KUJI ASHI The Nine Steps
The classic exercise of Ninjutsu is penetration of the enemy camp for the purpose of espionage
or assassination. This tradition and many of the techniques come to us from the 13th to
16th century practice of the Art in feudal Japan. But, the symbolism can be traced much further
back. In tribal times, when Man was first beginning to congregate in groups and responsibilities
for such things as hunting , gathering, or agriculture were becoming defined by age or ability,
those of the Pole Star School (circa 6000 B.C.) were known and feared as the best hunters and
greatest warriors of their time. Some said that this was due to secret knowledge handed down to
them from an even more ancient culture. Others, owing to the primitive nature of the times, attributed
it to one single factor– the ability to become invisible.,
This is not so incredible as it may sound. Since the history of our most ancient and honorable
Society records that tribal methods of invisibility included “walking through the smoke” of
the hunter’s campfire in order to “remove the smell of humans” from the body, making it more
difficult for any prey, most of which were armed with a much more highly developed olfactory
sense than man, from detecting the hunter. This necessarily led to an understanding of “wind”
since the wind direction also had to be considered when stalking. Once that hurdle was overcome,
the hunter was forced to develop skills like walking silently, understanding cover and
concealment, and learning the “ways” or patterns of the intended prey. Just like those who
learned, preserved, and passed on their knowledge, used to infiltrate and defeat armies of overwhelming
numerical superiority in later times.
The secret of invisibility, according to Ko Hung a Chinese philosopher and physician of the
3rd century A.D. is to “sit as still as a lizard on a rock.” In this way, one becomes a “part of the
landscape” and acts in harmony with nature. Of course, Ko Hung was referring to the practice
of meditation, one of his many teachings for health and self defense. Even he employed the
symbolism of penetrating a castle to “explain” his method.
“First, one must equip himself with the means to bribe the guards and cross the threshold
unseen. (A reference to paying one’s teacher, since Ko also said, “If your teacher you cannot
remunerate, you will have no way to operate.” But, a valuable lesson of invisibility as well.) Fly
to the sky-palace, surprise Lord Lao at his breakfast, snatch his Elixer of Immortality, fight off
those who come to defend it, break down the walls of the fortress and return to Earth an immortal.
One of your skill and ability need only follow my course of instruction to be certain of success.
” The goal of this teaching was good health and longevity. Immortality, of course, is an
absolute. But a life span of more than 250 years is not unknown among those who practice the
very exercises given in the previous section. Certainly, that would have been considered
“immortality” in an age when nutrition was poor, infant death considerable, and old age
(beyond 60) was almost unheard of.
Sitting quietly, watching the enemy, waiting for the opportunity to strike, is indeed the
practice of invisibility. But, one must be able to place oneself in a position to do so. Further, to
actually make the penetration of the enemy fortress, one cannot simple wait for the “camp to
come to him.”
Therefore, the Ninja of old devised many methods of stealth and moving silently to complement
their ability to attract no attention by making no movement. The Kuji Ashi or Nine
Steps are the classic exercise of this skill.
Man sees in three ways, by movement, silhouette, and color. Man also hears, and some hear
more acutely than others. Also, since masters can sense an alien presence, one must have a
calm mind to escape their notice. To elude all these sensory pickups is to be invisible for all
practical purposes.
To eradicate color, the Ninja employs black art, a magician’s trick. Black is the absence of
color. This means that a black surface absorbs all of the light rays incident upon it, reflecting
none. It is the reflected rays that give an object its apparent color. Further, a black surface
casts no shadow upon itself to define its depth. To the magician, this means that a box can be
made to appear empty when it actually conceals a great many objects.
To distort the silhouette, one employs yogic postures and camouflage. An example is the kimono-
ninja technique. The cape may be draped over the body in a variety of manners to alter
shape, or the kimono may be arranged independently to make it appear that one is standing
where one is not. This is called Ametori-no-jitsu.
