Ninjutsu

What is Ninjutsu?

Ninjutsu, also written as shinobi no jutsu or ninpō, is a modern collective term for skills associated in historical sources with shinobi: covert scouts, messengers, informants, and specialists in unconventional warfare in premodern Japan. There was probably never a single, uniform historical discipline with one fixed curriculum.

Historical sources mention, among other things, gathering information, travel, disguise, terrain reconnaissance, escape, survival, and tactics. Modern schools that teach Ninjutsu are contemporary martial arts organizations. Their historical lineage and precise authenticity are subject to debate.

In popular culture, the ninja often appears as someone in a black suit with magical powers. Historically, that image is far less certain: disguising oneself as a civilian, traveler, monk, merchant, or other recognizable figure was probably more important than wearing a conspicuous uniform. [Sources: Bansenshūkai, Shōninki, Ninpiden; https://www.bujinkan.com/]

Origins and historical context

Espionage and covert reconnaissance were documented in Japan at an early stage. The Shōninki connects shinobi activities with the Genpei War and the Kenmu period, but such passages do not prove that a fully developed ninjutsu system already existed at that time.

The development of regional shinobi practices is mainly associated with the political instability of the late Middle Ages, the Nanboku-chō period, the Muromachi period, and the Sengoku period. Kōka in Shiga and Iga in Mie later became famous as areas with local warrior families, alliances, and knowledge of guerrilla warfare and intelligence work.

Stories about Daisuke Togakure and Kain Dōshi, the origins of Togakure-ryū, and their meeting belong to the genealogical tradition of modern schools. They are described here as tradition and claim, not as undisputed archaeological evidence.

During the Edo period, manuals appeared on reconnaissance, disguise, observation, tools, religious symbolism, and tactics. Important works include the Ninpiden from 1655, the Bansenshūkai from 1675, and the Shōninki from 1681. [Sources: Shōninki; Bansenshūkai; Ninpiden]

The nine traditions within Bujinkan

Masaaki Hatsumi founded Bujinkan around nine ryūha that, according to the organization, he received from Toshitsugu Takamatsu. Bujinkan Budō Taijutsu encompasses three traditions that the organization identifies as ninjutsu ryūha—Togakure-ryū, Gyokushin-ryū, and Kumogakure-ryū—and six traditions described as samurai bujutsu. Researchers do not all assess the historical authenticity and continuity of these claims in the same way.

Sources and Shinobi Knowledge

Historical manuals show that shinobi knowledge extended beyond fighting. They describe adapting to the terrain, traveling, disguises, observation, signaling methods, everyday occupations, and sometimes religious or astrological frameworks. This does not mean that every shinobi mastered all these skills.

The Bansenshūkai symbolically organizes certain tactics under natural elements. Hitsuke, for example, is described as a distraction involving fire; other names refer to hiding in trees, water, or terrain. Such terms are historical categories, not instructions for arson, camouflage, or infiltration.

Onmyōdō, kuji symbolism, and Shugendō influenced parts of the later portrayal of shinobi. Claims about magic, invisibility, immobilization, or superhuman feats belong to folklore, ritual, or popular culture, not proven sports techniques.

Jinichi Kawakami and Modern Reconstruction

Jinichi Kawakami is mentioned in modern sources as a researcher, teacher, and former head of the Kōga Ban family tradition. His work illustrates how contemporary ninjutsu can encompass heritage research, transmission, and reconstruction.

Training in modern Ninjutsu

Modern training varies by organization. Within Bujinkan Budō Taijutsu, the emphasis is generally on taijutsu: natural movement, posture, balance, distance, breakfalls, rolling, evasion, controlled joint locks, and throws. Partner training is usually cooperative and exploratory, rather than focused on points or knockouts.

A class may also include formal techniques, strategy, environmental awareness, and controlled weapons training. Bō, hanbō, bokken, and other training equipment are used only under expert supervision. The content, protective equipment, and admission requirements vary by dojo.

Bujinkan has no regular competition structure like judo, karate, or kickboxing. The aim is generally technical development, self-control, body awareness, and the study of self-defense. In this context, that makes Ninjutsu more of a martial art than a competitive sport.

Historical sources also mention conditioning, climbing, swimming, disguise, travel, and terrain reconnaissance. Modern practitioners should not confuse these subjects with practical instructions for covert entry, sabotage, or violence.

Tactics, disguise, and legend

Historical ninjutsu sources often emphasize not being seen, gathering information, and returning safely. Disguises as a priest, yamabushi, entertainer, merchant, fortune-teller, monk, or woodcutter appear in the literature. The black ninja outfit is probably mainly a later artistic convention, partly influenced by kabuki and bunraku.

Stories about gliders, walking on water, secret tunnels, magical hand signs, and control over the elements are part of the ninja legend. Japanese kites were used for signals and messages, but the image of a person flying like a hang glider over enemy territory belongs to fantasy.

The kunai was probably primarily a multifunctional tool resembling a mason’s trowel, while it is often portrayed today as a throwing knife. Likewise, a specific straight ninjatō cannot simply be projected back onto the medieval ninja.

Ninjutsu in the Netherlands

Ninjutsu emerged in the Netherlands in the early 1980s, during the same period when the international ninja craze grew rapidly through films and television. Dutch practitioners traveled to Japan and joined international organizations associated with Masaaki Hatsumi. Ron Sleeswijk is mentioned in Dutch sources as an early pioneer and technical instructor within the Bujinkan Brian Dojo structure. [Source: https://sleeswijk.nl/sps/home.php?page=ninjutsu; https://nl.wikipedia.org/wiki/Bujinkan]

According to the sources provided, Bujinkan Brian Dojo was founded in 1983 by Brian McCarthy. In November 1987, Ron Sleeswijk founded Sportschool Sleeswijk in Rotterdam-Kralingen. According to its own information, the school offers Ninjutsu, kenjutsu, and fitness-focused training. Current class times and affiliated dojos should be checked directly with the school.

