The Art of Ninjutsu,Shinobi,Ninpo

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NINJA,ninja shadow,ninjutsu,The art of Ninjutsu,Shinobi,Ninpo

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The art of Ninjutsu

NINJA :

Ninjutsu epitomizes the fullest concept of self-protection of not only the

physical body, but the mind and spirit as well. The way of the ninja is the

way of enduring, surviving, and prevailing over all that would destroy one.

More than merely delivering strikes and slashes, and deeper in significancethan the simple out-witting of an enemy; ninjutsu is the way of attaining

that which we need while making the world a better place. The skill of the

ninja is the art of winning. In the beginning study of any combative martial
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endlessly seek knowledge to ever improve his or her path to enlightenment.

Above all, a warrior must know that knowledge can only be attained from the

obvious truth, by observation, and wisdom. It cannot be attained, gained, nor

accepted from magic, superstitions, ghosts, spiritual messages, psychics, faith

healers, conjurers, or mysticism.

This is the important key to the principle of Bushido (500 BC), without this awarrior may fall into disillusion.

By opening his eyes and his mind, the ninja can responsively follow the

subtle seasons and reasons of heaven, changing just as change is necessary,

adapting always, so that in the end there is no such thing as surprise for the

ninja.

What makes a Ninja special ?

What makes a Ninja formidable is that they have to learn

"Taijutsu" (hand to hand combat) which incorporates "Bugei Juhappan" (18 Samurai


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Ninja History :

"Ninja"were professional spies during the age of the samurai. Their origins go back to the twelfth

century, when the samurai class began to gain power. When the scale of fighting increased in the

fourteenth century, it became necessary to conduct espionage activities against enemy forces, and ninja

became even more active.

Ninja were called upon by their feudal lords to gather information, plunder the enemy's food and

weapon supplies, and lead the way in nighttime attacks. They received specialized training and were

given special duties. Ninja remained active until the beginning of the Edo period (1600-1868), when

social order was restored by the government in Edo (now Tokyo).

It was from the latter half of the eighteenth century that ninja became popular subjects of books and

dramas. In the twentieth century ninja have been depicted in films using special effects and comics as

imaginary characters with superhuman powers.

Myths & Mysticism :


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this reason alone that the true origins of the art were shrouded in deliberate mystery and

confusion.

Tactics :

The Ninja are revered for their seemingly mystical ability to enter any structure no matter how wellguarded, without being seen or heard. Although this skill is a reality, it cannot happen without a great

deal of pre-preparation. One does not simply decide to infiltrate on a whim. It requires an in-depth plan

based on the extensive information gathering of the Teisatsunin (reconnaissance Ninja). A well planned

infiltration operation would only be attempted when the enemy would offer the least resistance.

The Shikomunin (infiltrating Ninja) must learn that patience is the key. Even on a well planned

assignment the Ninja knows they may have to wait concealed for long periods of time before to

opportunity to infiltrate presents itself. When the concept of infiltration is brought up, the first thing that

comes to mind is a black-clad Ninja stealthily moving past an unsuspecting sentry and entering astructure using only the shadows for concealment. This is a totally simplistic view of a very complex

craft. Although stealth is the basis for the Shikomunin's arsenal of skills, there are a multitude of

specialized tactics that cannot be overlooked.

Once the Ninja has successfully entered , they move on to complete whatever task they were sent to

perform. Eavesdropping, assassination, poisoning food and water stores, planting false information,

stealing or any other such task.


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construction of the elusive Shinobi zue (Ninja sword cane) and Nagimaki (halberd). However, it is a common

myth that Ninja of old were limited to the use of the straight bladed sword. This is inaccurate. Historical evidence

dictates that the Ninja also wielded the curved blades (katana and wakizashi) that are most often associated with

the Samurai class.

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TAI-JUTSU

The ninja were very competent hand-to-hand fighters. They were trained from birth to fight

with their hands and feet. They knew where and how to hit to paralyse or even kill when

needed.

One reason that their style of fighting (Tai-jutsu) was so effective, was that they not only

studied punching and kicking, but they studied the human body as well. Learning all about

the weaknesses and strengths. For example, punching a man in the face can be painful, but it

might just piss him off, whereas a punch to the throat will be much more devastating.

Grappling was a strong part of the ninjas fighting technique. Along with bone-crunching

kicks and punches, the ninja were equally as strong fighting from the ground. When on the

ground grappling, it is not likely that a punch or kick could be used effectively, so techniques

such as arm bars and joint locks were used. The grappling was very similar to todays judo or

jui-jitsu.

A ninja studies the art of Taijutsu or "body movement". Taijutsu doesn't teach rigid andfixed methods like almost every other martial art does. Instead, it stresses fluidity, natural

movement and spontaneity. Also, the ninja learned to exploit the joints and pressure points

of an enemy. When a punch or kick was thrown, a ninja wouldn't simply block the attack, he

would strike a pressure point or nerve center to cause the limb to lose its function. Not only

did the ninja learn to disable a person, he also learned to quickly and effectively kill. It is

true that a ninja could kill with one blow by exploiting the weaknesses of the body. Another

important aspect of Taijutsu was learning to reverse any situation or attack. They were

trained from childhood to be extremely flexible and could therefore escape any hold or lock

they might be put in. They even played games as children where they were tied up and the

object of the game was to get yourself untied as quickly as possible; within a few years, aninja learned to get out of any type of binding.



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"Taijitsu is really a tool used to aid one in moving closer to enlightenment.To not even

engage the potential adversary is high level practice (to escape without fighting is a clean

mission). To lead a life so impeccable that adversaries don't even appear is the highest." -

Unknown

"To overcome one's self is a greater victory than defeating every opponent that you

encounter. When you overcome yourself, you will rise above all opposition into a place of

oneness with all things, wherein lies true power"

"The usefulness of the art is in it's activity. When empty, the art symbolizes the adaption of

an individual to any circumstance while maintaining their center and flowing with whatever

may be happening. When full, the art symbolizes the knowledge and wisdom that an

individual has applied in their life's journey."

"Warriorship begins in transformation and ends in transcendence."

NIN-PO :

Ninjutsu is best described as the collection of skills utilized by the Ninja while Ninpo, often referred to as "the higher order of Ninjutsu," implies a philosophy for living based on the principles of Nin.

Nin translates into patience, but can also imply perseverance, or stealth. The Japanese character for Nin consists of two parts or

radicals. The upper radical is called yaiba which refers to the cutting edge of a blade. The lower radical can be read either as kokoro or

shin, both of which mean heart.

The character po, which implies natural law, is used rather than do (i.e.. judo, kendo, aikido,etc). Referring to our art as Ninpo rather

than Ninjutsu stresses training which is concerned with the internal development of the individual's character along with the technical

skills of martial training. It isn't enough just to know techniques, it is where your heart and spirit are as a person that is important. For

this reason, Ninpo stresses philosophic and spiritual training in conjunction with the physical training. This refinement of one's spirit isknown in Japanese as seishinteki kyoyo.



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Ninpo is concerned with the defense of the whole self, and recognizes that defense against a life-threat is dealt with by the spirit as

much as with physical technique.

