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Translation: Togakure-ryu Ninpo Taijutsu

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Luke Crocker Togakure-ryū CMARA

Togakure-ryū Ninpō Taijutsu 戸隠流忍法体術

Written by Masaaki Hatsumi, Translated by Luke Crocker

Ninpō Taijutsu no hi (Secret principles of concealed body mechanics; 忍

法体術の秘)
忍法体術は森羅万象、「宇宙間に存在する数限りない一切の物事」「万有」、これを無有にす
む こころ
ることもある。無有というと、その字象ばかりでなく武有とも象で表わすように、 忍者の 心
い き かなめ あか
生気の秘が 要 となつてくる。 古伝にある忍法体術の秘をここで燈してみるが、 そこに生じる
影を見なくては、本来の忍法体術の極意はつかめないのである。その体術は、遁形の術、木
遁、火遁、土遁、 金遁、 水遁、 人遁、 禽遁、獣遁、蟲遁、魚遁の表裏と天地人の三十法の形
である。

「天遁」は日遁、月遁、星遁、雲逓、霧遁、雷遁、電遁、風遁、雨遁、雪遁。

「地遁」は木遁、草遁、火遁、煙遁、霧遁、土遁、屋遁、金遁、石遁、水遁、湯遁。

「人遁」は男遁、女遁、老遁、幼遁、貴遁、賎遁、禽遁、獣遁、蟲遁、魚遁。

それに七方三法型の変想体術、忍具として虚実一閃、 目潰し、肝を潰し、 命を奪わ

が こ らいとうしゃ
ず、縛する九字「我向来闘者悪魔不動」を唱え、敵退散の九字「護身通カ敵退散消滅」を唱
う。ここに両眼を見開き、 三途の川の彼岸を見て、 龍眼を得ることである。故に私は白龍翁と
ごしんちんこんてきれいばくえいみん
名のるゆえんがある。護身鎮魂敵霊縛永眠 呟 呟 呟 詞 忍びの夢を見て成仏せよ!!

Ninpō Taijutsu is all things found in nature.1 “All the things in the universe without limit” or “all of
creation”,2 this also includes existence and non-existence.3 In considering existence and non-existence
(Mu-u; 無有), understand that mu (無) is not always written with the character for “nothing” but is
sometimes written with the character for martial being (Mu-u; 武有), when expressed this way the
secret of mental vitality of the ninja becomes even more essential.

The secrets of ninpō taijutsu from the ancient traditions are to be revealed here, though without
looking at the shadow that is cast here, the deepest principles of the nature of ninpō taijutsu will not be
grasped. That taijutsu consists of Tongyō no jutsu,4 tree escape, fire escape, earth escape, metal escape,
water escape, human escape, bird escape, beast escape, insect escape, fish escape, which is to be the
thirty methods5 of heaven, earth, and man,6 and in duality.7

1
Shinra Banshō 森羅万象 “All things in Nature; the whole of creation.”
2
Banyū 万有 “all things; all creation; universal.”
3
Mu-u 無有 “non-existence and existence; absence or presence.”
4
Tongyō no jutsu 遁形の術 “Technique of Escaping Forms”
5
Sanjūhō no kata 三十法の形 “Thirty methods of forms”
6
Tenchijin 天地人 “Heaven, Earth, and Man”
7
Omote Ura 表裏 “Outside and Inside; the obvious and subtle; Overt and Covert”

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Luke Crocker Togakure-ryū CMARA

Tenton 天遁 (Heaven Escape)

