Strategy & Theory

Mental state and focus are fundamental aspects in martial arts. Therefore, the Kage No Michi Ninjutsu teaches several basic principles that help ensure victory in combat. These principles must be perfected in both technique training and in combat training. It is very important to remember that fighting is not just physical, but also mental. You must master your mind along with mastery over one's body.

The martial artist must be aggressive, resolute and unwavering when engaged in combat. You cannot fear what might happen to you in combat: Only focus on what you can do to your opponent. Fear should not cloud your mind. You must fight with conviction and not let fear distract you.

Fighting is very much like a chess match. One player moves, and the other responds. Both players formulate strategies, demonstrate aggression, and utilize deception. The martial artist must visualize fighting in this manner: Being prepared with strategies and responses.

The eyes of the martial artist should not be fixed on any particular thing. A particular focus will enable your enemy to misdirect you. Further, you may simply not see an attack from the right side, for example, if you are focused solely on the left. Instead, take in the whole scene. In this way, you will catch movements that you may not otherwise notice. Think of it this way: You cannot take in a whole painting by only focusing in on one part. You must not develop this type of vision, known as "tunnel vision", but must practice what is known in hunting terms as "splatter vision", where you relax your eyes to keep from focusing on one particular thing and take in the peripheral. Remember, the biggest threat in combat is the attack that is not seen.

In combat, one does not have time to think about the details of a technique. The fighter must be focused on the task at hand: To defeat the opponent. If one tries to take time to focus on details during combat, their focus on the ultimate objective will be clouded, if not lost entirely. Instead, focus on the details in your training, and in combat, only keep in mind the one goal.

The martial artist must always be ready. This state of readiness should always be maintained in one's life. This does not mean, however, that the martial artist must be able to avoid any sudden attack. There are physical limitations that may simply not allow the martial artist to defend every attack. The idea, though, is to always be ready to respond both physically and mentally to any situation or attack. You must simply keep an attitude of awareness when it comes to your surroundings.

Theory on Training

As the legendary samurai Miyamoto Musashi has said in his Book of Five Rings, "A true warrior is fierce because his training is fierce". A martial artist must always train with this in mind because fighting is not a game. If it is treated as one, the player is lost. Training can be fun, but if your goal is practical self protection, it must be serious. A student of this style of Ninjutsu must always practice with the intensity of as if it was a real life situation, or it becomes a game; A game in which the "player" can easily be defeated.

It has been said by some that the goal of a martial art is "to not have to use it". I cannot stress strongly enough how opposed I am to this statement. Although I understand the idea that one should avoid physical conflict if it is at all possible, it shows a focus solely on one aspect of martial arts in the minds of the people who think this way; The way of fighting. Although I believe that the primary objective of a martial art is to develop skills for self protection, a martial art should be more than simply a way of fighting. It must be a way of mastery over oneself. It must be a way of thinking. It must be a way of discipline. It must be a way of perseverance against every difficulty. It must be a way of life! If it is not, then it is merely a large investment of one's time and energy in something that serves very little purpose, if any. The ultimate purpose in the Kage No Michi Ninjutsu training is that one would use their newly acquired skills all the time. Training will enhance one both physically and mentally, and these improvements should flow into virtually every other aspect of one's life. For example, an increase in one's ability to focus, which is one of the many ways one's mind will develop even further through training, will help in any time when one needs to concentrate his or her mental efforts in order to meet a particular aim. This applies not only to martial arts, but perhaps even more importantly, to everyday tasks. The benefits of such mental sharpening will also manifest themselves at work, while driving, in an emergency, in finding a solution to a problem, and so on and so forth. The practical applications of heightening both one's mental and physical capacities are endless and valuable in both combat and every other area of life.

1. In order for you to change your approach to combat, you must always practice variations on the same attack. A punch may become a trap, for example, or a kick may turn into a sweep. This will enable you to adapt to a current situation, and then modify your motion in the middle of an engagement. This versatility is one key to unlocking victory in a confrontation.