The Mysterious Art of Ninjutsu :

Ninjutsu is a Martial Art based upon the use of strategy, fighting tactics of mountian warrior monks and the philosophy of Buddhism,

all working together in accordance with the laws of nature.

The ninja were known throughout the centuries as dangerous men, like an early form of spy. Their Art came from the idea that as they

would never turn their back on any action for selfish reasons, they were able to withstand extremely difficult training and were

themselves capable of great sacrifice.

The origin of the Ninja is uncertain. It seems to go back as far as ancient China which had already developed the science of spying.

One of the greatest Chinese strategists in the field, named Sun Tzu, wrote a book of the same name: Sun-Tzu, a book about war

strategy and a sort of spy manual which seems to foreshadow the science of the Ninja.

In Japan itself, it was not until about 600 A.D. and especially at the end of the Heian period (1185) that the art of the Ninja or ninjutsu

evolved. At that time three Yamabushi came to power in Kyoto. Yamabushi means 'mountain warrior'. In Japan there were tens ofthousands of Yamabushi who, faithful to Shinto tradition, venerated the mountain and devouted at least 100 days a year to it in prayer

and asceticism. The Yamabushi masters developed parapsychological knowledge and techniques of resisting pain, the cold, fire, ect.

The Ninja are not Yamabushi, however they too were men of the mountain, not because they venerated it but because most of them

came from the steep remote mountains of the Iga and Koga regions. Cut off like wolves in these areas, they could more easily resist the

different governments which, from time to time, tried to destroy them. In the home of a famous Ninja from Iga, the bones of 80 corpses

have been found, thrown into an oubliette by a trap door just inside the main entrance.

It is probable that the Ninja themselves had a number of secrets common to the Yamabushi. These secrets mainly concerned the same

areas: parapsychological knowledge, resistance to pain, etc., essentially exploited by their concern for effiency. Written in the form of acode which was indecipherable to the unitiated, these secrets, which in modern times have been commited to the computers of the

Japanese spy service, have been revealed, only to be shrouded once more in great secrecy.

In this strange world in fact, the use of parapsychological techniques is the order of the day more than ever before. The Japanese notion

of michi (or do) expressing the force of energy or intrinsic power which exists in all things, is still relevant. To capture this force,

whatever its nature, offers the possibility of developing different powers, of using a great variety of hypnotic 'tricks', especially as the

boundary between real power and trickery was more often than not very imprecise as far as the Ninja, accomplished masters of

deception, were concerned.

A Ninja was neither an exceptional nor an ordinary man, rather a different sort of man, in so far as his long and very arduous training

began at an early age, in childhood. He thus learnt to disjoint the bones in his body in order to squeeze thhrough narrow railings, to



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climb trees like a cat, to resist cold, to hide under water by breathing through a reed, to make himself invisible or disappear behind a

smoke screen and to walk noiselessly on water. In a word, all his actions were aimed at finding the point of least resistance at all levels

and at using it to conquer and destroy his enemies.

A Ninja's training consisted of not The Ninja's weapons are numerous: the most well known being the shuriken, small iron devices of

many different shapes such as crosses, six or eight sided stars, triangles, pointed instruments, etc. Exceedingly sharp and with poisoned

points, these weapons could silently strike an enemy from a distance. The shuko or sort or iron gauntlet studded with sharp points on

the palm of the hand, enabled the Ninja to attack sentries, to climb trees or walls. Armed with these gauntlets and hooked sandels, the

Ninja could scale walls and penetrate the most heavily defended places.

The Ninja's favourite weapon was the Kyotetsu-Koge, a sort of dagger with two blades, one curved. It was joined to a metal ring with a

rope which could be wrapped around an enemy's arm or leg, and bring him down.

Legends tell on Ninja's disappearing in a cloud of smoke. One of their tricks in fact consisted of letting off a smoke bomb at an

opportune moment and so disappearing from the enemy's sight. They also knew how to walk very fast sideways, so that they could

skirt walls in the shade with their back to them in readiness for any attack.

The Ninja played an importent role in destroying the Daimyo who opposed the Tokugawa. Each side had its Ninja and it is probable

that the Ninja could generally change camp and master according to the fortunes of the battle. Whatever happened, they were bound toabsolute secrecy and would not talk no matter how much pain they were dealt. Once captured, Ninja's sometimes managed to disfigure

themselves to become unrecognizable, before commiting suicide.

The Ninja were divided into three groups: the Jonin, he who makes contact and offers his services, his assistant or chunin and the

genin, the actual agent who carries out the missions. The last was considered to be the lowest class of Japanese society. Once captured,

he was usually tortured and dismembered.

The general consensus of the Ninja in comparison to the Samurai was the the Ninja had no honour, but in fact their honour was equal

to that of the rival Samurai. The Ninja believe ego, pride and honour can mean the difference between life and death, failure and

success. If ego , pride or honour had to be sacrificed to achieve a desired goal then it was done without question.

The most significant code which has been the key to the Ninja's survival and success is Ninmujoku (Ninja has no shame). The ancient

Samurai traditions despised the Ninja for this very motto, because they were bound by chains of honouristic virtues. Ninmujoku is of

no use without the right frame of mind and intention. One cannot use this theory for one's own benefit, because it is not concerced with

the ideals of self gain but rather the benevolence of the organisation. Seishin - the right consciousness, kept the Ninja on the right path,

ensuring they would not become thieves, murderers or enemies of the people. Without Seishin the Ninja would not be able to justify

their actions and would be classified as nothing but cold blooded murderers.

A Ninja's training not only consisted of learning the art of Ninjutsu but also learning the fighting styles of the Samurai. The basis of

Ninjutsu can be divided into four catergoies:


NINJA i j h d i j Th f Ni j Shi bi Ni


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1. Fighting System

Taijutsu which incorporates: Bugei Juhappan (18 Samurai Arts) and Ninjutsu Juhakkei (18 Ninjutsu Arts).

Bugei Juhappan Nijutsu Juhakkei

Jiu-jutsu - Art of self defence

Ken-jutsu - Art of the wooden sword (Boken)

Iai-jutsu - Art of drawing

Kusarifundo-jutsu - Weighted chain technique

Kusarigama-jutsu - Sickle and chain technique

Bo-jutsu - Art of full lenght staff

So-jutsu - Spearmanship

Naginata-jutsu - Art of the halberd

Suiren-jutsu - Art of swimming

Ba-jutsu - HorsemanshipKisha-jutsu - Art of archery on horseback

Jo-jutsu - Art of the three foot staff

Kyu-jutsu - Archery

Yoroi kumiuchi-jutsu - Art of armour combat

Jutte-jutsu - Art of the jutte (Iron rode) including

Tessen-jutsu (Iron fan technique)

Hobaku-jutsu - Art of rope binding

Ho-jutsu - Art of firearms (rifle/gun/cannon technique)

Shuriken-jutsu - Art of throwing blades

Seishin shugyo - Art of spiritual refinement

Tai-jutsu - Art of unarmed combat


NINJA i j h d i j t Th t f Ni j t Shi bi Ni


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Hiken-jutsu - Secret art of the sword (Tanto, Kodachi,