To erase shadow and sound when moving from one position of concealment to the next, the
Ninja use the Nine Steps.
or assassination. This tradition and many of the techniques come to us from the 13th to
16th century practice of the Art in feudal Japan. But, the symbolism can be traced much further
back. In tribal times, when Man was first beginning to congregate in groups and responsibilities
for such things as hunting , gathering, or agriculture were becoming defined by age or ability,
those of the Pole Star School (circa 6000 B.C.) were known and feared as the best hunters and
greatest warriors of their time. Some said that this was due to secret knowledge handed down to
them from an even more ancient culture. Others, owing to the primitive nature of the times, attributed
it to one single factor– the ability to become invisible.,
This is not so incredible as it may sound. Since the history of our most ancient and honorable
Society records that tribal methods of invisibility included “walking through the smoke” of
the hunter’s campfire in order to “remove the smell of humans” from the body, making it more
difficult for any prey, most of which were armed with a much more highly developed olfactory
sense than man, from detecting the hunter. This necessarily led to an understanding of “wind”
since the wind direction also had to be considered when stalking. Once that hurdle was overcome,
the hunter was forced to develop skills like walking silently, understanding cover and
concealment, and learning the “ways” or patterns of the intended prey. Just like those who
learned, preserved, and passed on their knowledge, used to infiltrate and defeat armies of overwhelming
numerical superiority in later times.
The secret of invisibility, according to Ko Hung a Chinese philosopher and physician of the
3rd century A.D. is to “sit as still as a lizard on a rock.” In this way, one becomes a “part of the
landscape” and acts in harmony with nature. Of course, Ko Hung was referring to the practice
of meditation, one of his many teachings for health and self defense. Even he employed the
symbolism of penetrating a castle to “explain” his method.
“First, one must equip himself with the means to bribe the guards and cross the threshold
unseen. (A reference to paying one’s teacher, since Ko also said, “If your teacher you cannot
remunerate, you will have no way to operate.” But, a valuable lesson of invisibility as well.) Fly
to the sky-palace, surprise Lord Lao at his breakfast, snatch his Elixer of Immortality, fight off
those who come to defend it, break down the walls of the fortress and return to Earth an immortal.
One of your skill and ability need only follow my course of instruction to be certain of success.
” The goal of this teaching was good health and longevity. Immortality, of course, is an
absolute. But a life span of more than 250 years is not unknown among those who practice the
very exercises given in the previous section. Certainly, that would have been considered
“immortality” in an age when nutrition was poor, infant death considerable, and old age
(beyond 60) was almost unheard of.
Sitting quietly, watching the enemy, waiting for the opportunity to strike, is indeed the
practice of invisibility. But, one must be able to place oneself in a position to do so. Further, to
actually make the penetration of the enemy fortress, one cannot simple wait for the “camp to
come to him.”
Therefore, the Ninja of old devised many methods of stealth and moving silently to complement
their ability to attract no attention by making no movement. The Kuji Ashi or Nine
Steps are the classic exercise of this skill.
Man sees in three ways, by movement, silhouette, and color. Man also hears, and some hear
more acutely than others. Also, since masters can sense an alien presence, one must have a
calm mind to escape their notice. To elude all these sensory pickups is to be invisible for all
practical purposes.
To eradicate color, the Ninja employs black art, a magician’s trick. Black is the absence of
color. This means that a black surface absorbs all of the light rays incident upon it, reflecting
none. It is the reflected rays that give an object its apparent color. Further, a black surface
casts no shadow upon itself to define its depth. To the magician, this means that a box can be
made to appear empty when it actually conceals a great many objects.
To distort the silhouette, one employs yogic postures and camouflage. An example is the kimono-
ninja technique. The cape may be draped over the body in a variety of manners to alter
shape, or the kimono may be arranged independently to make it appear that one is standing
where one is not. This is called Ametori-no-jitsu.
To erase shadow and sound when moving from one position of concealment to the next, the
Ninja use the Nine Steps.
HAI PU (Black/Stealthy Step)
First among the Kuji Ashi is the Hai Pu, the Black/Stealthy Step. It is taught not only as a
means of moving in total darkness, but also as a type of dynamic meditation. In its advancing
and retreating action is the core of Ninjitsu. Only by this method can one develop the kinesthetic
sense of the body that is required to practice Ninjitsu. Master Hai Pu first.
This technique is used in total darkness. It is designed for the protection of the body, for
moving silently and slowly, and for attacking instantly.
1-Assume the following stance: lower the hips and raise both arms; the feet should be
one shoulder’s width apart; turn the toes inward; bend the knees and lower the hips until the
knees touch. The hips are back, the shoulders shrugged, the head is lowered. Draw the elbows
close to the chest, raise the hands above the head and extend the fingers. The eyes are directed
without being fixed at a spot on the path about ten feet away. Martial artists will recognize this
as a variation of the closed stance of Praying Mantis Kung Fu.
2-Keeping the hips and shoulders at the same level, shift the weight onto the right leg;
glide the left toes forward and out in a semicircular manner, keeping the knees together. The
body does not move above the hips, but gently weaves from side to side as weight is shifted
over each foot alternately.
