Black Dragon Ninjitsu

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’

Table of Contents

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

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

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 30 Push-ups Sprint 50 yards

50 Sit-ups/Stomach Crunches Sprint 50 yards

25 Side-Crunches each side Sprint 50 yards

Maximum Set of Push-ups Sprint 50 yards or Sprint 30 yards 20 Push-ups Sprint 30 yards 20 Sit-ups/Stomach Crunches Sprint 30 yards

15 Side-Crunches each side Sprint 30 yards

Maximum Set of Push-ups Sprint 30 yards

Maximum set of Sit-ups/Crunches Sprint 30 yards 30 Push-ups Sprint 30 yards 50 Sit-ups/Stomach Crunches 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 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 4}th _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

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

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

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

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

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.