2. When training, the goal is to execute every strike as it would be done in actual combat. It is not useful, and therefore not acceptable, to practice gross, slow, or generally half-hearted movements once the technique has been learned. You will fight the way you train. Therefore, since victory is less likely to be achieved by performing at 70% of one's ability in a real-life situation, practice for such should not be any different. Ultimately, if training is to be useful, all strikes must be done with the intensity and conviction with which they will be executed if they are ever needed. In this way, each of your strikes, even in practice, is like a bullet from a gun: The bullet does not distinguish between practice and combat.

3. Unnecessary movements, "flowery" motions, or "fanciness" are all inessentials that must be disposed of during combat and must therefore be removed in combat training. "Fancy" has no place in combat. Inessentials cloud the mind and breed inefficiency. One must eliminate inefficiency in training so that one can be efficient in combat. In combat, one must fully commit to the one purpose of the matter: To survive by any means be it escape or the destruction of the opponent. You are not there to show off. 

(Note: Although fanciness during combat should be disposed of, it is not completely useless: At the onset of an engagement, fanciness may help weaken the opponent's confidence. However, fanciness, if it is desired, should be practiced only after the essentials have been mastered.)

4. Obviously, no two people are exactly alike. Therefore, techniques, and the applications thereof, will vary between one practitioner and another. As a result, when a technique is learned, one must apply one's own style to the technique. In this way, the technique will reveal to the pupil the way in which it must be used to their personal advantage. These revelations are only useful, however, through consistent, realistic training.

5. In addition, in order to be a truly formidable adversary, one must be able to take a punch. Train yourself always with the idea in mind that one day you may miss a block or parry and be forced to accept a blow. As hard as we will strive, and as close as we will come, no human can achieve perfection, and because of this you need to be prepared to endure the consequences of mistakes you are bound to make in combat. You must accept this reality and toughen yourself physically of course, but also mentally. Your body must be able to accept punishment, because inevitably, even as good and nearly-perfect as you can be, you will eventually meet an opponent's fist. The mind, too, must also be ready to not only accept the experience of a landed blow, as humbling, angering, frustrating, and even discouraging as it may be, but it must also be ready to adapt and persevere.  During combat for your life, you must have the frame of mind that you are in fact invincible, so that even when a punch or kick does connect with your body, you are not fazed by it. You have to truly believe that even if someone was to hit you with their best shot, you could take it; Which leads back to the principle that your body must be able to take it. This is why even though your toughness is, after all, your last line of defense, you must make sure that you are strong; Both physically and mentally.

6. Finally, you must train constantly. This can be done anywhere, with anything. Your mind is the strongest weapon that you have. It can be trained anywhere at any time; Simply imagine attackers and attacks and how you could, would, and most importantly, should respond to them. The most important thing is to train yourself at all times.

Attack is the method by which victory is achieved in combat. Without attacking, when you are attacked, you are left in the unenviable position of having to defend perfectly until the opponent gets tired or becomes frustrated and quits. Obviously, this is not the best-case scenario, and because of that, it is not a strategy of Ninjutsu. Kage No Michi Ninjutsu, therefore, focuses on the art of attacking; Attacking both the mind and body of the enemy. And when it comes to the art of attack, there are several principles that shape the techniques or methods of attack in this style. The student learns how to attack utilizing these principles and becomes hardened against someone utilizing these principles against them. And, as the student learns, an attack utilizing these principles is devastating in deed.

REMEMBER: The purpose of this art is to enable you to defend yourself or to protect someone in need. Fighting should always be viewed as a last resort. 

