Teaching Ninja: The Learning Curve by Jay M. Horne, Kellyn Henderson, et al - HTML preview

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Teach Tesaihiryu Ninjutsu

BY: Kellyn Henderson and Jay Horne With
Bob Hagan

Copyright © 2009 Ninja International

All rights reserved, including the right to reproduce this work in any form whatsoever, without permission
in writing from the author, except for brief passages in connection with a review.
ISBN: 1456491377

Always consult a physician prior to starting any physical regimen.

Did you ever find it?
What you were looking for…..?
As a child, this fire wells inside us, it tells us that we have something special planned for our lives.

Did you ever find out what that was?

 

Or did you let it fade

 

And accept yourself as just another somebody?

 

Book 2
Introduction

Lot’s of you are coming from book one in search of the newest techniques and ideas of the Tesaihiryu, but some of you are new to the system. So here we will provide a bit of background on Ninja International training.

The concept of Ninja International blossomed from the multitude of martial art styles available today. Ninjutsu, seemingly was the most complete form of LIFE training until recently. To take up the art of Ninja can be an overwhelming thought at first, as it should be, for it is truly a life long voyage of discovery. Simply thinking of the things one may encounter on a ninja mission can give you an idea of the unlimited array of techniques a perfect ninja may need to utilize.

What is different about Tesaihiryu is the acknowledgement of each individual’s maturation. Everyone grows in different ways and so we are not forcing rigid techniques down the throats of our disciples, but rather introducing to them the seeds of living, moving, growing tactics that are malleable enough to customize for each individual. Our favorite way of expressing this fact is by reminding our students, and yours, that art is not art without personality.

Lastly, we remind you that there is no greater way of learning than to teach, for in doing so, you essentially are tapping the well of your own knowledge hidden deep within the recesses of yourself. It is for this reason alone, that we provide a written copy of our lessons in these texts. The lesson will be laid out in a way that YOU can utilize the material to conduct your own class.

With all this said

 

“Hajime!” Advanced Strategy and Tactics:

As explained in the last book. Strategy and tactics are the mind work of battle. Tactics are the way we use our Techniques and Strategy is the compilation of techniques and tactics put together to achieve a specific objective.
Again, the three basic Tactics of a Ninja are Indirect
(Misinformation, Misdirection, Stealth and Mysticism) and occasionally the Direct tactics of a physical charge if it’s the most effective means of attack.
Each tactic can be used in conjunction with one another for more effective Strategies when needed. I repeat! I repeat, do not over complicate any Strategy! Use only what is needed. Pride is unnecessary for a ninja because it brings about failure, which brings about capture or death. The advanced use of the four basic tactics for more complex Strategies and all other basic use of the said tactics and they’re effectiveness depends on:

1. The Advantages one can cease and the disadvantages of ones own disposition.

2. The mindset of the enemy.
3. The terrain the mission is being performed on. 4. Your own ability to adapt to changes and abstractly put

together new more effective and efficient strategies when it’s needed.

 

Strategies can even be used as Tactics in order to achieve a certain goal.

 

For Instance: An Ambush can be used as misdirection to take attention away from the real objective.

 

Anatomy of the Ambush:

 

The Ambush is a Strategy that uses all four of the basic tactics presented above. An Ambush consists of four steps:

Step one: Reconnaissance. Gather Information on the enemy, state of mind, location, and any other weaknesses you can exploit.
Step two: Put together a Strategy with tactics and techniques that are most effective and efficient to attack your enemy’s strengths while taking advantage of his weaknesses. (note: Like in all other sports today. Run 3-5 mental simulations of the ambush in your head before the actual ambush is sprung. You will be more precise
and more effective as if you have already done it before, because you have, in essence)
Step 3: Ambush! Perform the ambush itself after careful and
calculated planning, but be prepared to change tactics in the midst of the ambush because things never go exactly as planned. Step 4: Escape!!! The surprise attack is only half of the strategy, you also have to escape while having achieved your goal. This is where all the mental Simulations and info gathering will come in handy because you will know all escape routes. Book Two Lesson Two

Day two will focus on intention and further tune the practitioner’s body to work well with the emotions. Essentially, emotions are just universal energy in motion. E-motion. It is related with what some call the Ki. Some have mistakenly claimed that it is necessary to learn how to controlthe emotions. But emotion is the way that the universe speaks to the body. One must merely understandthe emotions in order to harness the power of them. When you become one with the emotions, then the body will follow the mind. To fight with something is to empower it through acknowledgement. What we are seeking to achieve in Tesaihiryu Ninja is perfect harmony. Take, for example, the drunken boxer. How he uses his current state to flow with his mishaps. It is alike to emotions in a way. Let me start over.

