TRAITS OF THE NINJA

Three traits make up a Ninja. The most important one, honesty, is not only
required in Ninpo, but also applies to everything. A person with strength, skill and
intelligence will lose everything if he is dishonest. Honesty, purity and righteousness
are the path to enlightenment. When one walks an honest road, things learned
penetrate the body and heart like water entering sand. Then a person can judge
what is right and wrong with the heart as a mirror.
Ninja sometimes use a dishonest road, but only as an instrument. Diversionary
tactics (Kyojitsu Tenkan) are a temporary means and as such are not important. But
the dark way is not the true way. The true Ninja has the ability to use both honesty
and deception to arrive at an honest goal. Deception is not an end, only a means.
The second trait involves taking an interest in everything. This produces common
sense, general knowledge, and finally enables critical judgment. The Ninja's
essential techniques (Sanjurokkei) require this special insight or cultured spirit
(Seishinteki Kyoyo) because without this, in addition to having bad manners, an
agent can easily fall into enemy traps. The gate of martial art (Bumon), the gate of
spirit (Shumon), the gate of heaven (Tenmon) and the gate of earth (Chimon) must
be deeply understood. Knowledge of culture equates intelligence, but it is not enough
to be only an intellectual. It is important to be able to use cultural knowledge in
practical ways. Develop intellect with an honest heart, and unlimited wisdom (Chi-e)
results, leading to spiritual refinement.
The third trait involves effort. To be a Ninja, a person must have a level of
endurance that cannot be broken even in the most impossible of circumstances. To
achieve this trait a practitioner must train both the body and the mind to the point
of regurgitation. It is impossible to explain the way I trained to obtain my patience.
However, with this trait the most difficult or impossible barriers can be overcome.
Talent is not required for there is no relationship between talent and effort. Effort
alone can defeat even a genius. Lack of talent should not bring despair instead there
should be a commitment to try harder.
To be a true Ninja, develop these three traits to the best of your ability. Dojo
principles should always stress the development of these traits. Consider what these
time honored Dojo principles that go back to before the time of Takamatsu Sensei
emphasized.
1. One must learn patience within the time it takes a cigarette to burn.
2. One must learn that the way of man is righteousness.
3. Forget desire; forget easiness; forget stubbornness.
4. Think of sadness and grudges as destiny. One must comprehend the immovable
heart (Fudoshin).
5. Do not distance one's loyalty from one's parents and rulers. Try deeply to master
culture and martial arts.
"What are the martial arts? If you understand the answer, that is the correct way.
This is the most mysterious point which one gains without learning."
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JUKKYU /10th Kyu

(REI-HO)
(RITSU-REI)
(Shizen-Rei)
(Tenryaku Uchu Gassho-Rei)
(Futen Goshin Gassho-Rei)
(Hanno Bon-itsu Gassho-Rei)
(ZA-REI)
(Seiza-Rei) (Fudoza-Rei) (Jinchu-Rei)
(SHINZEN-REI)

(Ninja Seishin)

(Chihayafuru Kamino Oshiewa TokoshieniShikin Haramitsu Daikomyo)

(SHI-REI)

(Onegai Shimasu. Arigato Gozaimashita. Hai, Sensei etc)

(DOJO-REI)

(When entering the Dojo: Ohayo Gozaimasu / Kon-nichiwa / Konbanwa etc)

(When leaving the Dojo: Shitsurei Shimasu / Sayonara / Oyasumi Nasai etc)
(Junbi Undo & Seiri Undo; Pre- & post-lesson warm ups)
(Zenshin massage; Pre-lesson body massage)
(Junan Undo; Flexibility & breathing exercises)

(I. Rotate the toes, press the arch, rotate the ankle, flex whole foot. II. Flex the
things. III. Flex the back. IV. Forward leg stretch. V. Stretch legs over the head. VI.
Cobra stretch and shoulder stretch in Seiza. VII. Recline backwards in Seiza. VIII.
Rotate fingers, wrists, shoulders, neck, and eyes. IX. Stretch legs, knees, waist, and
elbows. X. Stretch and rotate arms and legs. )
(UKEMI GATA TAIHEN JUTSU 1)
(ZENPO KAITEN) (KOHO KAITEN)
(SOKUHO KAITEN) (TACHI NAGARE)
(YOKO NAGARE)
(JUN NAGARE)
(GYAKU NAGARE)
(ZENPO UKEMI)
(OHTEN) (YOKO KUTEN)
(ZENPO TENCHI TOBI)
(KOHO TENKAI) (HAPPO TENCHI TOBI)
(TOBIKOMI, TOBIORI, SHOTEN)
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JUKKYU / 10th Kyu TECHNIQUES