Odachi, Ninjato, Choken & Nito)

So-jutsu - Spearmanship

Naginata-jutsu - Art of halberd

Nagamaki-jutsu - Art of battlefield halberd

Kusarigama-jutsu (Kyoketsu shoge) - Sickle and

chain technique

Rokushakubo-jutsu - Art of the six foot staff

Sanjakubo-jutsu, Jo-jutsu & Hanbo - Art of the halfand three quarter staff

Shuriken-jutsu - Art of throwing blades

Kisha-jutsu - Archery of horseback

Inton-jutsu - Art of special disappearing

Hoko-jutsu - Art of stalking

Henso-jutsu - Art of disguise

Kakushibuki - Art of secret weapon

Gunryaku Heiho - Strategies

Tenmon & Chimon - Strategy of Heaven and EarthNinyaku - Special medicine and drug technique

The Samurai had to know and perfect the Bugei Juhappan. The Ninja criteria was more severe, they had to be a skilled

practioner of Ninjutsu Juhakkei and Bugei Juhappan known as Ninjutsu Sanjurokkei (36 arts and techniques). The knowledge

of these arts and techniques only emphasized the Ninja's formidability.

2. Organisation

Skills associated with networking and information gathering.

3. Strategy

Encompassing espionage / assassination / spying4. Shugendo/Mikkyo

Attainment of supernatural powers and wisdom. The development of intuition (Jintsuriki).


NINJA ninjashadow ninjutsuThe artof Ninjutsu Shinobi Ninpo


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Skills :

Since the Ninja had to survive in nature, they became trained naturalists capable of distinguishing edible, medicinal and

poisonous plants, trapping, preparing and cooking animals, building shelter, finding water, and making fire.

A few methods of finding water were by studying the insects in an area. For example, if there was a high concentration of ants

or crickets, he knew there was water nearby. Another way of finding water was by recognizing the kinds of plants that livenear water. If the Ninja found any of those plants, he knew water was near.

Kuji-in : Kuji-in is a type of ninja training with its roots in Daoism. It is more of an energy kind of thing."The term [Shuji Shuriken] also refers to Esoteric practices, such as "cutting the nine ideographs" (namely, reciting nine majic words)

for protection. Originally Taoist, the practice of "cutting the nine ideographs" was taken up by yin-yang practioners, Esoteric

Buddhists, Japanese swordsmen, and ninja. Some swordsmen and ninja executed it at daybreak every day, and many did so before an

actual combat or mission.' Hiroaki Sato, trans., The Sword & The Mind, 81."

1. Rin. Invokes physical strength




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2. Kyo. Helps direct energy (Etheric

energy).

3. Toh. Invokes balance between Yin and

Yang

4. Sha. Helps with healing




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5. Kai. Invokes premonition ( when

someone is around you).

6. Jin. Lets you know the thoughts of others

7. Retsu. Invokes mastery of time and space




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8. Zai. Invokes control over others

9. Zen. Helps you to enlightenment

Kuji-in may be used in two different ways: alone or combined.Ways of using the Kuji :

Well, the first way is to use them individually when you need them. For example:

You are out in the wilderness chopping wood. You are a skinny person with no muscle mass, and the wood is too heavy to carry. You

make the Kuji for Physical strength with your hands, and summon Chi to the sign, while focusing on the element of the Kuji. You

easily carry the wood back to your cabin.

The next way is to meditate every day, and go through each hand sign while focusing on each purpose. At the end of this practice you

make a specialized hand sign (make it up) while focusing on shutting in all the energy from each element into you.

Now, when you get into a fight....right before it, use the Kuji you made up to bring out all the energy you stored. This will help youhttp://coolshack.com/martial_arts/ninja2.html (11 of 13)7/4/2005 1:44:40 AM

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greatly in a fight.

"Kuji -in" :

Is the spiritual and mental strength the ninja possessed in the form of hand signs. These hand signs were believed to be able to channel

energy. The hand signs were taken from the practices of the early Buddhists.

The Kuji-in was used to build confidence and strength in the ninja. It was also believed to enhance the senses of danger and foresee

death for the ninja.

In Kuji-in the thumb represents the source of power (Ku), and the fingers represent the four elemental manifestations. They are Chi

(earth - solids), Sui (water - liquids), Ka (fire - combustion) and Fu (wind - gases).

There are 81 hand symbols, total, but there are 9 primary ones: Rin, Hei, Toh, Sha, Kai, Jin, Retsu, Zai, and Zen. Each symbol invokes

different strengths and abilities in a trained ninja. Rin brings strength to the mind and body; Hei generates psychic power in order to

mask one's presence; Toh enables the ninja to reach a balance between the solid and liquid states of the body, which leads to a greater

harmony with the universe; Sha is used to heal oneself or another; Kai gives complete control over the body's functions, enabling one

to slow the heart rate, endure extreme heat and cold, etc. Jin increases the mind's telepathic powers, giving a highly trained Ninja the

ability to read the character of another; Retsu gives telekinetic powers, enabling a ninja to stun an opponent with a shout or touch. Zai

extends the harmony gained by merging with the universe. Zen brings enlightenment and understanding. These symbols take an entirelifetime to truly master.

Kuji Kiri :Kuji Kiri (energy channeling, hypnotic) Ninjitsu is a hybrid system of ninjitsu that also employs techniques and theory from Jiu-Jitsu

and Kenpo. The stealthy ways of the ninja (including sections on invisibility, smoke bombs, & vanishing) come to life in this system.

This system includes seven belt levels of training to the first level of Black Belt. These seven levels are demonstrated on a 5 tape

serious. This system includes seven belt levels of training to the first level of Black Belt. These seven levels are demonstrated on a 5

tape serious.

The system includes body movement of a Ninja. A section on blinding powders, weapons, and more. Kuji Kiri has influence from Jiu-

Jitsu and Kenpo as well. The course os instructed by Soke Joshua Carr who has studied the ways of the Ninja for several years. Soke

Carr holds Black Belts in Kenpo and Jiu-Jitsu, as well as his rank in Ninjitsu. Soke Carr has devised the Kuji Kiri Ninjitsu system to

help martial artist realize they should not limit themselves to one style, rather to study many styles so they may be true warriors, should

the need arise.

NINPO :

"NINPO is a hybrid system of ninjitsu that also employs techniques and theory from Jiu-Jitsu and Kenpo. The stealthy ways of the

ninja (including sections on invisibility, smoke bombs, & vanishing) come to life in this system.

Ninpo is more commonly known as ninjutsu, or the warrior arts of the ninja but the term Ninpo is used as it has a deeper significance.




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, j , j , j , , p

The black clad assassin disappearing in a cloud of smoke, which usually springs to mind when talking of Ninja has nothing to do with

the reality of learning true Ninpo Bugei. Ninpo is a traditional, non-competitive Japanese Martial Art whose history stretches back over

many centuries. It contains Striking skills, joint locks, throws, grappling, and several different weapons.