The martial artist must attack without warning of any kind. This does not mean that you attack first, but rather, this means that the enemy must not be able to glean any sign of intent from you prior to the execution of your technique. Your techniques must be free from "telegraphing" movements and should be as direct as possible. This must be perfected in practice and will then serve you well in combat. Kage No Michi Ninjutsu also focuses on misdirection. A feint is one example of the use of misdirection. It is sometimes necessary to preempt your attack with a feint. Misdirection is not simply a physical attack but also an attack on the mind. Make the opponent think the wrong thoughts or move the wrong way, and you make them vulnerable. Then you can defeat them. This is the idea of forcing the enemy to show you their strengths and weaknesses. Learn their strengths and avoid them. Learn their weaknesses and exploit them! Other examples of deceptive attacks are the "shadow" techniques. These techniques enable the martial artist to strike the enemy from angles or with weapons that the enemy cannot see or does not expect. Another example of deceptive attack is a baited attack. This type of attack is based on the fact that, like the opponent, the martial artist always has vulnerable spots that are always susceptible to attack. The entire body cannot be protected by only two hands and two feet. This fact can be used in one's strategy to gain an advantage and can help the martial artist take the lead in combat. Once you have determined a counter, open up an area for them to attack, draw them in, and execute the counter once they attack. (As a side note, if you are to use this type of attack, you should toughen up the areas that you will use for baiting for the times when your enemy gets through your defenses with their speed or you miss the counter.)

An opponent that is overwhelmed will be defeated. Therefore, attacks must be done overwhelmingly. As an example, when facing an opponent, one must always continue attacking regardless of the change in attitude of the opponent. If their attitude becomes offensive, you must become even more offensive. If their attitude becomes defensive, continue your attack with renewed vigor. The defensiveness that the opponent is showing is their realization that they are no longer in control of the engagement, but must now respond in defense. They have become overwhelmed. This must be capitalized on until the threat that the opponent is posing is neutralized, either through their disengagement or incapacitation. Advance in such a way so as to blast the opponent from his center both mentally and physically. This can be done mentally by breaking his concentration or physically by breaking his center of balance. Break either one of these things and you will break your opponent. Taking the balance of the opponent is central to victory. Balance creates power. Take the balance of the enemy, while maintaining your own, and you take their power. And if the opponent is powerless, your attack becomes overwhelming and unstoppable. Keep the opponent off balance and on the defensive; In this way you will be able to control the fight. Persist in your attack, and "chase" them mentally and physically; In this way, you will be able to defeat them with ease.

Keep in mind that in Kage No Michi Ninjutsu, even a deflection or parry is an attack. These are not blocks, in the traditional sense, but more "redirections" of attacks, or counterattacks. The idea is not to try to actually forcefully stop the opponent's attack, but rather to "move" it around your body, or in other words away from its target. This is because redirecting the force of an attack is far less damaging to your body, and therefore much more desirable than trying to actually directly stop attack as it approaches your body. Ideally, a deflection or parry should be executed as strikes to nerves, bones, or muscle tissue or should be executed as "traps" or grabs. The idea is always to maximize efficiency of movement, while also inflicting as much damage as possible. So even when the enemy is attacking, the martial artist is attacking back simultaneously. In this way, the martial artist's attack is able to be used defensively, as a sort of counterattack, and by doing so, it turns the tables on the attacker. This is what enables the martial artist to attack overwhelmingly.

Kage No Michi Ninjutsu also emphasizes the "going in" on an attack. In this way, you are able to close on your enemy when you choose regardless of the enemy's strength. This can be true throughout the engagement. You must not let the enemy retake distance that you have already covered and give them time to regroup. Take it from them and you will take the engagement as well. There can be no hesitation. You must simply overwhelm the opponent.