In describing the emotions, it is easiest to represent the flow from one to another by utilizing the Marui Roku (circle of six elements). If one were ever to come into understanding of the emotions it would only be by the means of knowing which element becomes the next. Once a general knowledge base is in place the body will perform as easily as the Earth itself changes seasons. To help you picture this kind of movement I offer the following example:

If a man is relaxing against a wall awaiting his train to arrive, and knows there is another 10 minutes before boarding, then he may be in a state of Void, formlessness. If at this moment he is attacked,

his response will largely depend on his emotions at the time of initiation. So for instance, if he is feeling vulnerable, he must be as water and receptive to the attack. But upon defending the incoming blow he must find a way to convert the defensive energy of this water emotion in to an aggressive action. He would do that by transforming this feeling of vulnerability into a feeling of grounded stable energy as the Earth and then kindle the Wood element to transform the energy to an aggressive Fire attack. That is following the flow of the Marui Roku. Yet there are other ways the elements transform as well. Take the boiling of water to produce steam, for example. Or the instant explosion of a Water atom to produce Fire as in the Hydrogen bomb. To clarify, this instant basic elemental way of viewing a situation, would look like this:
Attacker attacks man against wall. Man against wall receives (Water) the attack with Pak Sow elbow block, and immediately fuses with FIRE to explode with a straight punch.

This fusing of Fire and Water creates this explosive response. The Marui Roku is in place to allow a practitioner a stable way to retain control of the situation. As in the vulnerable mans case, once the attack is received then the students looks to find his next element Earth, and this grounds him and alots time for his body to renew an attack. Just as in tumbling, body movement is always most elegant when you are focusing on the next step of the sequence as if the previous step has already occurred. Eventual consciousness of the Marui Roku provides the ninja with just that target for thought.

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Striking
[Lesson two begins as all do, from seiza.] Students will

enter into training with a front roll and position themselves at a comfortable distance from one another. “Eskay Array!” Have your pupils feel at home. Invite them to mimic your movements quietly as you speak because repetition is imperative to their development, the sooner they start moving the better they’ll be. Start in ready stance. Most of you are going to assume a posture like a boxer in a ring, this is wrong. Let them make the mistake. You should be standing with your feet at roughly shoulder width apart and your arms should be hanging naturally at your sides. This is the position you’ll be in most likely were you to be attacked unexpectedly. Or perhaps you would be holding a newspaper. Remember simplicity will aid in the development of your martial art.

The essential element in a successful attack is in minimizing the essentials themselves. To better gear your mind for a position of self-defense you must focus on dwindling away at the reaction time of your engagement. Finally you will have whittled the technique to nothing but pure actionitself. So we start with a basic attack the straight punch.

[A student is called forward to demonstrate their own straight punch. The instructor will catch it in a freeze frame and explain the dynamics of the opponent’s motion]

You see here,{as you hold the hand outstretched mere inches from its target} pointing to the fist, is his weapon. It began here, and you move the hand back down to his hip. The weapon traveled this precise trajectory [follow whatever path the student chose with the fist and explain how you can carve away extra movement from the weapons path of travel, making the striking speed more efficient] I.E. Then show them the most direct line from the hip to the head.

In the words of Bruce Lee,
“A sculpture doesn’t keep adding clay to a statue, but instead strips away the inessentials until the truth is revealed. “ When the instruction is complete then allow the volunteer

to retun to the group and demonstrate the first stage of the straight punch.
Don’t forget to wish them safe spirited training with:

“Onigashimas” and a double clap before they begin.

STRAIGHT PUNCH
STAGE ONE
The hand is merely gently lifted from the resting position in

the most DIRECT line to the target out in front.

 

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You can use a body shield if you’d like to allow the students to feel the added energy of each stage of the straight punch. But it isn’t necessary. Once the stages are understood, the punch is perfected and is practiced. As the hand finds its target, only then is the fist clenched tight to transfer the channeled energy across the surface area of the flat knuckles and fingers, which should roughly measure the size of the small end of a masonry brick. There is no snapping motion like a whip. Not yet. Allow them to lift their hands up to the target and clench, leaving them with their weapon embedded inches behind their target in wait.

STRAIGHT PUNCH
STAGE TWO
Now that the direct line of attack is established, questions

will be raised about the amount of power you can generate while closing so little distance. There is NO drawback before a punch, no cocking the elbow involved. The motion is TOO simple for most martial artists to embrace at first. But, that’s why it’s Tesaihiryu! If it were obvious, everyone would know it.