Genshirin Ninpo encompasses many different schools, each of which has a unique feeling and emphasis. The three pillars of the art

are called Taijutsu (Unarmed techniques), Bo-jutsu (wooden staff techniques), and Biken-jutsu (Sword techniques), but there are many

other disciplines which make up the complete Art. As a novice you will start by learning Taijutsu which is the backbone of Ninpo. The

emphasis is placed on defending yourself from an attack such as a punch, kick or grab. The techniques are taught in a Japanese fashion

as they have been for hundreds of years.

Why learn Ninpo?

Ninpo is not an easy Martial Art to learn. It takes about 4 years to get to Black Belt level under proper tuition. The training can be

physically and sometimes mentally demanding, however, it is not an elitist pursuit. It is well within the capability of any well balanced,

motivated individual to become skillful. The Japanese character "nin" in Ninpo means patience and perseverance which is the essence

of success with this martial art. There is a great deal of satisfaction to be had from studying Ninpo along with the practical benefits of

learning effective self-defense are the tangible benefits, including, agility, alertness and physical fitness. It can also be a lot of fun.

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KARATE

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Bruce Lee's JKD

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Art of Hsing I (XingYi)

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Martial Arts World

Martial art styles can be divided roughly into two categories: External and Internal.

External styles, which are also called "hard" styles and which include such American

favorites as Japanese Karate and Korean Taekwondo, rely primarily upon muscular

strength and less of internal energies, while internal or "soft" styles, such as Japanese

Aikido and few other Chinese styles, cultivate a more mysterious energy called 'Chi.'

An external style is one which relies primarily in strength and physical abilities to defeat

an opponent. In contrast, an internal style is one that depends upon ch'i and timing

rather than power. Aikido (at the master's level) would be an internal style, while most

karate styles are external.

Karate is considered to be the most efficient and effective martial art, as it has evolved

over a long period of time and proved in real combat!. It has everything that a novice

student would need to get initiated into Martial Arts and it builds the basic skills, attitude

into a person. So its better to learn Karate a the base level and then build up or change

over to other martial art styles later on.. Such students will have an edge over others and

will prove to be better martial artists.

(This note is strictly my personal view.. As I have understood and experienced

this fact myself. In my opinion a martial artist must learn more than one style

and should be open minded. Because Martial Arts has a long history of

evolution and refinement and this should continue... All styles have some worth

in it and will make you aware of all dimensions of the "Art of fighting" !).

When you learn more/new styles then don't forget what you had alreadylearned ! infact refine your old knowledge and add to the "New". At the same

time "Empty your mind to absorb the new knowledge" (As said in Bruce Lee's

philosophy).

Most students learn martial arts to be able to beak bricks or win tournaments or

get fit and healthy. This is Not a good trend as "Martial Arts" should be learned

to defend yourself or your family/others. You must learn this art with this

attitude if you want any benefit from it. After all its the "Art of Fighting". You

get all other abilities/skills during this learning process. So see your goal as

one.

Note By :

Jimmy George (Author/creator to this website).

Eskrima -Kali Arnis

Philippines skick fighting

Muay Thai (Thai Boxing)

Aikido

Pressure Point Arts

[Dim Mak, Kyusho-jutsu, ATEMI-

WAZA, Kyusho justu]

Qi Gong / Chi Kung

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[(Internal Styles)

Taoism

Martial Arts Secrets

About ME ! (author of

Coolshack.com)

Karate, Shorin Ryu system of Okinawan Karate

Bruce Lee's JKD

Aikido

Sword Arts

KickBoxing !

Indian martial arts !


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Muay Thai (Thai Boxing)

Shaolin Martial Arts

Ninja [Ninjitsu ,Shinobi,Ninpo]

Eskrima [Kali, Arnis]


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Art of Hsing I (XingYi) And Pa-Kua Chang [(Internal Styles)

Taoism ('Way of Life')

"When something unexpected happens, in that very moment, tr eat it as a

meditation."

"My words have meaning; my actions have reason;

Yet these cannot be known and I cannot be known."

Qi Gong (Chi Kung) -[Art of Breathing

Body - Energy - Spirit


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"Movements of meditation and health for body, mind & spirit".

Dim Mak, Kyusho-jutsu, ATEMI-WAZA, Kyusho justu [Pressure Point Arts]

Sword Arts (Kenjutsu, Iaido, Kendo)

Pankration(a combination of wrestling and boxing)


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Martial Arts Secrets & Words of Wisdom !

KickBoxing !

Indian martial arts !

[Kalari or KalariPayatu & Marma Shastra, Thang-Ta (Cheibi Gad-Ga),

Silambam, Gatka, Thoda]


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My Martial Art Page and about ME ! (Jimmy George, Website creator)

Click here to enter Jimmy's Martial Art's Gallary !

Quote : A teacher opens door, It's is up to the student to step through ...

What is a martial arts style?

The concept of a style is a rather complicated one, and Chinese martial arts claim as many as 1500

different styles. By "style" we mean a particular school of martial practice, with its own training methods,


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favored techniques, and emphasis on attack and defense. While it is impossible to quantify differences

between most styles, it is easy to see the distinctions between such disparate approaches to combat as

practiced by Tiger, Crane, and Monkey stylists. In choosing a style (a contemporary privilege;

traditionally, styles were assigned by the teachers), try to find one that suits your physical attributes,

interests, and sense of utility. It does no good to study the graceful single-leg and flying techniques of

White Crane if you have the flexibility and grace of a turtle! On the other hand, and gung fu practice will

enhance your physical skills, dexterity, and alertness, and it is not uncommon for a beginner in one style to

change to a more "appropriate" style later. Whatever else may be said of styles, the first year basics are

almost universal--punches, kicks, and stances show little variation at the beginner's level.

Martial Arts: Hard vs. Soft, External vs. Internal

Internal or "soft" styles, such as Japanese Aikido and few other Chinese styles, cultivate a more

mysterious energy called 'Chi.'

Although everybody has chi, few people have much of it, and fewer still know how to express it. But

according to the Chinese, this precious elixir can be cultivated and controlled through the exercises of the

internal martial arts styles.

Specifically, they say chi can be brewed in the tan tien, a spot about an inch below the navel. Once the tan

tien is filled, the chi supposedly spills out into other parts of the body, where it is stored in the marrow of

the bones. It is said that as a martial artist develops chi energy, his bones become hard, his sinews tough, is

muscles supple and relaxed, which allow the chi to circulate freely through the body.

The concept of hard/soft and external/internal martial arts is not one easily described. In terms of styles

which most people are familiar with, Karate would be an example of a hard style and Aikido or T'ai Chi

examples of soft styles. A hard style is generally considered one where force is used against force; a block

is used to deflect an incoming strike by meeting either head on, or at a 90 degree angle. A soft style does

not use force against force, but rather deflects the incoming blow away from its target. There are uses for

both hard and soft techniques. A practitioner may wish to break the attacker's striking arm with the

block. On the other hand, a much smaller opponent would not be able to accomplish this, so instead may

wish to deflect the incoming attack.

An external style is one which relies primarily in strength and physical abilities to defeat an opponent. In

contrast, an internal style is one that depends upon ch'i and timing rather than power. Aikido (at the

master's level) would be an internal style, while most karate styles are external.