1. REI HO
I) Ritsu Rei
a. Shizen Rei
Simply stand straight and relaxed,
with heels apart and body weight
evenly distributed. Place the hands
on the laps, and bend at the waist
to an angle of about 30%, keeping
the back straight.
b. Tenryaku Uchu Gassho Rei
From the little finger to the
thumbs, the title of each finger is as
follows: Chi (Earth), Sui (Water), Ka
(Fire), Fu (Wind) and Ku (Air or Sky).
Clasp the hands about a fists width
in front of the chest and bow as above.
c. Futen Goshin Gassho Rei
To clasp the hands in Futen Goshin
Gassho, open the hands with the palms
facing up and join the Fu and Ku fingers
together, thus forming a circle. Then
interlock one with the other and join
the rest of the fingers together, pointing
them upwards.
To bow, do as Tenryaku Uchu Gassho.
d. Hanno Bon-itsu Gassho Rei
To clasp the hands in Hanno Bonitsu Gassho, do as with Futen Goshin Gassho, but with the Sui and Ku fingers
joined together. Bow as in Tenryaku
Uchu Gassho.

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IIZa Rei
a. Seiza Rei
Ones spirit as well as ones body should maintain its Kamae, or posture, at all
times, including when one is sitting.
Stand up straight and step back with the left foot; kneel on the left knee with
the ball of the foot firmly on the ground.

Then kneel on the right knee in the same way and settle the body weight
back onto the heels.

After a short pause, raise the body slightly off the heels and place the whole
instep on the ground, finally setting onto the heels once more. The toes of
both feet must always be side by side, with the hands remaining upon the
laps. This posture is known as Sei Za.
To bow, place the left hand on the floor in front of its corresponding knee,
followed by the right hand, having the fingers pointing to an apex.

Bend at the waist and elbows until the back is at about 45and pause,

After the pause, retrieve the left hand first, placing it on the lap and then
retrieve the right hand.

This brings one back to Sei Za.

To stand, do the whole sitting process in reverse order.

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b. Fudo Za Rei
Another name for Fudo Za is Karafu. Used by the Chinese for centuries (calling
it Kara), it was later adopted by the Samurai when on castle grounds or battlefields.
Since the Samurai wore a hakama (a pair of very wide flared trousers which seem at
first appearance to be a pleated skirt) and a short sword when inside a castle, this
posture made it difficult for an enemy to see what type of posture was being used,
because the hakama concealed the Samurais legs.
From this posture, it is easy to stand suddenly, using the sword when attacked.
On the battlefield, this posture was also appropriate because trying to stand up
from any other position while wearing armour would have been extremely difficult.
Again, stand up straight and step back, kneeling with the left leg and having
the ball of the foot firmly on the ground.

Then settle the left foot on the floor and sit on the ankle and heel.

Finally, bend the right knee so as to place the sole of the right foot on the left
knee. At all times the hands remain on the laps either with the fingers held
together or holding fists (Boshi Ken).
To bow, place the left fist on the floor in front of the left knee and then the
right fist.

Bend at the waist and elbows until the back is at about 45and pause.
To stand, do the whole sitting process in reverse order.

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c. Jinchu Rei
Jinchu Rei is only used for a real
fight whether it is on the battlefield
or in a Dojo, so one must look into
the enemys eyes at all times.
From a standing posture, kneel
with the left knee, keeping the ball
of the foot firmly on the ground and
having both hands on the laps. To bow,
place the left hand, converting it into
a fist (Boshi Ken) on the ground and
bend the left arm a little as well as at
the waist. Then stand.

III) Shinzen Rei (Kotodama)

At the beginning of the class, all students shall sit in Sei Za and enter meditation.
At one point during the meditation, the teacher shall recite the Ninja Seishin poem,
allowing everyone to repeat it. After the recital, the teacher shall face the Kamidana
(Dojo Shrine) and place the hands together for the Kotodama (spiritual prayer),
pausing so that the students follow suit. The teacher then begins by saying,
Chihayafuru Kami no Oseiwa Tokoshieni Tadashiki Kokoro Mio Mamoruran. Shikin
Haramitsu Dai Komyo, after which the students repeat the latter verse, followed by
two claps, a bow, then one clap and one more bow.
IV) Shi Rei
After the Shinzen Rei, the highest-ranking pupil shall order, Shisei-O Tadashite,
Sensei-ni Rei! (Present yourselves, to the teacher. Bow!) The same shall be done at
the end of the class, except the pupils shall say, Arigato Gozaimashita! (Thank you
very much!) instead of Onegai Shimasu.
) Dojo Rei
As a form of courtesy to the other students and teachers in the Dojo, when
entering or leaving the Dojo, do the Shizen Rei and say one of the following:
Entering: i. Ohayo Gozaimasu (Good morning), . Konnichiwa (Good afternoon), iii.
Konbanwa (Good evening). Departing: . Shitsurei Shimasu (Excuse me), .
Sayonara (Good-bye), . Oyasumi Nasai (Good night). whichever is most
appropriate.