3-The right foot is then drawn over to the left ankle in the loose-ankle step of Tai Chi
Chuan, and advanced in a similar manner. Practice in this step strengthens the hips and feet,
developing balance. The most important point in practicing this step is that the hips and shoulders
do not change their level. The arms act as antennae, sensing obstacles, and protecting the
head. Practice in this step develops an unconscious awareness of the body as a whole.
In kabuki theater, this technique is performed so slowly that even though the Ninja remains
in plain view, no movement is discernible. In ancient times, this method was used in crossing
the obi, or sash-belt. If confronted by a gravel path or a nightingale floor (one designed to
creak when weight is applied), the Ninja would roll his obi across the obstacle and tread its narrow
width, effectively muffling any sound which might betray him.
Practice moving forward about ten feet, then back, always directing the Qi forward.
means of moving in total darkness, but also as a type of dynamic meditation. In its advancing
and retreating action is the core of Ninjitsu. Only by this method can one develop the kinesthetic
sense of the body that is required to practice Ninjitsu. Master Hai Pu first.
This technique is used in total darkness. It is designed for the protection of the body, for
moving silently and slowly, and for attacking instantly.
1-Assume the following stance: lower the hips and raise both arms; the feet should be
one shoulder’s width apart; turn the toes inward; bend the knees and lower the hips until the
knees touch. The hips are back, the shoulders shrugged, the head is lowered. Draw the elbows
close to the chest, raise the hands above the head and extend the fingers. The eyes are directed
without being fixed at a spot on the path about ten feet away. Martial artists will recognize this
as a variation of the closed stance of Praying Mantis Kung Fu.
2-Keeping the hips and shoulders at the same level, shift the weight onto the right leg;
glide the left toes forward and out in a semicircular manner, keeping the knees together. The
body does not move above the hips, but gently weaves from side to side as weight is shifted
over each foot alternately.
3-The right foot is then drawn over to the left ankle in the loose-ankle step of Tai Chi
Chuan, and advanced in a similar manner. Practice in this step strengthens the hips and feet,
developing balance. The most important point in practicing this step is that the hips and shoulders
do not change their level. The arms act as antennae, sensing obstacles, and protecting the
head. Practice in this step develops an unconscious awareness of the body as a whole.
In kabuki theater, this technique is performed so slowly that even though the Ninja remains
in plain view, no movement is discernible. In ancient times, this method was used in crossing
the obi, or sash-belt. If confronted by a gravel path or a nightingale floor (one designed to
creak when weight is applied), the Ninja would roll his obi across the obstacle and tread its narrow
width, effectively muffling any sound which might betray him.
Practice moving forward about ten feet, then back, always directing the Qi forward.
HENG PU (Cross Step)
The second of the Nine Steps to learn is the Heng Pu. By employing this technique, it is
possible to move quickly and quietly in narrow passages, corridors, and hallways. In combat,
this stance presents a smaller silhouette to the enemy. Also, when fleeing, one presents a
smaller target. Note that tracks left by this method appear to travel in two directions at once.
Much of the actual penetration of the enemy camp will involve traversing narrow alleys
between buildings, or flattening against a wall to remain concealed in its shadow. This requires
a posture which overcomes the width of the shoulders. In order to move forward, one
must move sideways.
4-To assume this stance, stand with back to the wall, crouch slightly, bow the logs with
knees pointing out, turn the head in the direction you wish to move and lower the shoulder facing
that direction. This is an exaggerated fencing posture, with the lead toe at a 90-degree angle
to the body and the rear foot facing 135 degrees away from it.
5-Now cross-step in back with the rear leg, placing the toes past the lead foot, facing in
their original direction. The toes of each foot now face those of the other. This extreme toe-in
position is necessary to allow clearance for the lead leg which is drawn through as weight is
shifted onto the rear leg. Step out with the lead leg to again assume the original position.
6-Having developed some skill in this technique, begin to practice the Cross Step in
front. Each of these has its uses and applications. Bear in mind the importance of the toe-in position
during this exercise as well.
7-The eyes scan the ground about three yards in front of’ the feet. Care must be taken
not to look toward the enemy when moving, as the face may reflect moonlight and the eyes will
shine if struck directly by a strong light. Further, obstacles which may lie in the path (stones,
trip wires, etc.) are more readily visible. Using tile eyes ill this manner takes advantage of pupil
dilation. When looking ahead, the pupils contract as light enters the eye. By focusing on the
path, less fight enters the eye. The pupils expand and more is seen through the rod cells, resulting
in a type of off-center vision.