However, the concepts of hard/soft internal/external are finding fewer proponents among senior martial

artists. Both conceptual twins are impossible to separate in reality, and masters will generally

acknowledge that any distinction is largely only a matter of subjective interpretation. Arguments about

the reality of the concepts are often waged by novices and philosophical dilettantes, ignorant of the

inseparable nature of duality. They see yin and yang as elements that can exist independently, while

philosophical and physical reasoning demonstrate that they cannot. Without their union (=Tao), neither

can exist. Ergo, a "hard" technique such as a straight fist is guided by the soft power of mind and the

internal component of ch'i. Equally, the softest projection of Aikido requires the "hard" element of

physical contact and movement, coupled with actively redirecting the opponent. In short, preoccupation

with distinguishing soft from hard is a distraction from learning martial arts and moving towards a

unifying technique and mastery.

Gung Fu Styles

Gung Fu styles may generally be divided into three classes: Shaolin Temple styles, temple-derived non-

temple styles, and family styles, or Pai. Within the Temple styles are those arts generally and consistently

taught in the temples, with many having their origins in pre-Shaolin history. There are two major

divisions in Shaolin Kung Fu. The southern temples are predominantly hand technique oriented, while

northern temples put more emphasis on kicks and foot techniques.

The northern Shaolin styles primarily consist of Northern Praying Mantis, Black Crane, and Black Tiger.

The southern Shaolin styles primarily consist of White Crane, Tiger, Dragon, Leopard, Snake, and

Southern Praying Mantis.

There were also styles that had their roots in the Shaolin temples, such as Wing Chun and Hung Gar.

Many of the movements were representations of the behavior of animals. A system sometimes comprised

the maneuvers of one specific animal and no other. All the blocks, attacks and stances were done in

imitation of the bird or beast. Each system had certain aspects peculiar to it since each of the animals was

designed differently by nature. However, most styles were not so rigid and limited; northern praying

mantis, for example, uses mantis and tiger hand techniques, and monkey and generic northern style

footwork.

Differences Between the Styles

In general terms, the styles followed specific training objectives (but there are always exceptions). Thedragon movements were devised to develop alertness and concentration. These movements were executed

without the application of strength, but with emphasis on breathing in the lower abdomen along with the

coordination of mind, body and spirit. Movements are long, flowing and continuous, and provided Shaolin

practitioners with the equivalent of t'ai chi or pakua.




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The tiger movements were formed to develop the bones, tendons and muscles. The execution of these

movements was the opposite of that of the dragon, since emphasis was placed on strength and dynamic

tension. Movements are short, snappy and forceful.

The snake movements were used to develop temperament and endurance. Breathing was done slowly,

deeply, softly and harmoniously. Movements are flowing and rippling with emphasis on the fingers.

The crane movements were used to develop control, character and spirit. Emphasis is placed on light,

rapid footwork and evasive attacking techniques. Movements in the one-legged stance are performed with

a considerable amount of meditation.

The Shaolin systems were developed from animal actions and were divided into low systems and high

systems. The list used below is from the temple from the Honan province during the Ch'ing dynasty. The

low systems of the Shaolin were choy li fut, crane, cobra, and tiger. The high systems of the order were

snake, dragon, Wing Chun, and praying mantis. The primary features that separate high from low are the

fantastic economy of movement and the differences in application of ch'i in the high systems.

The low systems were so called because they had their basis both in physical maneuvers and in earthly

creatures. Choy li fut was based on a posture called a riding horse stance, so called because when adopted,

one appeared to be straddling a horse. The movements are very stiff and hard, depending primarily on

muscular power to perform adequately. There are only three kicks in the original system, although

recently the style has adopted many techniques of the Northern Shaolin system. According to legend, it

was designed for use on the house boats of the south where a stable stance and powerful hand techniques

were necessary. The certain portion of its history is that the system was named for two Chinese boxing

masters, Choy and Li. Fut means Buddha, serving in this instance to refer to the Shaolin temple's

Buddhist influence.

The next system is crane, one of the traditional Shaolin systems. A legend is also attached to its birth. One

day a monk stumbled on a battle between an ape and a crane. It seemed as if the ape would rend the bird

in two. However, the bird continually stymied the ape, flapping its wings and darting in and out with its

beak; at last the animal was driven away. The graceful movements of the bird were copied as well as its

one leg stance. The principle weapons of the system are its long range kicks and a hand formation, the

crane's beak.

The cobra system is a strange, nearly dead system. Its basis is a stance that resembles a cobra risen from

the grass with spread hood. The maneuvers are strictly defensive in nature, devastatingly effective and

swift. Cobra is designed for speed and tenacity for once the reptile strikes, it hangs on and makes certain

that its opponent will die. Most of its techniques are hand maneuvers aimed at the eyes and throat. It is

primarily a dim mak style.

Tiger is another natural system, this the opposite of crane. It is a vicious method of fighting utilizing

powerful kicks and grim clawing motions. Like the tiger, its practitioner fights fiercely, rending, tearing

and breaking any open space of skin or limb that is left unguarded. It is highly defensive in nature, waiting

until being backed into a corner, then unleashing an unstoppable assault. Its principle hand weapon is the

tiger claw, also useful for unarmed defense against weapons. By clasping the weapon between the hands or

enmeshing it in the crushing grip of the hand, the enemy's advantage is lost.

Snake is an interface between the high systems and low systems. It is one of the easiest systems to learn

and also one of the most deadly. The reason that it is a transition system is because it has the movements of

a spiritual system and the physical applications of a low system. The spiritual movements are all flowing

and continuous, akin to the movements of a cloud. Physical applications of such movements are seen by

the stabbing hand motions to the face, throat and genitals. Ch'i is present in the practitioner as his body

mimics a snake in its coiling, undulating motions; for only through ch'i can the proper flow be achieved to

allow the technique to work. It is an earthly animal by nature, yet still somewhat spiritual due to its

mysterious character. The snake has thus been appointed as the guardian of the dragons.

The basis of the dragon systems is ch'i, the inner power of Taoism. The movements and applications of the

dragon systems are dependent on the use of ch'i. The special flow that distinguishes it from the flow of the

crane system is due to ch'i. Also, the ch'i is substituted for muscular strength. For example, a tiger stylist

would break a rock by sheer force and physical technique, while a dragon stylist would shatter it by ch'i

projection.

The praying mantis has as its watchwords silence and determination. Although it is a physical system in

terms of its origin, it nonetheless is classified as a high system. Praying mantis warrants its prominence

because of its extreme efficiency. Despite the fact that it is hand oriented and lacks the fancy leg

maneuvers of dragon, it is versatile and overpowering. Characteristic of mantis, as well as dragon and

snake, is the virtual lack of blocks. Since blocks are inefficient, the high systems follow the advice of the

ancient sages and yield in order to conquer. Also, it combines ch'i and extreme awareness to be virtually

invincible.

The systems of the Shaolin can be arranged on the pyramid illustrated below. The best method for this is

to take the tiger family as a representative of the low systems and the dragon family as a representative of

the high systems. The remaining Shaolin systems will be placed in the appropriate tiers singly.