Examples mentioned in the Netherlands include Bujinkan Dojo Rotterdam, Bujinkan San Shin Dojo in The Hague/Rijswijk, Bujinkan Utrecht, Bujinkan Amersfoort, Bujinkan Shinden Dojo in Groningen, and dojos in the Deventer/Zutphen region. This list is illustrative and is not a complete or permanent directory.

Ron Sleeswijk and stunt work

In addition to his martial arts background, Ron Sleeswijk is mentioned as a stuntman, fight choreographer, and stunt coordinator. The sources provided associate him with Stuntteam de Beukelaer and Stunt-Base, as well as productions such as Mindhunters, Black Book, Saint, New Kids Turbo, and The Battle of the Scheldt. [Source: https://sleeswijk.nl/sps/home.php?page=stuntteam; https://www.imdb.com/name/nm1133251/]

Dutch law and safe training

The Netherlands has strict rules for certain weapons and for possessing, transporting, importing, and using objects that may be classified as weapons. Shuriken, throwing darts, throwing knives, and similar objects should not automatically be considered permitted collection items or training equipment.

Bokken, wooden staffs, blunt training knives, and other training equipment are not automatically exempt. When transporting equipment to a dojo, use suitable packaging, ensure it is not immediately accessible, and check the current rules in advance with an official Dutch government source, the police, or a competent authority. This text provides general context and is not legal advice.

Ninjas in film, television, and documentaries

According to cultural history overviews, the modern ninja boom went through three major phases: the Sarutobi Sasuke stories in the 1910s and 1920s, the Japanese wave of films, manga, and television in the 1960s, and the international breakthrough in the 1980s. You Only Live Twice (1967), Enter the Ninja (1981), Revenge of the Ninja, and productions featuring Sho Kosugi contributed to the North American image.

Documentaries and programs such as Ancient Warriors, Unsolved History, Japanology Plus, Ninja Truth, The Search for Historical Ninjutsu, and MythBusters provide material for further research, but reconstructions and entertainment formats are not automatically historical evidence.

Ninjas in games, manga, and literature

Important video games include Sasuke vs. Commander, Ninja Hayate, The Legend of Kage, Ninja Princess, Ganbare Goemon, Saboteur, Shinobi, The Ninja Warriors, Last Ninja, Bad Dudes Vs. DragonNinja, Ninja Gaiden, Dead or Alive, and Strider. Teenage Mutant Ninja Turtles and Naruto grew into major international franchises.

In literature and manga, notable works include Sarutobi Sasuke, the novels by Eric Van Lustbader, Brett Wallace: Ninja Master, Tulku, Young Samurai, Tsuma-wa, Kunoichi, Yin-Yang Code, Ninja Hattori-kun, Kamui Den, Ninja Bugeichō, and Brave10. These works are valuable to the history of representation, but they are not historical manuals.

Ninja as a modern brand and heritage experience

From the 1980s onward, ninja became a marketing term for speed, secrecy, flexibility, and technical skill. The name appeared in advertisements, job listings, cybersecurity, motorcycles, street fashion, and video games. Cyber ninja, for example, is an informal metaphor for an advanced cybersecurity specialist.

Japanese festivals and attractions such as Iga Ueno Ninja Festa, Kōka Ninja Village, Togakushi Ninja Village, the Ninja Museum of Igaryu, historic ninja houses, and Edo Wonderland combine heritage, demonstrations, and entertainment.

The 1998 East Java ninja scare shows the darker side of the ninja image. Rumors about black magicians and secret assassins led to mass hysteria and hundreds of deaths. This belongs to the social history of fear and perceptions, not to the history of Japanese shinobi.

Anyone who wants to learn Ninjutsu should choose a dojo with experienced teachers, clear safety rules, and a transparent explanation of the lineage, training goals, and equipment used. Historical sources tell of shinobi, modern dojos train Budō, and films and games turn them into mythology.

Ninjas in popular culture

According to cultural history overviews, the modern ninja boom had three major phases: the Sarutobi Sasuke stories in the 1910s and 1920s, the Japanese film, manga, and television wave of the 1960s, and the international breakthrough in the 1980s. You Only Live Twice, Enter the Ninja, Revenge of the Ninja, and productions featuring Sho Kosugi contributed to the North American image.

Ninjas subsequently became fixtures in films, television, advertising, video games, literature, manga, and cosplay. Well-known examples include Shinobi, Ninja Gaiden, Teenage Mutant Ninja Turtles, Naruto, Ninja Hattori-kun, Young Samurai, and Eric Van Lustbader’s novels. These works are valuable for the history of representation, but they are not reliable guides to historical ninjutsu.

Documentaries and programs such as Ancient Warriors, Unsolved History, Japanology Plus, Ninja Truth, The Search for Historical Ninjutsu, and MythBusters provide material for further research. Reconstructions and entertainment formats are not automatically historical evidence.

From the 1980s onward, ninja also became a marketing term for speed, secrecy, and technical skill. Japanese festivals and attractions such as Iga Ueno Ninja Festa, Kōka Ninja Village, Togakushi Ninja Village, the Ninja Museum of Igaryu, and Edo Wonderland combine heritage, demonstrations, and entertainment.

The East Java ninja scare of 1998 illustrates the darker side of the ninja image. Rumors about black sorcerers and secret assassins led to mass hysteria and hundreds of deaths. This belongs to the social history of fear and representation, not to the history of Japanese shinobi.