Romanji Kanji English
Nitton 日遁 Sun Escape
Getton 月遁 Moon Escape
Seiton 星遁 Star Escape
Unton 雲遁 Cloud Escape
Muton 霧遁 Mist Escape
Raiton 雷遁 Thunder Escape
Denton 電遁 Lightning Escape
Fūton 風遁 Wind Escape
Uton 雨遁 Rain Escape
Seiton 雪遁 Snow Escape
Chiton 地遁 (Earth Escape)
Romanji Kanji English
Mokuton 木遁 Tree Escape
Sōton 草遁 Grass Escape
Katon 火遁 Fire Escape
Enton 煙遁 Smoke Escape
Muton 霧遁 Mist Escape
Doton 土遁 Earth Escape
Okuton 屋遁 House Escape
Kinton 金遁 Metal Escape
Sekiton 石遁 Stone Escape
Suiton 水遁 Water Escape
Tōton 湯遁 Water Spring Escape
Jinton 人遁 (Human Escape)
Romanji Kanji English
Danton 男遁 Male Escape
Joton 女遁 Female Escape
Rōton 老遁 Old man Escape
Yōton 幼遁 Infant Escape
Kiton 貴遁 Valued Possession Escape
Senton 賎遁 Poverty Escape
Kinton 禽遁 Bird Escape
Jūton 獣遁 Beast Escape
Chūton 蟲遁 Insect Escape
Gyoton 魚遁 Fish Escape

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Luke Crocker Togakure-ryū CMARA

Furthermore there is the seven ways and three methods of hensō taijutsu8, the ningu of Kyojitsu Issen,9
Metsubushi,10 breaking the nerves,11 restraint from taking life, by chanting the kuji you restrain with
“gakoraitōsha akumafudō”12 or the kuji “goshin tsūriki teki taisan shōmetsu”13 to send the enemy
fleeing. Open both eyes, behold the Sanzu River14 during the equinox, in order to be able to acquire the
dragon’s eyes. This is the reason why I have the name Venerable White Dragon.15 Uttering the
expression “Goshin chinkon teki reibaku eimin”16 and observing the shinobi’s dream Nirvana is
achieved!!

Kōbō Jizai (Attack and Defend Freely; 攻防自在)

武道で九つの流派を継いで鍛練を統けてきたが、 行き着く ところはみな同じである。また武道
とは限らず、どの道でも、 目指すところは同じであると実感する。道場が弟子たちで一杯で溢
えら
れるようになったとき、 私はこう答えている。「弘法(空海上人)筆を択ばず、弘法場所を択ば
ずだ。筆の誤りは、 戦場では許されないんだぞ」と、大勢の人の混み合いの中で応対稽古をぎ
せている。 体術、 剣、 棒術、 エ卜セ卜ラ。 攻防自在。 筆は富手と呼んでみてくれ。

武神館の五段の昇段テス卜がある。これはテス卜を受けるものが目をつぶり、試験者が
背後から振り下ろす竹刀を祭知して身をよけるといるという試験だ。このテス卜について考え
るときには、江戸初期の浮世絵師、菱川師宣の美人画 「見返り美人」を見てみるとよい。 また
馬をテーマに写真を撮つているカメラマンがこんなことを言っていた。 馬を撮るとき、 馬にカ
メラを向けると、 カメラマンの、 撮るという意識を受けて、 馬は自然のポーズをしないとい
う。 そこでカメラマンは、馬に背を向けて後ろ向きになつて、 シャッ夕ーチャンスを待つ……
勘生(憾性)のまま、 後ろを向きざま、 自然体になっている馬の姿を撮るという。 すると素晴ら
しい馬の自然の姿を捉えることができるというのだ。
にんにく
さて不滅の布施、 真道の持戒、自然の忍辱、自然の超越、 光明の悟り、 この五定の心
たたら
構えなくして悟りの道に入ることはできなぃと 「蹈鞴秘文」にも書いてある。 そして私の尊敬
する白根松介先生がよく言われた「ギブアンドリ夕ーン」の一言が秘伝の始めとなつていく。
地球上で一時冷戦状態の時代があつた。そして地球の温暖化が-と+の寒暖を顕著にし、激しい
政変が繰り返されることを、いま自然が警告している。