The lowest level of the pyramid is composed entirely of basic techniques. These are common to all martial

arts and can be claimed exclusively by no one system. The maneuvers are comprised of kicks, punches,

stances and blocks. Since they are universal to most martial arts, it is very difficult to distinguish a student



f k l d h li f il All f hi l f b i b l h l


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from a karate style as opposed to a choy li fut pupil. All of this class of basics belongs to the low systems

and so are dependent on hard, muscular movements in order to carry them through properly.

Next we progress to the low systems. As stated earlier, this level has its basis in earthly rather than

ethereal beings. The subsystems of tiger are numerous at this level. Tiger, eagle, leopard, hung gar, the

drunken system and the crab system all belong at this level. Tiger, leopard and hung gar are very oriented

toward physical body strength and the destruction of an opponent by breaking his body's structural

system. Eagle is a vicious ripping system with the bulk of its work directed against the eyes and throat.

The drunken system is a lurching, seemingly unstable system that strikes with little power and thus tries to

exhaust an opponent with an arrhythmic, oddly placed series of blows to tender, exposed areas. The crab

system concentrated on closing off blood vessels and pinching nerves, thereby immobilizing part or all of

an attacker's body.

In the category of the higher low systems are found four different tiger subsystems: hong tiger, s'hu tiger,

imperial tiger and white tiger. They are placed above the previous systems because ch'i and some concepts

of spiritual motion have been incorporated into them. Hong tiger was a system which evolved from a

mixture of tiger and white dragon. It was used by palace guards especially against weapons. S'hu tiger was

the weapons training that went with the unarmed system of hong tiger. Imperial tiger is a modern

adaptation of hong tiger. The techniques are sophisticated at this level. Also contained in the band of high

low systems is monkey, placed there because of its liberal use of parries and advanced striking techniques,

taking it out of the realm of brute strength. White tiger is a highly sophisticated, forbidden style similar to

snow tiger.

The main systems of the Shaolin that are left are placed thus: choy li fut, white crane, and tiger all low

systems. Snake is a lower high system and may be classified as a low or a high system. Dragon, praying

mantis, and Wing Chun are all classified as full high systems due to their efficiency of movement and the

use of ch'i to both supplement and in some cases replace physical technique. These systems were taught to

some extent to all monks as part of their training. The complete systems were reserved for the few, the

priests that would remain in the temple after being granted their priesthood.

THE NINJITSU PEOPLEby Peter Urban

There was a time in Japan of the olden days that had originated in China but showed up there over three-

hundred years later, a strange group of men and women. They always dressed in black. Such was the

nature of their clothing that even their faces and feet were not distinguishable. The softest of black feltcushioned their steps to the sounds that black cats make stalking across thick rugs. They knew many

things. Walking in silence and living at night was their way. Friends had they none. Fear and hatred by all

had they won from centuries of tales not meek. Theirs was a mystique that few dared to seek. In such a

group there were no weak. Reputations of evil traditions of being in league with the demons of power were

described by foreign white men devils who called them magicians of Satan and wrote of them as such in

terms that have been passed down through the centuries on pages of books that were hidden from view

from ordinary people like us.

These "black knights" of old days, who did not believe in magic themselves but who could perform

seemingly magical feats, were known as "Ninja," or "Ninjitsu people." The word (nin) means stealth. The

word (jitsu) means abilities. Ergo, the archaic Japanese word Ninjitsu literally translates to (the art of

stealth). For some it became a way of life. For others it becomes a religion. They were known as

professional assassins by the historians of feudal Japan.

There were only two types of Ninjas. Those who were known to be Ninjas were pretenders. Those who

were Ninjas were never ever known. real Ninjas were artists of life with the minds of scientists, hands of a

surgeon, eyes of a hawk, emotions of a Maco shark and the morals of an ice cube. They kept the company

of no one. They could not be recognized by their own kind. They were celibate, never married, not

homosexual, fearless, highly educated, never indulged in alcohol, drugs or sinful human pleasures. They

trusted only their own sanity.

A Ninja could never be captured or tortured. They had the power to kill themselves at any time of the dayof night and under any contingency. They had beads of poison that could be kept in their mouths for any

length of time; only crushing down on them with their teeth would release a poison that was so lethal,

painless and swift, that it was reserved for only themselves. They could certainly be killed, but never

questioned. It took a Ninja to know a Ninja. It took a Ninja to kill a Ninja. They could be anyone at any

time and at any place. They could be any tree in a forest of people. To pursue them would be like attacking

a bag of quicksand in the darkness of night. They never solicited business. They were never without

money. They were very contented to have many imitators and pretenders who would be killed by the

righteous.

They were more capable of teamwork than any army. They had no superiors or inferiors when they

worked together. They could take orders and give orders with no badges of rank, no egos to feed. They

had the brains of men with the efficiency of African red army ants. They had the courage and mercy of a

squadron of South American killer bees. To incur the attention of a Ninja or society of Ninjas as a

potential threat to them was to nakedly bathe in a river of ravenous paranas.

The most interesting things that highly objective scholar historians ever recorded about them was that

they never attracted attention. They were completely in capable of sadism. They would never assassinate

children or pregnant women. If they were hired to do a job, they would always be paid in advance. No

matter what the needs of a client would be. If it were a child or a pregnant woman targeted as the

assignment, the Ninja or Ninjas would accept the money, guarantee the assignment and then kill the client

and keep the money. There was never a body to be found in any such instance. They would always lie to a

liar, as well as kill them for the very act of lying to a Ninja. For practice and for a general principle still

not comprehensible to the finest minds, they would kill very cruel and evil men or women for free and

without being hired to do so. This observation is mind-boggling to everyone.

Ninjas devoted their childhood to training for mastery in their peculiar skills and thus were highly skilled



i th ti l t R i d tt l ith t l hi h th f d t "i i t i ti "


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in the martial arts. Raised utterly without morals, which they referred to as "imaginary restrictions."

They were bereft of virtue as we know it or as is commonly defined by all cultures in the world.

Since they thrived on darkness, their training halls were painted completely black; varying lengths of nails

and spikes protruded from the walls. Upon these spikes and stone walls, they practiced jumping, grasping,

climbing, and wall-scalling techniques. Acrobatic skills were second nature to them as well as swimming.

They were superb masters of sword-handling, archery, horsemanship, Jiu-Jitsu, stick fighting, body

balancing, and the art of throwing tiny poisoned darts and the small, sharp-cornered coins of that era. The

latter was a particularly favorite weapon, for who would believe it possible to put out a man's eye and kill

him at a distance of more than fifty feet by throwing a coin the size of a silver dollar? No weapon could

ever be found -- just an ordinary coin lying in the street.

Hundreds of hours were spent practicing walking across creaky wooden floors without making a sound.

This was done by unwinding their long, black, felt waistband; rolling it across the floor; carefully, lightly,

and quickly darting down its entire length; then rolling it up and repeating the maneuver until the desired

distance was crossed. They did everything with their own inimitable magic and called it "ninjitsu."