8-The Heng Pu is easily mastered and enables one to move quickly over great distances,
making no sound, with little fatigue. Practice by moving flat along a wall without touching it.
The step should be at least one yard per pace, at the speed of a double-quick march. Once this
level has been achieved, crouch lower. This strengthens the legs and makes it possible to move
quickly in low shadows and under windows.
9-When passing a window in this manner, it is advisable to listen for sounds from inside.
Should the occupants be silent or snoring, or be engaged in an activity which requires
their attention, they are less likely to detect your presence. One should listen at both sides, before
and after passing.
possible to move quickly and quietly in narrow passages, corridors, and hallways. In combat,
this stance presents a smaller silhouette to the enemy. Also, when fleeing, one presents a
smaller target. Note that tracks left by this method appear to travel in two directions at once.
Much of the actual penetration of the enemy camp will involve traversing narrow alleys
between buildings, or flattening against a wall to remain concealed in its shadow. This requires
a posture which overcomes the width of the shoulders. In order to move forward, one
must move sideways.
4-To assume this stance, stand with back to the wall, crouch slightly, bow the logs with
knees pointing out, turn the head in the direction you wish to move and lower the shoulder facing
that direction. This is an exaggerated fencing posture, with the lead toe at a 90-degree angle
to the body and the rear foot facing 135 degrees away from it.
5-Now cross-step in back with the rear leg, placing the toes past the lead foot, facing in
their original direction. The toes of each foot now face those of the other. This extreme toe-in
position is necessary to allow clearance for the lead leg which is drawn through as weight is
shifted onto the rear leg. Step out with the lead leg to again assume the original position.
6-Having developed some skill in this technique, begin to practice the Cross Step in
front. Each of these has its uses and applications. Bear in mind the importance of the toe-in position
during this exercise as well.
7-The eyes scan the ground about three yards in front of’ the feet. Care must be taken
not to look toward the enemy when moving, as the face may reflect moonlight and the eyes will
shine if struck directly by a strong light. Further, obstacles which may lie in the path (stones,
trip wires, etc.) are more readily visible. Using tile eyes ill this manner takes advantage of pupil
dilation. When looking ahead, the pupils contract as light enters the eye. By focusing on the
path, less fight enters the eye. The pupils expand and more is seen through the rod cells, resulting
in a type of off-center vision.
8-The Heng Pu is easily mastered and enables one to move quickly over great distances,
making no sound, with little fatigue. Practice by moving flat along a wall without touching it.
The step should be at least one yard per pace, at the speed of a double-quick march. Once this
level has been achieved, crouch lower. This strengthens the legs and makes it possible to move
quickly in low shadows and under windows.
9-When passing a window in this manner, it is advisable to listen for sounds from inside.
Should the occupants be silent or snoring, or be engaged in an activity which requires
their attention, they are less likely to detect your presence. One should listen at both sides, before
and after passing.
P’A PU (Night Walking Ability)
Third among the Nine Steps is Pa Pu, or Night Walking Ability. This movement is developed
by running on the balls of the feet. After much practice, add weight to the ankles. This
strengthens the feet, making it possible to walk on tiptoe for great distances. This aids in eliminating
sound.
10 -P’a Pu is employed when it is necessary to move quietly and quickly forward. Exhale
and tense the Hara. Lower the body for better balance. Extend the arms, palms down, at
waist level. Step forward with the left foot first, balancing on the right leg. Place the toes
lightly on the surface, and shift body weight forward.
11 -As you move over the left foot, draw the toes back slightly, press the left heel down
lightly. Glide forward, advancing the right foot in a similar manner. It will be noted that this is
a variation of the hunting step, in which the toes may be used to clear leaves, twigs, and other
small debris from the path before stepping on them.
by running on the balls of the feet. After much practice, add weight to the ankles. This
strengthens the feet, making it possible to walk on tiptoe for great distances. This aids in eliminating
sound.
10 -P’a Pu is employed when it is necessary to move quietly and quickly forward. Exhale
and tense the Hara. Lower the body for better balance. Extend the arms, palms down, at
waist level. Step forward with the left foot first, balancing on the right leg. Place the toes
lightly on the surface, and shift body weight forward.