8
Hensō taijutsu 変想体術 “Changing the appearance of the body”
9
Kyojitsu Issen 虚実一閃 “Suddenly interchanging truth and falsehood”
10
Metsubushi 目潰 “Crushing the eyes”
11
Kimo o tsubushi 肝を潰し “Crushing the nerves; element of surprise”
12
Gakoraitōsha Akumafudō 我向来闘者悪魔不動 “I always fight the malignant demons without moving”
13
Goshin-tsū ka teki taisan shōmetsu 護身通カ敵退散消滅 “protecting the self, my authority sends the enemy
fleeing into extinction”
14
Sanzu no kawa 三途の川 “The Buddhist equivalent to the River Styx, river to the afterlife”
15
Hakuryū-ō 白龍翁 “Venerable White Dragon; The martial name of Masaaki Hatsumi.”
16
Goshin chinkon teki reibaku eimin 護身鎮魂敵霊縛永眠 “Protect the repose of enemy souls bound for their final
rest”

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Luke Crocker Togakure-ryū CMARA

I have inherited nine traditions of budō and have disciplined17 myself through them, regardless the end
result is the same. This end result is not limited to budō, in any way, the goal is the same. When the dōjō
is full of students, I have said the following. “Kōbō (Kūkai Shōnin18) would not choose where he painted
nor the brush he would use. A slip of the brush is not easily forgiven on the battlefield.” Thus, one
should perform keiko19 with many people packed together. Whether it is the body mechanics, sword,
staff techniques, or anything. Attack and defend freely. Consider the brush (fude; 筆) to be the hand of
fortune (fude; 富手).

There is the godan promotion test in the Bujinkan. Those subject to the test must close their
eyes, a shinai is then swung down at them from behind and they must perceive the attack and avoid it.
When considering this test, think of the Ukiyoe20 master of the early Edo period, Hishikawa Moronobu21
created a print called “A Beauty looking over her shoulder.”22 A photographer who would shoot photos
of horses had something similar to say. When you take a picture of a horse, and point the camera at the
horse, it has been my personal observation, that they sense the camera, and does not pose in a natural
way. So the photographer would face away, relying on his intuition, and look over his shoulder to take a
picture of the horse in a natural posture. Thus, he was able to take a picture of the horse in its
wonderfully natural appearance.

Now Fumetsu no Fuse23, Shindō no Jikai24, Shizen no Ninniku25, Shizen no Chōetsu26, Kōmyō no
Satori – these are the five treasures of kokorogamae28 as are written in the “Tatara Hibun” with which
27

it is not possible to reach enlightenment without. As I was told by Matsusuke Shirane Sensei for whom I
have great respect for, “Giving is receiving” is the key to the beginnings to the hiden. There was a time
when the cold war engulfed the entire world. Now Global warming is polarizing the world’s climate,
accentuating the cold and hot, there is repeated political change occurring, Nature is warning us.

17
Tanren 鍛錬 “To temper like a forge”. Here Masaaki Hatsumi has used this term because it is also the term used
in reference to the conditioning exercises found in Togakure-ryū ninpō, which includes hardening the body using
trees, stones and climbing methods.
18
Holy Priest Kūkai 空海上人 774-835
19
Keiko 稽古” The other word included in Shugyō and crucial to every person who practice Koryū, is the word
Keiko (稽古). Here again these two Kanji do not express the action of practice. Many scrolls use this word, but the
one that uses it in a wide meaning is the scroll from Kitō-ryū jūjutsu. These two kanji can be read as « inishie wo
kangaeru », which can be translated as « thinking about the past », « reflecting about/on the past », « meditating
on the past, in history », « Pondering about the history, the past ». In other words, this means that the disciple
must, think, search and research how the masters and founders of the past used to practice – use their body, for
which different reasons, aspects, concealed and hidden factors – behind each technique, movement and kanji of
the scroll.” (Zoughari)
20
Ukiyoe 浮世絵 “Color print of everyday life in Edo period”. And emphasis that it is in color here.
21
Hishikawa Moronobu 菱川 師宣 1618-1694
22
Mikaeri Bijin 見返美人 “Beautiful Woman Looking Back” can be seen here:
http://en.wikipedia.org/wiki/File:Beauty_looking_back.jpg
23
Fumetsu no Fuse 不滅の布施 “Offerings without being depleted”
24
Shindō no Jikai 真道の持戒 “The true way of Buddha’s precepts”
25
Shizen no Ninniku 自然の忍辱 “Natural Forbearance”
26
Shizen no Chōetsu 自然の超越 “Natural Transcendence”
27
Komyō no Satori 光明の悟 “Comprehending Brilliance”
28
These also appear in Buddhism and are called Gojō (Treasures of Enlightenment; 悟宝)