So now we have our target and our weapon and the direct line of attack. This stage is about putting an engine in place to generate the force needed to crush the opponent.

This stage involves two motions. Motion number one is to lead with the shoulder. But you must be sure to bring harmony with motion number two, which is the generator. Motion number two is a twist of the REAR foot. Now take note: Your students feet are at shoulder width and both are facing forward, there is no such REAR foot per-say.. But when I mention rearI mean the same foot as the punching hand. For in the last step it will succeed the other. So to Re-cap you are standing in a natural posture, hands at your sides. Your strongfoot [the one on the punching side] twists as the shoulder leads forward. Allow your group to do ONLY this motion for a bit to get a feel for the way the hand naturally wants to accel forward as if launched from a sling.

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When effort of force is applied this motion will try and throw your entire body out of balance. The energy coming through the channels shown in book one is what causes this effect. They literally coalesce into roaring targeted rivers of energy coursing through the hidden lines of your anatomy and seek out an outlet, which can be honed and targeted.

STRAIGHT PUNCH
STAGE THREE
This stage involves combining the last two stages together.

Allow everyone to involve the conscious effort of their direct straight punch after leading with the twist of the foot and preloaded shoulder. Like a gun cocked and ready to fire, the shoulder should whip the fist up with reserved banded energy like a sling coaxing the weapon speedier to its target. The fist should clench in the instant of contact, when you want the energy to be released. Never tuck the thumb in or leave it on the bottom. But press the tip of it hard into the crevice of the second joint of the folded index finger for support and shape. The thumbs thick sharp edged knuckle provides a cutting effect should your opponent move out of the direct path of the punch.

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STRAIGHT PUNCH
FINAL STAGE
Once the motion is attained and the energy generated in the

students, have them alternate form one side to the other. Twisting opposite feet each time, left punch, right punch.. Get them comfortable with feeling the Ki move within them.
Now onto the final stage of the Shinobi Punch
Your body is basically begging you at this point to add the next movement, which will throw everyone into an uproar so go about revealing it in a subtle way.
THE STEP
While initiating your attack with the right, every bit of

energy you draw up from the ground with your twisting right foot can be stored within the body and released upon impact as long as you don’t give it a pathway to escape. There is a tendency for power to jump channels from the dragon to the tiger and find some

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release in the other foot to the ground. To lessen this effect draw your left foot up as you advance and don’t let it hit the Earth until a millisecond after the moment of impact. Re-capping with your students [Provide them a target that is placed uncomfortably close to them for practice]

Twist the foot, lead with the shoulder, direct line of attack, clench the fist on impact all the while and stepping with the other foot unnoticeably. POWER! This is the Shinobi Punch. Keep it secret.

ATTN Teachers:
For added power
Force the elbow of the opposite arm back as you strike. This will result in a much faster twist of the upper body and devastating crushing force!
Tumbling

Forward Roll
Once you have completed your Shinobi Punch instructional you should immediately pick back up on tumbling. It is imperative to get the ninja use to hitting the ground safely and silently from any angle. The custom use to be in training ‘Breakfalls’ where the student would land brutally on the back and sides until conditioned. But time is of the essence here and one will become naturally attuned to which way he should embrace the ground in time, based on tumbling experience.
The forward roll is not a technique widely used in application. But instead, serves as a foundation to attune your student’s bodies to their own internal working engines. Rather than rolling along the channels, this roll is performed from both knees grounded in seiza. The backs of the hands are placed together pointing the fingertips to the chest. Leaning forward, this same awkward arrangement of the hands is placed upon the mat slightly out in front and between the knees.

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From here the chin will be tucked to the chest, and the toes will kick the students legs out and over while pressing with the ridges of the hands and straightening the arms.

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This will bring a full revolution. But the exercise is not complete without the follow up. Just as in the front handspring instructions, you must constantly get them to focus on the follow up. The follow up here happens to build further energy in their movement for an even more explosive forward roll.

THE ROCK
Begin with everyone sitting with their knees clutched tight to their chests. The arms should be wrapped around the shins in a way that prevents them from coming uncoiled if they were to be pushed over. The action here is simple. You merely get everyone rocking back in a tight coil and coming back up to their seated positions. Don’t hound them on getting up their first try. But encourage them to rock back and fourth using their arms or hands if they have to on their shins to push out with the knees and pull with their hands on the shin to generate lift.