Disappearing was their most astoundingly developed ability.

Their training, being supremely realistic and scientific, also took into consideration every adverse

situation they could imagine. They called their "thing", scientific magic.

They were the original practitioners of the "art of programming." They were taught from the cradle thatnothing was impossible. Not knowing that a thing could not be done, they did it.

They had many services to sell to the lords and ladies of the great houses of the day. Their specialty being

murder and terror. Many provincial lords, in rivalry for one reason or another, often used the Ninja in

preference to the expense of an all-out war against an enemy. A Ninjitsu man or woman could sneak past

guards, fool alert watchdogs, do the job, and disappear with no traces of ever having been there at all.

They used black coal dust and chemically-produced smoke screens to distort the sight of pursuers. Their

visual memory and sense of direction was so exact that, with one swift glance, they could evaluate all

means of egress from a building. This enabled them to leap from any second or third story window,

knowing in advance that a tree would be underneath to break their fall. Rooftops were nothing but

stepping stones to be adroitly traveled upon. Using their uniquely fashioned silken rope and grabbing

hooks, they scaled - up the highest, most forbidding cliffs and walls.

A skilled Ninjitsu man could run down a hallway, jump across the entrance area, grasp the eaves to a

doorway, and pull himself up and over onto the roof in a matter of seconds. From the roof, where he

blended into the night, he was in a perfect position for throwing darts, coins, or circular disks that looked

like the blades of a power saw. No wonder everyone was afraid of them. Chasing them was almost certain

death, for they would seem to disappear right in front of a pursuer's eyes. The next thing the pursuer felt

would be the sting of a poisoned dart in the back of his neck.

Even when stripped down to nothing but their "fundoshi," or loincloths, they almost always managed to

escape without the necessity of having to kill themselves as they always did in a hopeless situation. Whenthe guards led a Ninja out to be executed (a foregone conclusion), he would completely confound his

captors by running full tilt toward the seemingly impregnable wall. Just before he did so, he had urinated

into his fundoshi. Removing the sopping wet cotton cloth, he ran up the wall as far as he could, letting out

a piercing scream and slapping the wet cloth with all his strength against the top of the stone wall. Without

stopping his momentum for an instant, he would swing the remaining distance to the top of the wall, using

the cloth as a rope, and before the astonished and terrified guards could move, he had disappeared.

The mystique of these historically legendary oriental professional assassins increased as the centuries went

by. Their secrets were handed down from family to family, generation after generation. Ninjas were never

the natural children of living parents. Everyone was always an orphan or found baby. They were never

recruited. It was always said that a Ninja was not made, they were born to be. Talent and destiny led them

to be. A Ninja with family would not be a real one. Real Ninjas were asexual, did not need or desire any

normal human ties. There could never be such a thing as a successful undercover Ninja impostor. They

could not be fooled by anyone or anything or any situation. Real Ninjas had no ambitions, no greed, no

passions, no need for power and recognition. They were honest unto their calling. No honest person can be

conned. They desired nothing that the earth had to offer. They could not be bribed. The real ones were

psychic and could not be lied to . Most of all there was nothing in life that could disappoint them or

influence their thinking. They were just special people of a different ilk; born to be what they would

become. Such as the world had its Mozart's, so did the martial arts have its Ninjas.

All that is known now is that there are a few old martial arts teachers in southern Japan who, for the sake

of tradition only, still practice the Ninjitsu training. These old Sensei's occasionally give an exhibition of

the dead art at the more important martial arts cultural festivals. They are always looked upon a little

fearfully by the younger participants in the exhibitions, for after all, who knows for sure about such

matters?

The portrait of a Ninja that you see in museums is of a very elite looking middle-aged man with a scroll

clenched in his mouth; enigmatic looking with piercing eyes. Everyone tries to guess what he is holding in

his mouth. I shouldn't tell you the answer to that secret but I will. He is not holding a diploma. He is

holding a list of secrets that no person should know. What is that? Never disclose your mistakes,

weaknesses or your superiority.

See our NINJA page here !

Building Super Kicks

Why are so called "super kicking skills" important, when in a real fight, kicking above the waist would be

unrealistic anyway?

First, I believe if you can lift 100 pounds then it would be that much easier for you to lift 50 pounds. Thus,if you can kick high, then you can also kick lower without lack of ability.

Second, if you only practice the Martial Science purely for self-defense and not for self-improvement, then

your chances of growth are limited.




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Ask yourself these questions before training:

1. How would I like to improve my kicks?

2. How will I feel if I don't improve kicks?

3. How will I feel if I do improve kicks?

By asking yourself these motivating questions and answering them with emotional honesty, you can create

a little more motivation. These questions can be constantly reviewed and will outlast traditional willpower.

Be sure and ask more questions like these as you train. Below I have listed a few primary ideas to help you

improve your kicks. Though the following is for improving kicking the same principles can be used to

develop other areas as well.

1. The way is in training

With anything you want to become proficient in, practice makes perfect. Practice is consistent action

towards our goals. One does not attend a few martial arts classes, buy a black belt and say, "okay, now I

am a Total Warrior and I can defend myself." Yeah, maybe against an untrained mouse. Seriously

though, think of something you are good at and ask yourself this question: did you become proficient in

that skill in one lesson? Odds are you only learned the basics and it will take practice for you to become

second nature and realistically proficient.

2. Stretch, Stretch, and Stretch

If you don't have flexibility then you won't have the kick. As obvious as it sounds, people just don't do

enough stretching, even when they know they should. So I will say it once again, "Stretch." Figure out

which muscles that are involved with each kick you are trying to improve and take action by stretching.

There are two specific ways of stretching, the first is for warming up and is done before a workout to

decrease chance of injury (hold for about 9 seconds each stretch). The other is for increasing flexibility,

which is done after the workout to improve the stretch (hold for longer periods of time).

3. Slow motion kicking

When practicing to develop good ground kicks, it is valuable to utilize slow motion kicking. Slow motionkicking is the process of performing the kick as slow as possible to focus strain on all the parts used in the

kick. It's easy to throw a side kick in one second, how about trying it for thirty seconds? You will feel the

difference. Slow motion kicking will give you growth in four major areas: Balance, Control, Strength and

Form.

4. Power, speed, and targeting

Aside from the basic development of the kick, it is also important to build a powerful fast kick that is on

target. You can have nice flashy kicks, however if they lack power or are off target, what good are they?

Here are a few key notes for developing your kicks.

A. Be careful throwing repetitious kicks in the air. Overextending can be damaging.

B. Use a bag or pad when kicking with full power.

C. Develop targeting by using harder to hit targets such as focus mitts.

5. Give and takes

This is done with a partner, the attacker kicks to develop his or her targeting, application, flexibility, etc.

The defender or receiver takes the kicks to develop toughness, reactions and awareness. Start by facing

each other and let the kicker begin by throwing one kick with little force, the defender allows the kick to

make contact and takes a step back. The attacker then throws his next kick and the process continues. You

can adjust the power of the kicks so there is growth in both the attacker and the defender. After about ten

different kicks the defender then takes his turn.