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Luke Crocker Togakure-ryū CMARA

Taijutsu to Ninja (Body Mechanics and the Ninja; 体術と忍者)

この第５章では、 戸隠流忍法体術について、 伝書のままに筆記しているが、 と くに忍法体術
まん
については、極まりなき超越した体術であると申し上げておこう。一忍法体術の教えが、万の
忍法体術と化して超越されたものを指すものである。 故に、 忍術を集大成したとされる 「万
とく
川集海」 という忍びの書が残されているのであろう。 本書を 「万戦醜解」 と読み毒のも一興
である。

万化忍法体術は、 基本八法を悟り、 それが万化奇本八法に通じるものと見てもよいだ

ろう。 もちろん骨子術も骨法術も、 忍法体術と武心和を以て貴しとなして、 忍法体術の神技
と化するものがある。

忍術者にして体術が不得手な者は一人もないはずだが、 体術の練習はその流義に於て大
変な相違がある。戸隠流体術は敵の前に立ちて我が手畳をたたくが、 右手が敵の体に触れたる
反動で両足が敵の胸を蹴り上げ、 一転廻して後ろに立つ。 これより始まり、 足が顎を蹴る。
同じく一転廻して後ろに立つ。 最後に手をどこにもふれず、 気合だけで胸でも顎でも蹴り、
一転廻して後ろに立つ。 だんだん練習と共に、 両手に道具をつけて気合もろとも道場の張の上
でも平気で飛び上られるまで練習する。

In this 5th chapter, concerning Togakure-ryū ninpō taijutsu, this content will be written just as it
is in the manuscripts, in pertaining to ninpō taijutsu, I feel that it has transcended the extreme limits of
taijutsu. The doctrine of one principle of endurance29 in taijutsu, changes to ten-thousand principles of
endurance in taijutsu and this points the way to transcendence. Therefore, it seems that this is why the
great shinobi book compilation the “Bansenshukai” (Ten-Thousand Rivers Meet in the Sea) remains. It is
also amusing to perceive the poison of this book as “Bansenshukai” (Ten-Thousand Battles make for an
Ugly Conclusion).

For Banka Ninpō Taijutsu30, the enlightenment of Kihon Happō31 is to be viewed and understood
as Banka Kihon Happō.32 And of course Kosshijutsu, Koppōjutsu, and Ninpō Taijutsu as well as
establishing Bushinwa,33 This is the Divine Skills of Ninpō Taijutsu.

Not a single practitioner of ninjutsu should be unskilled in taijutsu, however there is great
variation in the practice of taijutsu between the different ryūgi. In Togakure-ryū taijutsu the enemy
stands in front while my hands make contact with the tatami, my right hand makes contact with the
enemy’s body and I than kick up into the enemy’s chest with both feet kicking up, with a single rotation
back come to a standing position. From here begins a kick into the chin. In the same way roll back and
come to a standing position. To conclude make contact without touching with the hands, kick the chest

29
Here Ninpō 忍法 is translated as “Principles of Endurance” because in Buddhism, the kanji 法 is used to refer to
the underlying principles of the universe, sometimes even “doctrine” is used, while “method” is a borrowed, or
even literary derivative of this character.
30
Banka Ninpō Taijutsu 万化忍法体術 “The many variations of the principles of valor applied to bio-mechanics.”
31
Kihon Happō 基本八法 “Eight principles applied to the fundamentals.”
32
Banka Kihon Happō 万化奇本八法 “The unconventional basis of the Eight Principles in Variation.”
33
Bushinwa 武心和 “Harmony in the Martial Mind”

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Luke Crocker Togakure-ryū CMARA

or jaw with a kiai, roll back and stand. Gradually practice, with tools in both hands and kiai all together
with a firm composure you will aspire and expand to the ceiling of the dōjō.