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2. JUNBI UNDO
) Keikomae Zenshin Massage
Either sits or lies with the legs straight and pats the muscles and tendons of the
body using either the palms or fists. Do this moving towards the feet and not
towards the shoulders. This massage awakens the muscles before warming up.

II) Junan Undo

Before starting the Junan Undo, begin first with Kokyu-ho (breathing exercises).
Sit in Sei Za and inhale, expanding the chest to its limit by leaning backwards, and
hold the breath, straightening the body and pushing the diaphragm down. To exhale,
lean forward slowly, together with the exhale. Repeat the process 4 or 5 times. This
is also to be done with most of the warming up excercises that involve bending the
body either forwards or back.
a. Ashi Yubi, Ashi Kubi No Undo
Sitting with the legs crossed, do the following to each foot:
Manually turn the toes either individually or in pairs 20 or 30 times both
clockwise and anti-clockwise.
Turn the sole of the foot upwards and raise the foots arch by pushing the thumbs
into it 10 times.
Hold the ankle with one hand and the foot with the other and manually turn the
ankle 10 times both clockwise and anti-clockwise.
Lastly, hold the foot by the toes and bend them forwards and backwards 4 or 5
times.
b. Ashi Soko Awase Zenkutsu
Sit up straight with the soles of the feet together in the hands, placing the knees
on the floor with the muscles. Repeat 8 to 10 times.
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c. Ashi Hiroge Zenkutsu

Sit with the back straight, the legs directly ahead and open the legs as far as
possible, with the toes curled back and without bending the knees, and lay the trunk
of the body forward to the floor. Repeat 8 to 10 times.
d. Ashi Narabe Zenkutsu
Sit with the back straight and the legs directly ahead. Without bending the
knees, touch the toes with the hands. Repeat 8 to 10 times.
e. Ashi Age Kokutsu
Lie on the floor face up with the body straight and palms down, lift the legs up
and over the head, placing the feet on the floor, breathe slowly 3 or 4 times and
return the feet to the ground in the same way. Repeat 3 or 4 times.
f. Sesuji Nobashi
Lie face down with the body straight and lift the body, supporting it with both
arms, allowing the waist to bend backwards and tilt the head back. Then rock the
whole body backwards onto its lower legs (as if sitting in Sei Za), but without moving
the hands from their position. Do this 4 or 5 time.
g. Kokutsu
Sit as in Sei Za but with the feet slightly apart and sit directly on the floor. Then
lay down, face up, with both arms above the head. Do 4 or 5 times.
h. Shushi Kata Mawashi
Sit in Sei Za and do the following: i) manually turn the fingers in circles one by
one 3 or 4 times clockwise and anti-clockwise, pulling them once or twice; ii) Clasp
the hands together and turn them in a figure-of-eight () in both directions 10 times;
) Roll the shoulders back and forth 4 or 5 times; ) Rock the head back and forth;
from left to right; roll it clockwise and anti-clockwise doing each 4 or 5 times; )
Keep the head facing forward and, with the eyes only, look up, down, left, right and
diagonally to the sides (up and down). Then roll them around clockwise and
anti-clockwise.
i. Hiza Koshi No Kusshin
While standing, stretch the Achilles Tendon (10 times); bend the knees and
waist as well as rolling them (5 times); roll the arms forwards and backwards (5
times).
j. Teashi No Furi Mawashi
While standing, swing the legs and arms in front and behind 10 times.
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3. UKEMI GATA TAIHENJUTSU ()

I) Zenpo Kaiten (both hands, one hand, and no hands)
For a two handed roll, tuck the chin to the chest curling the body (). For
one handed () or when with both hands (), one may roll over one shoulder. After a
time, one should be able to roll on concrete or gravel.

II) Koho Kaiten (without hands)

From a standing posture, take one step back and sit on the floor, keeping the
other leg straight. To roll, place the head on the side (same side as the extended leg)
and roll over the opposite shoulder.

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III) Sokuho Kaiten (Both hands, one hand, and no hands)

From standing posture, step to the side with one leg and place ones hands next
to it (on the inside) with the hands forming a T-shape. Then unbalance the body
to the same side and roll.
For the one handed Sokuho Kaiten, place the edge of one hand on the floor and
roll over the hands, arm and shoulder.
Without hands, allow the hand to slip by without touching the floor and roll over
the shoulder.
One note of caution is that one should be careful not to roll over the head or the
bones on the back of the hip.

IV) Tachi Nagare

Take a step forward with one leg
and then, extending the other leg forward,
sit back and roll over one shoulder
in the same way as Koho Kaiten.

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