6. Coil and recoil

This is an optional technique of bringing the knee up before the execution of each kick (with exceptions

naturally). By doing so, you are protecting against incoming kicks and your opponent will not be sure

what kick you are going to throw. When finishing a kick you can also come into recoil before grounding

the kick. This process is very effective in sparring.

7. Break downs

Important when learning or perfecting a new kick. Start by breaking the kick into parts: positions, pivots,

balance, muscles, movements and application. Work on each development separately before combining.This helps to get a better understanding of the mechanics in your kick.

8. Ambidexterity



A i t k f ti l ti t i th i t t t i i f l ki k Ri ht d l ft


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A common mistake for many martial artists is the consistent training of one leg or one kick. Right and left

kicks should be stressed equally if you are going to become the Total Warrior. Ambidexterity is important

for all your training and keeps you from becoming right or left side dependent. What good are you if one

of your legs become unusable?

9. Imagination

Last and just as important is the use of your Creative Mental Training (CMT). Visualize your skills

improving, create fight scenes and scenarios in your head and feel the abilities that you are looking for in

your kicks. Practice in your minds eye as you would in training, mentally feeling and seeing your skill and

improvement.

Constantly ask, "How can I improve my kicks now?" Practice the principles with consistent physical and

mental action and you will soon be on your way to having super kicks.

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Ninja Techniques :

POISON :

The ninja were very knowledgeable about poisons. Poisoning a victim was as effective as stabbing them, but with very little mess or chance of failure. Once the poison was ingested by the victim it was already to late.

The poisons were mostly organic based, but some were taken from animals.

One method was to take the fungi poison out of the blowfish or puffer fish. This poison is very strong and can kill in small doses. Another animal based poison was the bufo marinus. The bufo marinus is a large toadwith an extremely toxic poison behind its eyes. This poison was often used on darts, arrows and spear tips.

Spiders and scorpions were also used. Not always just the poison extracted from them, but sometimes it was just as easy to slip a couple of scorpions in the bed of the victim.

One of the organic poisons used was made from common fruit. Cyanide was extracted from a variety of sources, such as apple seeds, plum seeds, cherries seeds and many more. It was readily available to the ninja

and was used often.

Tomato and rhubarb leaves also held a poison. Eating the leaves cause cardiac problems, ultimately resulting in cardiac arrest.

The amanita phalloides is a deadly mushroom. The poison in the mushroom was 10 times more powerful than that of cyanide. Eating the mushroom was certain death, and it was easy to slip a piece of the mushroom

in almost any meal.

The poison could be used in various ways, depending on the situation. For example, if the ninja could slip it into the victims food while its being prepared. Without knowing what kind of danger he was in, the victim

would eat the food infested with the poison. Not all the poisons used by the ninja were fatal, some of them were used to merely paralyze or cause blindness. It was not always necessary to kill.

Another thing the ninja did was dip their weapons, such as the shuriken or their sword, in the poison. This was so when it punctured the skin of their target, the fast acting poison would take its course, causing much

more devastating than the blade itself.

CLOTHING :

When in full uniform, the ninja's flesh was all hidden, all except a small slit around the eyes and his hands. The tabi boots had a slit in between the big toe and the second toes. This was to make it easier for climbing

and scaling walls

The shinobi shozoko had many pockets all through it, inside and out. This was for storing all the small tools and weapons he needed, such as poison, shuriken, knives and so on. The ninja also carried a small,

primitive, first aid kit, filled with potions and solutions

Not all jobs required that the ninja wear the shinobi shozoko. Sometimes the ninja dressed up as priests, peasants or even samurai, depending on the job.

Ninja Weapons :

Ninja were experts in a variety of weapons. Weapons such as small and large swords, bow and arrows, knives, bo (staff), scythe and chain, shuriken and many others. When empty handed the ninja are very dangerous,



but armed, they are very deadly. Below is a list of the weapons used. If you have any information on any weapons I might have missed, please let me know.


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Sword :

The ninja sword (ninja-to) was different than that of the samurai. The long sword that the samurai carried was made of high-carbon steel, and took months to have made. They were hand made specially for each

samurai, taking great care to make a very high quality sword. It was so sharp that it could easily cut a man in two, even through their armor. The length of the samurai swords averaged around 26 1/2 to 37 inches.

The ninja sword was considerably shorter, only 24 inches, and the quality of the swords was much poorer. The reason for the poorer quality was the way they used the sword as opposed to the way the samurai used

theirs. Samurai would swing their sword, severing limbs and slashing at the opponent. Ninja, on the other hand, used the sword more in a stabbing motion. To use the blade of the ninja sword effectively you would

have to use

a sawing motion when the blade came in contact with the opponents flesh.

Another reason for the poor quality of the swors is that since ninja were mostly mountain people and outlaws, they could not afford to hire expert swordsmiths like the samurai could. Also their own swordsmiths did

not have access to the right resources to be able to make curved edge swords with well constructed blades. If a Ninja could overcome a samurai he would take his swords, simply because they are better.

Although the ninja sword was smaller and poorer quality, it still had its advantages. The scabbard for instance was made longer than the sword, about 3 to 4 inches longer. At the end of the scabbard there was a hidden

compartment that was used to hide small weapons such as spikes, daggers or small amounts of poisons. Another use the sword had was that it could act as a small step by jamming the blade into the ground, the ninja

could use the hand-guard as a step to get that extra height needed to scale a wall. Because the blade was not very sharp, the ninja could also use it as a hammer by holding onto the blade (carefully) and hitting with thehandle. Also it was common to have the tip of the scabbard come off so it could be used as a snorkel.

Bo (Staff) & Jo (Short Staff) : The staff was one of the most important weapons in the ninja's arsenal. It was generally around 6 feet in length, made of hard wood or bamboo and was hollow. The reason for the hollow was another trick of the ninja

trade. By flicking the bow with great speed, the ninja could launch a poison tipped dart or small knife out of the open end of the staff, often catching the opponent off guard.

Another trick they had for the bo was to conceal a chain inside it. Then, when engaged in battle, it could quickly be released and used as a weapon. This was called a shinobi zue, and was easily disguised as a walking

stick or staff.

Kusarigama :The Kusarigama is a combination of a sickle (short scythe) and a long chain with a weight attached to the end of it. The sickle was used in a slashing or stabbing motion, as well as used to block and hook opponents

weapons. By holding the chain portion of the weapon, the sickle could be swung around to get a greater reach with it.

The chain portion of the weapon was most often used for trapping an enemy or his weapon. Once tangled up with the chain, the ninja could finish him off with the sickle. This was a weapon the ninja invented out of

farming tools they used.

Shuriken (Throwing Star) & Poison Tipped Darts :

The Shuriken is the trade mark ninja weapon made famous by the movies and stories about the ninja. The Shuriken was simply a flat piece of metal with sharpened points that were thrown at the enemy.

The Shuriken was not originally designed as a killing weapon. It was mostly used to distract or deter so the ninja could escape. While in the midst of a get-away, the Shuriken could be thrown at the samurai chasing

the ninja, possibly making the samurai think twice about continuing the chase.

Although the Shuriken was not intended to kill, it was easily made le

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