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By the end of the exercise, everyone should be rocking back and fourth using their knees and arms as a pump to keep the action going. Stress to them how the force they apply forward with the knees is multiplied and results in faster pulling motion of the arms. For this will be the follow up of the forward roll.
NOW ROCK AND ROLL
Now that you know the follow up of the forward roll let us apply it here. Use yourself as an example. Show them the dynamics of creating cyntrifical force from your own body movement. Perform a forward roll slowly, but immediately after the knees pass the head grip the knees with your hands and push like a lever pulling back with the hands to create for torque. This will force your roll into a supercharged spin and lift you to your feet in a hop. This rolling and rocking action can be multiplied exponentially, for long leaps, and pure power.
Close your session by reminding your class to remain aware of every second and what it means to their training. For instance, as one walks through a swinging door to notice how they press it with the ridge of their hand as in a front roll. Make them test themselves that one day in the future you not show them an everyday action they perform that could have been honing their skills all along.
Closing Vow again:
[The class will repeat after the sensei, Ichizoku no sono Tesaihiryu. As the embodiment of the Gnostic, our conscious will guide us and our peace will again shelter us from the storm. Truth! All will take a knee and touch hand to mouth following the sensei.] “Dismiss!”
Book Two Mission Tactics

Looking at the mission plan you can see what techniques you may need if you were to be called for assistance. This one is quite the change from book one. It involves escaping tactics and unusual body angling. Also there are structures involved so infiltration and different climbing techniques may be needed than before.

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Necessary TacticsMoving North:

The Sword/
The sword can be a tool for the ninja. It is handy in a variety of ways. Starting with the sheath, make sure an extra span is added within so that you can keep the small essentials necessary to the missions completion hidden beneath your undrawn blade. In this case it will house a mix of powdered ash and pepper to expel with a flick of the wrist after the sword is drawn.

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Swordsmanship will be covered in later volumes but here is provided a breakdown of the basics. The handle is generally longer than that of a samurai sword to provide greater leverage for the slightly shorter blade. The handle should be placed across the dominant palm in a diagonal fashion before grasping, and the opposite hand will cradle the butt in the meat of the palm and wrap the fingers around the base. This grip prevents slipping of the grip and provides a lever action while cutting. As the sword is brought through the target the bottom hand will pull into the hip and the elbow forced back for maximum cutting action. With practice you should be able to cut cleanly through twelve inches of meat and bone.

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The straight bladed, sword should be shorter than its sheath and accommodate a blood grove along the thickest edge. The tsuba, or hand guard, should be thick black iron and square to provide a step when you need a fraction of a length for reach.

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The Crane Step & Shallow Water Crossing/
During missions that are host to shallow streams and wet terrain you would be wise to tightly wrap the lower leg with cloth to prevent your tabi and pants from holding water. Do not house any equipment in the wrapping for moving water carries with it a distinct sound of flow. The introduction of a non-aerodynamic tool could cause a silently moving stream to turn noisy with a rapid shift of the waters direction to avoid it. The crane step is performed just as the bird walks among the lilies. The knee is lifted up and the sole of the foot is run along the opposing leg, allowing draining water to flow down the other into the water below. Lifting the knee straight up will only result in dripping. Obviously in moving water another technique is employed entirely. As the foot passes the shin of the grounded leg the toe is pressed firmly into the wrapping of the lower extremity. This expels excess water before venturing out above the surface for another plunge.

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You should dive the foot in as a swimmer into a pool, but slowly, searching for hindrances along the way. This shallow walking is to be performed in no more than a minimal amount of water. We’re talking ankle deep here! With water rising above the ankle, or in the case of water with a slight current, you will shuffle the feet in a slowly searching motion across the bed of the body of water. Keeping them as close to the bottom as possible. One must keep in mind the terrain that hides below the surface. If there are stones that could move and resonate a sound against one another, the utmost caution must be heeded. Water carries sound much further than you see in to the dark. If you can hear the roll of a stone above your feet, someone else can hear the roll of that same stone from 1000 paces near the water. If you are faced with a stony bottom in a river use small rolling steps as you cross. Better to grind the stone into itself than kick it with shuffling feet.

The Cling/
The cling is utilized when escaping onto overhead rooftops and ledges, where other means of speedy access aren’t available. It is a step beyond a pull-up so if you’re in need of upper body strength follow the instructions on the adjacent page and construct yourself a ladder rig for practice. A ladder rig can be made for under ten dollars and is a diamond in the rough when it comes to a training tool. There are more than a few times that the tiny unseen muscles of your hip flexors and such will work wonders for your acrobatics. Facing away from the ledge you are trying to access, jump vertically up and grasp the lip with the hands. Your fingers can be strengthened by digging in sand and soil to make this effortless over time. Ask yourself why monks are dedicated gardeners??! You should be hanging as if you were to perform a reverse grip chinup. Now as you begin your pull-up you will simultaneously tuck your legs and kick them out and over the top of your gripping hands. Force the hips back past your hands as you straighten the legs and drop the head like a counterweight trebuchet. You should be able to press your upper body up onto the level you are trying to attain. Note: Don’t wait until you are at the top of your pull-up before working your legs at the angle or you will exhaust yourself! You’ll need the following:
(2) 2” x 10” x 8’ boards
(9) 3’ x 11/2” diameter wooden dowl rods (2) 1” x 4” x 3’ bracer boards
(8) galvanized nails
Hammer
Drill w/ 11/2” bit

