided the belt buckle is heavy enough.

Kusari-Kamae
The basic chain fighting stance is similar to a fudo kamae
except that the reverse hand is raised to resemble a dragon
stance in kung-fu. The hand conceals the chain. The lead hand
stays “floating” in front of the body to attack an opponent, or
defend against attacks that may come to you. This stance draws
attention to one’s reverse hand, so that the lead fient is more
effective.

ChiTen Uchi
The reverse hand drops as the lead hand feints an
attack, whipping the chain or nunchaku up in a rising arc
to strike the knee, groin, ribs or head. As the tool raises
by your head, reach beneath the attacking arm to seize the
free end of the weapon in your lead hand.
The weapon gains power from the torque of the body
rotating the hips forward as in the taijutsu lesson of the
Koshi-Tsuki.

TenChi Uchi
The descending strike may come from the basic chain
fighting position, whipping the chain forward on a
descending path to strike the head, shoulder, arms or
knees.
As the tool passes back toward your body, lower the
striking arm to seize the chain or nunchaku beneath the
arm pit.
Soto Uchi
The outside whipping strike, is a “drawing cut,”
drawing the chain from one’s hip, or from beneath your
arm pit. Whip the chain out in a long arc, twisting the
hips and simultaneously shifting the hips back. As the
chain or nunchaku passes the head, one has two options
of progress, either seizing the free end from behind one’s
head or ducking and allowing the weapon to pass by to alter one’s direction of
attack. One may also allow the pass beneath the armpit of the reverse arm to be
trapped by the arm of the reverse arm.
As I have explained before in this book, a great deal of weapon techniques
are drawn from the principles of taijitsu. These laws of attack and defense are
common to all martial arts. I refuse to teach a single aspect as a focus to the true art
form. Therefore; I have presented the information on the grounds of teaching
principles and allowing you to find your own strengths and weaknesses.
 Oath of the Deshi (Student):
● As a student I willingly submit to the teachings of my Instructors...
● I promise to carry out any task asked of me, as long as I morally agree with
its purpose or principles...
● I swear to never intentionally misuse what I learn or to seek to willingly harm
others...
● I take this oath knowing that I am expected to live up to the values of respect,
humility, mercy & honor...
The deshi (student) oath is an solemn oath taken by any student of Black
Dragon Ninjitsu at the beginning of each class, or meeting for each group from
training. The student swears to willingly learn all that the Shidoshi may teach
them, to carry out any task asked of them for the purpose of teaching them lessons,
both physical, mental & ethical, to never misuse what they are learning and to act
with respect to all others, humility, mercy & honorable intentions.
In return the student, also swears an expectation of the instructor, or
instructors; that those teaching them will not abuse this trust through immoral
actions or intentions.
Oath of the Sempai (Senior Student):
● As a senior student I will demonstrate by example the principles of the
student of Ninjitsu...
● I will make it my purpose to accept responsibility for my own quest for self-
improvement & self-understanding...
● I swear to uphold the righteous laws of mankind and to any laws dictated by
my higher power...
● I take this oath, knowing it has not freed me of my first oath as a student, and
that more is required of me as a senior student, correct action, true
understanding & service to others and myself...
No longer a common student those who reach Sempai level (1st Degree Black
Belt & 2nd Degree Black Belt levels), swear to live by the principles they are
taught. To seek improvement and understanding on their own, to follow the
teachings of whatever religion or philosophy the student claims, and the follow the
“laws of the land” so long as they are morally correct.
The senior student now swears to hold themselves to higher standard, and on
their solemn oath to live as an example of what they choose to become. The
sempai oath is an oath of commitment to constant self-improvement.
 Oath of the Black Dragon
 I shall fear no man, nor beast, nor demon spirit…
 I fear not death, far as many times as I am killed, I shall not die…
 Able to change my face and walk unseen among men, I am ninja…
 Able to awake the demons inside me & control the very elements of life and
the lives of men, I am Black Dragon...
 Born of fire & shadow, I am the master of my life & my chosen Path...

As much as this oath is true in symbolic meaning, so to is it true in a literal

one as well. This course represents the achievement I have wanted ever since I was
a child. To teach people another way, ninjitsu is a way of life to me. It is freedom
to exist where others would not desire me to. It is the freedom to choose something
beyond me & have it in my grasp.
With this book I hope you find something you did not intend on, the
confidence & self-empowerment to use what others fear & find strength in your
own resolve. I have often held that the second most dangerous of men are all
educated, but the most dangerous are those who are self educated. As self-educated
men & woman may learn anything their hearts desire all that is required is to be
true and have faith to oneself and one's God if you have one. Educated men &
woman walk in the shadows of others boxed in by the presumptions of others. I
encourage you to step outside my box, and find knowledge & skills from other
sources.
To not be limited by what say and do but what you feel you must do. The
meaning of this oath is many fold, for one it is an oath only to yourself. But the
importance of an oath to yourself will be lost to you until you have “grown” in
ways that can only be experienced and not explained. Secondly it says simple, that
acknowledge the skills you have and that you understand how you apply them is
your own way. That ultimately in this life you must answer to your own
consciousness and later to any higher power before you in faith.
 Postscript:
The Path of the Shadow

Ninjitsu is a martial art steeped in mystery, and blurred by fame. The true
power of the art is in the self-reliance it teaches others. In no other martial art can a
student learn to become part of nature, learn to heal wounds and treat injuries.
Ninjitsu is an ever expanding ever flowing are form, this text and course, is only
the first step in a journey of a thousand miles.
I have revealed only the basic root of the art. In my Dojo, the student would
learn to expand the principles of the art, and create their own way. This would
build an understanding of the concepts and knowledge that allow the art to evolve
with the personality of the student. Many of the tasks detailed for the video testing
will reflect this growing and expansive art form. Where a dojo does not exist to
train and teach, allowing the student to grow with their ever expanding knowledge
in the art.
I encourage the ninja-student to see past techniques & grow in the art as the
student grows with in it. Adding new skills and techniques you will see in this
course, there are few things that can be taught, all others only experienced. I have
designed this course to allow a student to experience the “Path of the Shadow” in
their own way.
What defines the path of the Shadow, isn’t enthrallment to a dark power or
even the light of God. The path of the shadow is sacred within oneself, it is shadow
because it is hidden within your own heart & mind.
The path of the Shadow is the path you define yourself. Only you can decide
the person you wish to become, and only your Inner Self (Conscious Choices) can
make you that person…

Remain Well,
Shihan Ron Collins
Godan, 5th degree Black Belt Koga Ryu Omoto-Ha Ninjitsu,
Founder of the Gen-Tora Ryu Ninjitsu Dojo…