Kamae (Attitude; 構)
Ichi no Kamae (Attitude of a straight Line; 一之構)34
Hira Ichimonji no Kamae (Attitude of a Flat Straight Line; 平一文字之構)35
Hachimonji no Kamae (Attitude of the Figure Eight; 八文字之構)36
Happōgakure no Kamae (Attitude of Concealment in Eight Directions; 八方隠之構)37
Tonsō no Kamae (Attitude of Escaping; 遁走之構)38

Taijutsu Ukemi Gata (Forms of Receiving with Body Mechanics; 体術受

身型)39
Kaeshi Dori (Bird Reversal; 返し鳥)
相手方が一刀で大上段に斬り込み来る。忽ち俯けに倒れる。その反動で両足で敵の水月を蹴り
上げて再び元に返り、立入。残心。

The opponent comes in with an ittō to cut from Daijōdan. Suddenly drop to a prone position.
Turnover and kick up into the enemy’s suigetsu with both feet and use that movement to return
to a standing position. Zanshin.

Ken Nagare (Flowing Fist; 拳流)

相手方が大刀を大上段にて斬り込み来る。忽ち俯けに倒れる型にて、右拳で水月に当て込み、
逆こを向けて倒れる型にて一転廻して立つ。残心。

The opponent comes in with a daitō to cut in from Daijōdan. Suddenly drop into a form of prone
position, strike into suigetsu with the right fist, stand by using a form where you drop and rotate
once in reverse. Zanshin.

34
Ichi no kamae is described in the kata “Ichi no kamae” in Taijutsu Ukemi Gata.
35
Hira Ichimonji no kamae is the same as Kotō-ryū, Takagi Yōshin-ryū, Kukishinden-ryū, and Shinden Fudō-ryū.
36
Hachimonji no kamae appears like Doko no kamae found in Kumogakure-ryū, or the henka of Hachiku no kamae
of Gikan-ryū. However the rear, upraised arm has the hand open.
37
Happō Gakure no kamae is the same as Hokō no kamae from Kotō-ryū or Shiten no kamae of Gikan-ryū.
38
Tonsō no kamae has the leg position of Ichi no kamae, the body is profile, and the hands are ready to manipulate
concealed weapons. “Tonsō is a stance indicating an intention to flee backwards, with the right leg to the front and
the body turned to the left, although “backwards” can also be written with the kanji implying a “crossover way.””
(Hatsumi, The Way of the Ninja 170)
39
“The important thing in these taijutsu forms is that you remain free to attack or defend (Kōbōjizai; 攻防自在)
within the ukemi. This awareness of ukemi is quite different of that found in jūdō or aikidō: you can only learn the
ukemi gata of shinobi, survival-based taijutsu once you know the ukemi of the natural world.” (Hatsumi, The Way
of the Ninja 76)

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Luke Crocker Togakure-ryū CMARA

Ichi no Kamae (Attitude of the straight line; 一之構)40

この構えは平の構えとして左手拳。前方に右手刀が我が左肩の処に両足割っての構。即ち敵を
して寄せ付けなぃ構にて、敵の打込みに変化す。

This kamae is from hira no kamae41 but with a left handed fist. This kamae has both legs spread
and the right shutō forward at the left shoulder. In this kamae when the enemy gets closer,
change and strike into the enemy.

Ittō Dori (Single Sword Capture; 一刀捕)42

これは相手方が大刀、大上段。我は一之構を左右反対とす。敵が斬り込み来る。即ち左手掌で
受け、右手が忽ち敵の顔面に飛ぶ。

Here the opponent has a daitō, in daijōdan. I am in Ichi no kamae with left and right [hands]
spread. The enemy comes to cut in. Receive with the left palm, the right hand immediately flies
up into the enemy’s face.

Yoko Geri (Kicking to the side; 横蹴)

敵の太刀は青眼の構にて、吾は平ー文字に構え、敵は突き入りに変化し来る。左に体を落し、
右足にて敵の剣を持つ小手を蹴り上げて、右手で水月に当て込み。

The enemy is in seigan no kamae with a daitō, I am in hira Ichimonji no kamae, the enemy
changes to come in with a tsuki. Drop the body to the left, kick up with the right foot into the
forearm that has the sword, the right strikes into suigetsu.