Kage No Michi Ninjutsu emphasizes the goal of any combative situation: To defeat the adversary. When you are put in a position where physical confrontation is the only option, do not stop attacking until you have achieved this goal. Crush the body and spirit of the opponent and do not stop until you have done so. A battle must not end until the antagonist has been disabled. This is largely because, when attacked, the martial artist does not want to have to deal with the same attacker more than once. In addition, the martial artist does not want to fight any longer than is absolutely necessary. After all, what if the opponent has friends watching, or even if his friends have just noticed that their friend is in the middle of a confrontation? The possibility of adversaries teaming up and outnumbering you is always a threat to take into consideration. For this reason, avoiding a skirmish in which you are or can potentially be outnumbered is an area of focus in Ninjutsu's teaching. After all, a one-on-one battle three times is much more in your favor than a single three-on-one bout. Therefore, for these reasons, you must do your best to disable the opponent during the first clash, and do so as quickly as possible. Attack with full force and do not stop until you have neutralized your opponent. Remember that this must be the only way to practice in training. The match should not end when a point is scored, but when one combatant has demonstrated dominance over the other and that the other would be disabled if pads were not worn. Although this philosophy may not win many point tournaments, it will win many battles, which is what really matters.

The martial artist must realize that the human body is made up of only two hands and two feet. These are the only basic defenses that it has. This being the case, no human can truly protect every part of his or her body, and as a result, there are always vulnerable spots on the body; Find them and capitalize on them. Also, it is important to remember that when an enemy attacks with his hands or feet, these weapons can no longer defend areas that they were once defending. For example, if an attacker's fist is reaching for your head, then the side of his head and body that his outstretched arm and hand were once guarding is now 'open'. New lines of attack are opened to the martial artist. One must immediately take advantage of these new openings by parrying, deflecting, or evading the enemy's attack and attacking these areas simultaneously and not engage "weapon for weapon".

All attacks must be done with conviction. What this means is that when you attack, attack with all of yourself. There can be no reservation in spirit or in the body. There is little room for thinking about protecting every single area of your body at this stage of combat. Of course, one must continually train to naturally protect areas while attacking, however, in Kage No Michi Ninjutsu, the martial artist is committed to the attack in such a manner that he or she is not distracted by the thought of possibility of getting hurt in retaliation. As Bruce Lee has said, "Let your opponent graze your skin and you smash into his flesh; let him smash in to your flesh and you fracture his bones; let him fracture your bones and you take his life". With training in this style, it will be easy to open lines of attack, but it is another thing entirely to have the courage to take advantage of the opening when it presents itself. Also, conviction will enable you to redirect your attack should it be obstructed in any manner. If you find it difficult to penetrate an opponent's defense, then go to areas where their defense is weaker. You will eventually break through if this is done with conviction.

In a combat situation, one must be able to fight vigorously and not be defensive. Kage No Michi Ninjutsu stresses the concept of "the lead" in combat, which is much like the lead used in dancing terms, to describe the idea that one dancer is following, or reacting to the other's movements. In Kage No Michi Ninjutsu, the idea is the same, meaning that the lead is the term we use to describe the concept that one combatant is actually in control of the confrontation. In a fight, there is always one person who needs to respond to the attacks of the other, or in other words, defend. If one attacks, the other must defend or, as Kage No Michi Ninjutsu teaches, the other can counterattack. Simply put, the person on the offensive is the one with the lead. Taking the lead forces the other person to react, or "follow" your lead, which makes the "follower" defensive. This, in turn, necessitates another principle of Kage No Michi Ninjutsu, which is that when it comes to any bout, the martial artist must either take the lead, or hold the enemy off and then take the lead, or force the lead at any possible moment. It is preferred to either take the lead or to force it as this will not enable your attacker to control the engagement for any length of time. You must have the will and resolve to do this, and this must be developed in practice. But remember, this is in the best case scenario. Therefore, one must also practice good evasion skills as well to ensure one's ability to hold off an attacker if necessary.

