Appearance and Disappearance in Japan March 2008
By Alex Bushman
Bujinkan Shidoshi
www.BujinkanSacramento.com
When we think of Togakure Ryu or even Ninjutsu in general we often conjure images of black clad espionage agents with unparalleled fighting abilities and the special ability to disappear at will. This has become so popular that the word ninja has become a part of our English vocabulary, even for those not involved in any martial arts or Noda traveling fetishes. It is true that the concept of disappearing and hiding play an important role in Togakure Ryu. However before we get too caught up in our own preconceptions of disappearing we should examine the role that appearance plays in our study of Togakure Ryu. The common thread that I found during training on my March 2008 trip was the subtle relationship between mieru (appearance) and kieru (disappearance) in Togakure Ryu.
There are a few different terms in Japanese that correspond to the English word �appear�, in this particular context I am referring to the character ??? which means the way something looks (appearance).
When compared with other schools Togakure Ryu is really quite simple and perhaps even boring in appearance. There really aren�t that many techniques in the Ninpo Taijutsu or the Bikenjutsu and they are quite short. However, once we get into it we find that most things are not as they appear.
The Santo Tonko no kata was the primary focus in terms of waza. As mentioned before it appears quite simple/boring (you get pulled 3 times, put on take ori, kick him in the balls and call it a day�.). However even getting to the first Take Ori is quite a challenge that requires a thorough grasp of Tai Sabaki and Te Hodoki and Gyaku Waza (not to mention such things as maai, nagare, and kuzushi). After the first few techniques they up the ante and throw in some Muto Dori type situations. These are also deceivingly simple in appearance (evade and counterstrike then leap away�.). Besides having a firm grasp of Tai Sabaki, Shuko and Muto Dori we can also add the concept of Sakki. As Someya Sensei told me �If you are wearing a Shidoshi patch then you should have the timing down�..�(loose translation). The Santo Tonko no kata is simple in appearance but it contains a number of subtleties as well as armed and unarmed variations that quickly transform it into something quite challenging.
Togakure Ryu swordwork is designed to be used with a ninjato. As with the Taijutsu, the swordwork is also relatively simple looking from the outside. But even the kihon sets are challenging due to the size of the sword (yes there are kihon sets�.). Working with a ninjato is visually deceiving even from Tori�s point of view. The appearance is quite deceiving.
Soke�s classes did not really focus on any of the formal waza from Togakure Ryu. However, we did go over many things that tie into this idea of appearance and Togakure Ryu. Soke made mention of concealing ones presence by adopting a non-human appearance and this works basically the same way in the taijutsu. Soke illustrated ichi no kamae and even belt tying in a way that its altered appearance led to opportunities in the midst of taijutsu. Essentially before one can disappear (in terms of taijutsu or environmental concealment) one must have a firm grasp of appearance.
Soke also made use of a couple of hand positions that at first glance don�t appear like they have any place in a martial arts arsenal. The most notable was the �hang loose� sign (Soke did in fact say �Hang loose�, as a Californian and dedicated Ninja Turtle fan I was waiting contently for him to say �Cowabunga� next). After working with this hand position in numerous variations Soke pointed out that we need to recognize its appearance as a potential for kakushi buki. Again the way things appear or recognizing aspects about the way something appears seemed quite important.
Although many of us have been waiting anxiously for years for Togakure Ryu or an aspect of it to be an �official� theme for the year in the Bujinkan I have found that it has a tangible effect on everything we do. Every year Soke make�s use of shuko, metsubishi, ninjato, and shuriken regardless of whatever theme we are looking at. Not to mention the key concept of not being attached to whatever you are doing and being free to move, this is a key element of Togakure Ryu Ninpo Taijutsu and Bikenjutsu. In the covert context that Togakure Ryu works in you do not have the emotional luxury of fully engaging and subduing an opponent, rather you must take an opportunity to momentarily disable your opponent so that you may escape and continue with your mission.
In closing it may help to point out that as I understand it Togakure Ryu is not really meant to be studied or used by itself. Together with Gyokko and Koto Ryu the three form a well rounded approach to the martial arts. As such, not every class during this trip was dedicated to Togakure Ryu even though it is the �theme� of the year as far as the general Bujinkan population is concerned. Soke as well as Nagato, Oguri, Senou and Someya Sensei all equally focused on general martial arts. This is a very important point. Soke made liberal use of finger locks, clawing, and eye strikes, emphasizing that these are important in relation to women�s defense (also emphasizing that you cannot completely rely on them). Too often we get caught up in the glamour of such and such school or theme or sophisticated nuances of balance taking and forget the simple things (perhaps because they are not very sophisticated in appearance, much like Togakure Ryu). With this in mind it has inspired me to work on what I call the �Rat�s Kihon�. A Rat will fight with tooth and claw if it cannot escape. This has Togakure Ryu written all over it.