Ittō Giri (Single Sword Cut; 一刀斬)

敵は大刀を大上段に構え、吾は一刀を青眼之構え。敵が斬り込み来る体を落し、左にかわし、
吾は一刀を左下より敵の右胴逆上に斬り返す。

The enemy is in Daijōdan with a daitō, I am in seigan no kamae with the ittō. As the enemy
comes in drop the body, evade to the left, with the ittō from the lower left cut up in reverse to
the enemy’s right torso.

40
“Ichi no kamae (“the stance of one”) includes a stance of minus one, a stance of plus one, a stance of zero, and
so on. This is connected with Juppō Sesshō no Jutsu.” (Hatsumi, The Way of the Ninja 82)
41
Hira no kamae 平の構え “Neutral Attitude” as found in Gyokko-ryū kosshijutsu.
42
Ittō-Tori – Hichō no kamae (一刀鳳―飛鳥の構え): Hichō no kamae emerges from Ittō-tori: a phoenix flies up
from under the blade.” (Hatsumi, The Way of the Ninja 84)

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Luke Crocker Togakure-ryū CMARA

Shinobi Gaeshi Gata (Covert Reversal Forms; 忍返型)43

Chōgaeshi (Prone Reversal; 重返)
屋敷の塀の所に先方より敵が来る。我は両手を塀に掛け、左手肘を掛けると、右手を引く反動
にて身軽く塀の上に横身となる。

The enemy approaches from the front while near the wall or fence of an estate. Hook the wall
with both hands, the left elbow also hooks, use the reaction of pulling with the right hand to
nimbly raise into a prone position.

Chō Dori (Prone Capture; 重捕)

前と同じく横身となって、 敵が塀の下に差し掛かるや、忽ち元のごとく身軽く転じて、両足で
敵面を蹴り付け、一転廻して塀の中に飛び入る。

Become horizontal as before, the enemy approaches the fence from below, suddenly and
nimbly turn the body, with both feet kick into the enemy’s face, turn and roll into the inside of
the wall.

Sora Tobi (Sky Leaping; 空飛)

太い一の枝に飛び付いて枝の上にはね上る反動を利用して、 左手で二の枝に飛び上り、大木の
まに足がかかるのと同時に、右手鉄盤投げのこと。

Leap onto a large branch of a tree and use the recoil to leap up to another large branch, the left
hand flies up to a second branch, the feet reach the large tree simultaneously, the right hand
deals with throwing teppan.

Yoko Nagari (Flowing to the Side; 横流)

相手方は大刀を前より大上段。 後ろより槍中段、まさに殺気の満ちたる時に気合もろとも右手
に石を投投げ、左に横身に倒れる。

The opponent in front has a daitō in Daijōdan. There is a yari in Chūdan behind, just as the sakki
reaches its peak kiai and throw a stone44 with the right hand, and drop the body sideways to the
left.45

43
“Shinobi counters are used when ninja perform shinobi techniques, when their techniques are discovered, or
when they deliberately reveal their techniques as a ploy. When a ninja is in hiding – hiding his body, his art, and his
heart – close encounters with the unknown may cause a flash of shinobi inspiration to be transformed into a
shinobi counter-technique. One can savor a strange sense of the cycle of rebirth in this process.” (Hatsumi, The
Way of the Ninja 141)
44
“I launch a full kiai at him, together with metsubushi from my right hand (this is a shadow kiai, executed when
you feel one with nature).” (Hatsumi, The Way of the Ninja 144)
45
Placing my weight on my right leg, I turn and fall. (Anyone can do this noisily; the secret is to train so that you
can do it silently.) (Hatsumi, The Way of the Ninja 144)

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Luke Crocker Togakure-ryū CMARA

Ushiro Nagare (Flowing to the Rear; 後流)

前三方より敵が大刀と槍にて来る。小石一個(ほたは玉子の眼つぶし)を前方に投げ、 忽ち後方
に音がしないように倒れ流れ、逃れる。

The enemy comes in from three sides with daitō and yari. Throw fragments of small pebbles (or
metsubushi46 inside eggs) to the front, immediately drop and flow backward without sound, to
escape.

