Contemporary Ninjutsu The reputation of ninjas and Ninjutsu is not a good one.

In this article, the reasons behind this are explored and a more contemporary perspective is offered up. For many, the word 'ninja' conjures up images of black-clad, masked shadow warriors, able to jump ridiculous heights, disappear at the drop of a hat and perform other feats of mystical trickery. As a result, the mere idea of ninja and Ninjutsu is perceived in a farcical light, a reputation that is undeserved for this contemporary martial art. This article will highlight some of the misconceptions propagated in the media and offer up a more contemporary idea of the art. Ninja in the Media The 1980s saw a whole plethora of ninja-based films, a trend which still continues to the present day in low-budget film production, with titles such as 'American Ninja', 'Ninja Killer' and 'Killers Invincible' becoming, if not well-known, at least familiar within Western society. These films are typically replete with ridiculous displays of acrobatics, magic and the ever-present 'thwack thwack clink' sound effects. Poorly executed dubbing also seems to be standard in a number of these films. Frequently, though not exclusively, the ninjas are the villains of the piece. It is also not uncommon for the ninjas to be dressed head to toe in any number of over-the-top colours, such as gold, red, white or blue. Even literature, magazines and video gaming have utilised this perception of the ninja and ninja magic. Whilst the books of Eric Lustbader and other 'East-meets-West' authors may make for good reading and engaging stories (they are very enjoyable books), the idea of the mystical ninja warrior pervades throughout. The result of this is that people think of ninja as silly, villainous and completely fantastical. High kicks, flying and disappearing in a cloud of smoke: the reality is entirely different. Contemporary Ninjutsu One aspect of Ninjutsu that does have its basis in reality is the ninja as a warrior of many weapons. Wooden weapons of various lengths (from several inches to over six foot), swords, knives, ropes and even guns are all addressed. Even everyday objects such as umbrellas, pens and even bottle lids are utilised. However, unarmed techniques and body movement (Taijutsu) are also a key part of the syllabus. Good body movement is perhaps the most important aspect of the art; application of techniques, both armed and unarmed, stems from this. The Bujinkan, under which a large portion of the world's practitioners train, seeks to not only maintain the traditions of Ninjutsu through the art's living Grandmaster (currently Masaaki Hatsumi, 34th Grandmaster), but also seeks to keep the art in a state of constant evolution in order to maintain its relevance in contemporary society, thus the addition of gun work and even the inclusion of knee and elbow techniques from arts such as Muay Thai; such additions predicted the thinking of modern MMA cross-training. It is worth noting that although the Bujinkan is arguably the best-known Ninjutsu organisation, it is by no means the only one and has been at the centre of several controversies since its inception. However, this is not an uncommon occurrence in the politics of any martial style. Modern Ninjutsu Training A typical training session in Ninjutsu will often consist of conditioning exercises, rolling and

breakfalling training, and actual technique work (both armed and unarmed). Conditioning follows a reasonably similar line to most martial arts; light exercises and stretches in order to prepare the body for training. There may be more or less focus on this, dependent on the class. Some classes may try to use movements that mimic the techniques of the style in order to undertake a more targeted warm-up. Rolling and breakfalling seeks to teach skills that will enable students to fall or be thrown safely. Rolling may be done in a forwards, backwards or sideways manner; more advanced rolling work will also focus on height, distance and 'twisting' rolls, with the object of height and distance rolls being to safely jump over something and land in a rolling movement back to the feet, and the object of a twisting roll being to turn and roll away from the initial direction one is facing. Breakfall work teaches a student how to safely disperse the force of a fall or throw, often using a 'slap' to the ground (though this is somewhat of an over-simplification) and can also be done forwards, backwards and sideways, with variants at higher levels of training. Technique work will often seek to impart the principles of the art and will cover striking, defending, locking, throwing and escaping. Strikes may take one of many forms, including hand, foot, elbow, head, knee and full body strikes. High kicks, whilst not unknown in Ninjutsu, are not generally used by practitioners for practical reasons. Pinching, on the other hand, is frequently used! Locking and throwing often follow on from one another, with a lock often leading to a throw and vice versa. Locking involves restricting the movement of joints (often to painful effect) in order to control the whole body. Throwing from a lock can and will often cause serious damage to joints, muscles and bones. As a matter of safety, the lock is generally eased or released prior to throwing during training. Weapons instruction makes use of a diverse range of weapons, though some of the most frequently used are bo, jo and hanbo staffs, bokken, katana and knives. The training may either be in the use of the weapon as an offensive or defensive tool, or training in order to defend against those using the weapons. In summation, though Ninjutsu has its detractors and certainly does not suffer from a lack of controversy, it is nevertheless an applicable and accessible contemporary style, offering a range of skills to the dedicated student that may aid them not only in life and death situations(e.g. when attacked), but also in daily life (i.e. the ability to fall safely when tripping). Author: David Hill