Below is a finished product along with a couple of sample exercises you can do with this unique piece of equipment. All you do, is drill shallow holes into your side supports to fit the dowels in and connect the adjacent sides to one another with the bracer boards.

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Secure this bad boy to a wall and get busy! When you can get your toes to your forehead while your legs are straight, you’re good.
Straightforward Tactics

This next section will help improve anyone’s muscle memory. It will be best to practice this until you no longer need the help of this list. These moves are designed to block attacks, avoid and counter strike all at once. The odd numbers are to be executed while moving forward at a 45degree angle either to the left or right of your opponent. Practice your footwork, its almost like ice-skating or using roller skates. The even numbers are executed while moving backward at a 45degree angle. Left or right, depending on which side the attack is coming from. After you are familiar with this, practice holding a dummy sword at first. You will immediately begin to see the practicality of this. With the double punches at the end of each move, replace that with a double slash and/or stab. In hand to hand use the double punches to lead up to a lock or death blow, the act of the double punch will serve as a distraction and give you that extra split second to decide on how to finish the opponent. Remember, if you utilize these movements in class, remind your students that these methods are for last resort tactics if cornered and faced with the sole option of physical confrontation. These are defensive counter attacks, not offensive attacks to engage the enemy.
1. Palm heel block - 2x straight punch - 2x straight low punch. 2. 2x hook punch - 2x uppercut.
3. Outside block - low punch - double punch.
4. Low block - front kick w/front foot - double punch.
5. Inside block - hammer fist to groin - back fist - double punch. 6. Outside block - front kick w/front foot - double punch. 7. Palm heel block - reverse knife hand - double punch. 8. High crossing block - reverse knife hand - double punch. 9. High block - palm heel strike - double punch.
10. Inside knife hand block - reverse knife hand/fore arm - double

punch.
11. Outside block - horizontal elbow - reverse elbow - double punch.
12. Reverse elbow - outside block - double punch.*
13. Outside block – vertical elbow - downward hammer fist double punch.
14. Inside knife hand block - low sidekick - reverse knife hand double punch.
15. Low block - reverse knife hand - double punch.
16. Double palm heel block - sidekick - double punch.
17. Outside block - knee spike[same side] - double punch.
18. Double outside block - front snap kick - double punch.
19. Outside block - knife hand chop - reverse knife hand - double punch.
20. Outside block - roundhouse kick - reverse knife hand - double punch.

* With #12 step directly backwards in between the attackers legs as the elbow strikes, the following outside block is applied as the student turns around to face the opponent. Notice how the blocking arm is in the perfect position for an arm lock while at the same time, leaving the opponents vital organs exposed to attack.
After your students have developed noticeable muscle memory have them experiment with replacing different moves in a technique with others as well with different weapons, single or double, even different weapons in each hand. Finishing moves are a plus! You want to take the enemy out of the fight as quickly as possible!

Japanese Phrases for the Field

 

1. Do You Want……?

 

2. Clan of the……

 

3. Climb

 

4. Prepare Yourself

 

5. Run

 

6. Water

 

7. Down

 

8. Steep Grade

 

9. Deep

 

10. I Must Go 1. Suru Anato No Zumu

 

2. Ichizoku no Sono

 

3. Nobooru

 

4. June BE

 

5. Jikk O

 

6. Mizu

 

7. Daun

 

8. Kyu kObai

 

9. Deepu

10. Ekaneckeraba Eka Nai This Book is part of the Tesaihiryu Ninja Clan & Ninja International

For More Information on Joining the Clan please visit NinjaInternational.com

Benefits of Clan Membership include:
-All twelve lesson books of the Tesaihiryu Ryu
-Free clan t-shirt to flag other members
-Monthly newsletter keeping you up-to-date on the Clan
-Opportunities to attend REAL field missions
-and perhaps Represent Ninja International & WORK as a NINJA

We are not the only Clan on the rise, other interesting clans are turning up, and before long there might just be great fun between us and our competitors.

Please Visit Us www.ninjainternational.com

 

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