Hiden Gata (Forms of Secret Transmission; 秘伝型)

Chū Gaeshi (Middle Reversal; 中返)
敵が後方に来る時、音を出さず前方に中返り。初めは手をつけてよけれども、手をつけずに中
返りは断然出来得ること。

When the enemy approaches from the rear, perform chūgaeri forward without making any
sound. Initially the hands can be used however, but this must be done without the use of the
hands.

Yoko Gaeshi (Side Reversal; 横返)

前と同じく横に返ること。

Same as before but with a roll to the side.

Tobi Chigai (To Leap away; 飛違)

中返りして手鉤にて大木に飛び上ること。

Perform chūgaeri and then with shukō47 leap into a large tree.

Ittō Nage (Single-sword throw; 一刀投)

九死に一生という立場の時、一刀を左側より真っ直ぐ前方の敵に投げ付ける。

In a time of facing certain death, throw the ittō from the left side straight into the enemy.

46
Metsubushi 眼つぶし “Damaging the eyes.”
47
Shukō 手鉤 also pronounced “tekagi”, refers to having hooks on the hands.

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Luke Crocker Togakure-ryū CMARA

Senban Nage (Iron Plate Throwing; 銑盤投)

活盤投げ。これは左手上に鉄盤九枚をのせ、右手にて一枚一枚捕つて、前方に左脇より前方に
横投げ。右手首と前方の敵とを位捕りして、我が手首に投げる心持ちをして投げるこし。初め
は名札に投げる練習をすべし。

ー刀投も呼吸は同じである。

Senban nage.48 For this nine teppan are placed on the left hand, grasp one at a time with the
right hand, from the left side throw it forward with yoko nage. Line up the right wrist with the
enemy in front, throw with the feeling of flicking from the wrist. In the beginning practice
throwing business cards.

The berating is the same as in ittō nage.

Kiri Gaeshi (Reverse Cut; 切返)

一刀を相対等に互いに位捕りした時、必ず中青眼に構え、敵の斬り込む気合いに合致せしめ、
突き出て小手を返し、胴に斬り返す秘刀なり。

If both sides are in equal positions with ittō, you should always be in the attitude of naka
seigan,49 when the enemy cuts in with a kiai do the same, turn over the wrist and thrust out, the
secret sword is to reverse the cut into the body.

Sutemi (Self-sacrifice; 捨身)

敵大勢なる時、捨身の外なけれども、その主将に真一文字に突きに出るごとくする虚実は、そ
の大勢の中の弱者に斬り込み、囲みを破つて再び同じ方法にて捨身より逃がるる方をとるベ
し。

When you are met by a crowd of enemies, although you may renounce the world,50 with
kyojitsu thrust out in a straight line at the captain, actually cut the weak people in the crowd, in
this way tear through their form and escape with sutemi.51

48
Senban 活盤 “living plate”
49
Naka seigan 中青眼 “Middle Blue Eyes”
50
Shashin 捨身 Renouncing the flesh of the world; becoming a priest; risking one’s life for others (Buddhist term).
(Noun) At the risk of one’s life. Also known as “Sutemi”.
51
“Sutemi also contains a sense of moving as though empty handed, even while holding a sword.” (Hatsumi, The
Way of the Ninja 152)

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 Luke Crocker Togakure-ryū CMARA

Works Cited
Hatsumi, Masaaki. Budō Taijutsu (武道体術). Trans. Luke Crocker. Tokyo: Kodansha International Ltd.,
2008.

—. The Way of the Ninja. 1st edition. Tokyo: Kodasha Internatonal, 2004. Book.

Zoughari, Kacem. New interview with Dr. Kacem Zoughari on koryû, ninjutsu and practice Martial Arts
Magazine. 6 February 2012. http://sanbyoshi.wordpress.com/2012/02/06/12/.

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