When you fight, always be prepared to change your techniques in the midst of battle. This means redirecting your attack or employing entirely new attacks if the opponent blocks your attack. This will force your opponent to have to adapt (if they can) and will keep them guessing. Also, your ability to change your technique will enable you to exploit any patterned response that the enemy may have to previous techniques. Further, to maximize versatility, the martial artist must not become entangled with the enemy in the midst of combat to the point that one cannot free oneself in an instant if necessary. Kage No Michi Ninjutsu emphasizes striking over grappling (ground fighting). The most practical elements of grappling are taught and are essential to maintain overall versatility, and the martial artist must be able to hand themselves in grappling situations, but grappling has too many limitations to the martial artist to be a primary focus. As I have said, the martial artist must always be ready to break free of the enemy if necessary. This is especially true when it comes to multiple attackers. It is very difficult, if not impossible, to defend oneself effectively against multiple attackers if you are tied up on the ground with an enemy. When you are on the ground, you are limited in the types of distances you can control (solely close-range) and you cannot evade. Also, in grappling, your weapons are usually entangled with the enemy's weapons. This renders them much less effective. However, since the martial artist may not know if they are fighting multiple attackers, this principle must not be dismissed.

Efficiency in combat refers to economy of motion and the removal of inessential aspects of attack. The utilization of this principle increases the relative speed, or "quickness", of the martial artist and will keep them from tiring as a result of unnecessary movement. Techniques in Kage No Michi Ninjutsu reflect this principle. As an example, Kage No Michi Ninjutsu emphasizes evasion, parrying, and deflection. This is because that without practiced deflection and parrying, the only option left to the fighter is to block and constantly get around the enemy's weapons. Although there may be times where one must get around the weapons of the enemy, this is not the most efficient or most effective method of dealing with an enemy. Instead, the martial artist moves the enemy's weapons out of the way to allow the martial artist's weapons to be utilized. The martial artist will open up lines of attack and use the opponent's energy against them. Do not develop the defensive attitude of blocking, but rather the art of attacking. When this is done, it must be done simultaneously and not done as a block followed by a counter. This will maximize the effectiveness of the attack and, as mentioned previously, will increase the "quickness" of the practitioner. Also, to maximize efficiency, one must defeat the enemy with the fewest number of attacks possible. Striking vital areas allows the martial artist to do this. Remember, you are in danger as long as the fight is looming or in progress, so end it quickly. This means that one's goal in attacking must be to defeat any attacker with simply one attack. Sometimes, it is even possible to defeat an attacker without any physical confrontation (See Attack The Body And Mind). This would be the ultimate in efficiency and should be the martial artist's primary method of winning a fight.

Kage No Michi Ninjutsu teaches the martial artist to maintain awareness at all times, but especially during a confrontation. You should always be alert, but especially in a fight, because you must always be aware of what an opponent is doing, what weapons he or she has or are available, and also what is happening around you. One important goal would be to avoid developing 'tunnel vision' during a fight. If this happens, you open yourself up not only to attacks from other attackers but other dangers from outside elements as well. As an example, you must be aware of how your enemy is standing, whether or not they could be concealing a weapon, and you must also note any visual clues as to how they move. These clues will aid you in developing your strategy against your opponent. Awareness is vital to success in combat and therefore, just like every other skill, must be practiced and developed through training.

Your opponent is more than just a body. This principle is often overlooked in many martial arts styles. That is to say that although all martial arts styles teach how to attack the body, the weapons that can and must be used to attack the opponent's mind as well are often overlooked. Scare him with your voice! Frighten him with your body! Use a weapon or anything around you that can be used as a weapon to worry your adversary. This will force him off his mental center and will give you the advantage. In this way, you can get the enemy to "collapse" under the pressure of your attack. Then you can force him into making unnecessary movements, throw off his timing and rhythm, and make him lose focus. This necessitates the need for him to gather himself and places him in his most vulnerable state. You must learn to utilize your voice, your body, any weapons, or objects that can be used as weapons at your disposal. These are all weapons, and you must recognize that your weapons can have a daunting effect in themselves without you even touching your opponent! Use anything you can to attack your opponent's concentration and courage. If you can make your opponent fear you, you have already won. But, even by making he or she worry about you, and what you can do to them, you have already defeated them by defeating their mind; Their will to fight will fade, if not disappear entirely, and he or she will almost certainly lose, if he or she indeed decides to attack at all. Think of this as sort of a self-fulfilling prophecy. If he does not even believe he CAN win, then he will not. Therefore, you must be resolute of spirit, have supreme confidence, and have courage of conviction in your attacks.

Kage No Michi Ninjutsu emphasizes realism and effectiveness in practice and in combat. This is especially true when it comes to multiple attackers. The martial artist must always be prepared for the possibility of many adversaries. Therefore, there are guidelines that must be followed to be successful in this type of combat.

1. Attack the strongest enemy first. (With practice, the martial artist will hone their ability to recognize the strongest attacker.) Remember, it is simply logical that, to help ensure success, the martial artist should be at their strongest to deal with the strongest opponent. Then, as the martial artist begins to tire, the overall strength of the group will also diminish. Incapacitate the strongest adversary and make an example out of them to their fellows, as necessary. This will intimidate and scare them, force them from their focus and at the very least, cause them to reconsider engaging in further combat.

2. Finish the adversaries quickly with few attacks. Ideally, this should be done with one attack. One must attack the vital areas and make the attack decisive. There is no time to waste. Remember, there are several adversaries and the odds must be evened out as quickly as possible to help ensure victory.

3. Be mindful of one's own physical state but do not focus solely on it. The martial artist should be aware of their current stamina level, breathing, strength, etc. and alter their fighting method accordingly. For example, if one's left arm is tired, attack with the left leg. If one's left leg is tired, attack with the right. In this way, the martial artist gives their weapons time to recover until they are needed again.

4. Take the position that is most advantageous to deal with multiple adversaries. For example, standing in a doorway or in a corner helps nullify their numbers. Further, this limits the number of enemies that can attack at one time to one or two at a time. This will help negate their advantage of having greater numbers.  Doorways can also allow for convenient exits!

5. Use the body of one enemy against another. Multiple attackers often get in each other's way. The martial artist should fight in such a way so as to force this to happen. Use every enemy to shield you from another.

6. Do not go to the ground unless absolutely necessary. Grappling with one enemy ties up one's weapons and defenses. One must stay on one's feet in order to stay maneuverable and able to quickly respond to different attacks. If the martial artist is taken down, they must get back to their feet as quickly as possible.

7. Maintain an exit to use if necessary. No one is invincible. Remember that success in combat is defined as having survived the engagement. Do not let the enemies impede the method of escape. If one does, remove them and reopen the path. In this way, one will survive the engagement. 

Our Theory on Versatility

One of the characteristics that set a martial artist apart from other martial arts practitioners is their ingenuity. Throughout the history of Ninjutsu, martial artists have utilized unorthodox weapons and techniques to accomplish their goals: And that has not changed. A practitioner of Ninjutsu must be versatile, unorthodox, and creative in combat.

Improvisation and versatility can manifest itself in several ways. First of all, the martial artist's ability to use improvised weapons is a great advantage in combat. The martial artist's weapons extend far beyond the body. Rocks, dirt, grass, ashtrays, car keys, pens, belts, coins, flashlights, and many other things are everyday items that are at the martial artist's disposal at almost any given time. These things should be used to accomplish the ultimate goal: Achieving victory in combat. Secondly, the martial artist must learn to take advantage of the environment. Many things in the environment may be taken advantage of and even used as weapons: Even something as far away as the sun. When fighting an opponent, one should keep the sun to one's back and in the enemy's eyes. These types of things give the martial artist an even greater advantage over an opponent who is not trained in a similar fashion.

It is also important to remember that anything that one can use against an opponent may be used against oneself as well. Therefore, keep in mind that the enemy also has use of these things and always be aware of these potential threats. The martial artist must neutralize these threats right away by taking advantage of them before the opponent is able to do so.

It is good training to take note of improvised weapons and environmental factors throughout one's daily routine. Then, when necessary, it will be easier for one to take advantage of one's surroundings when the need arises and will help maximize one's versatility and ability to improvise. Remember to train always!