11 -As you move over the left foot, draw the toes back slightly, press the left heel down
lightly. Glide forward, advancing the right foot in a similar manner. It will be noted that this is
a variation of the hunting step, in which the toes may be used to clear leaves, twigs, and other
small debris from the path before stepping on them.
SHE PU (Serpent Step)
The fourth technique is called She Pu, the Serpent Step. It is so named because the action of
the Ninja’s body resembles that of a snake. She Pu is used at times when one must move close
to the ground to avoid being discovered. Use She Pu when cover is scarce, visibility permits
good enemy observation, and speed is not essential.
12 -Keep the body as flat as possible. The hands are kept palms down, near the face,
with elbows close to the body, legs spread, and toes outward. The head is lifted to observe the
enemy. Study the movements of a stalking cat to perfect this approach. To move forward, extend
the arms and draw the left leg forward. Pull with the arms and the toes of the left foot.
The weight is borne on the forearms and the left leg from knee to ankle. Thus, the body is lifted
slightly above the ground to prevent scraping or dragging noises. Change the pushing leg frequently
to avoid fatigue. Stop, listen, and observe after each movement. Silence and slow
movement are essential. This technique is also taught in every military service in the world.
Most frequently called the Low Crawl and practiced under barbed wire while live rounds ricochet
overhead to acclimate the recruit to battle. In South Africa it is known as the Leopard
Crawl, because that is the action of the animal that most closely resembles that need to be successful.
To the Ninja, however, the technique includes the injunction to “weave back and forth
across the line of travel” in serpentine fashion to disguise the trail and avoid gunfire.
the Ninja’s body resembles that of a snake. She Pu is used at times when one must move close
to the ground to avoid being discovered. Use She Pu when cover is scarce, visibility permits
good enemy observation, and speed is not essential.
12 -Keep the body as flat as possible. The hands are kept palms down, near the face,
with elbows close to the body, legs spread, and toes outward. The head is lifted to observe the
enemy. Study the movements of a stalking cat to perfect this approach. To move forward, extend
the arms and draw the left leg forward. Pull with the arms and the toes of the left foot.
The weight is borne on the forearms and the left leg from knee to ankle. Thus, the body is lifted
slightly above the ground to prevent scraping or dragging noises. Change the pushing leg frequently
to avoid fatigue. Stop, listen, and observe after each movement. Silence and slow
movement are essential. This technique is also taught in every military service in the world.
Most frequently called the Low Crawl and practiced under barbed wire while live rounds ricochet
overhead to acclimate the recruit to battle. In South Africa it is known as the Leopard
Crawl, because that is the action of the animal that most closely resembles that need to be successful.
To the Ninja, however, the technique includes the injunction to “weave back and forth
across the line of travel” in serpentine fashion to disguise the trail and avoid gunfire.
LUNG PU (Dragon Step)
The Dragon Step is a variation of the Serpent Step. Use the Lung Pu technique when cover
and concealment are available, when poor visibility reduces enemy watchfulness, and when
more speed is needed.
13 -Keep the body free of the ground by resting body weight on the forearms and lower
legs. The knees are maintained low behind the buttocks to reduce silhouette. Move forward by
alternately advancing the right knee/left elbow and the left knee/right elbow. For the most part,
sounds made by these motions are muffled by the costume. However, in this position one is
quite vulnerable. It is therefore recommended for use in the primary ingress phase, which is beyond
the enemy reach, but not beyond his field of view. In most military and paramilitary
forces, this technique is referred to as the High Crawl and resembles the action of a lizard darting
across a patio. In both of these techniques, the most common error is to let the buttocks bob
up and down when moving. This, of course, leads to embarrassing injuries on the battlefield,
and the unusual movement often attracts the attention of posted sentries.
and concealment are available, when poor visibility reduces enemy watchfulness, and when
more speed is needed.
13 -Keep the body free of the ground by resting body weight on the forearms and lower
legs. The knees are maintained low behind the buttocks to reduce silhouette. Move forward by
alternately advancing the right knee/left elbow and the left knee/right elbow. For the most part,
sounds made by these motions are muffled by the costume. However, in this position one is
quite vulnerable. It is therefore recommended for use in the primary ingress phase, which is beyond
the enemy reach, but not beyond his field of view. In most military and paramilitary
forces, this technique is referred to as the High Crawl and resembles the action of a lizard darting
across a patio. In both of these techniques, the most common error is to let the buttocks bob
up and down when moving. This, of course, leads to embarrassing injuries on the battlefield,
and the unusual movement often attracts the attention of posted sentries.
T’U PU (Rushing Step)
The Kuji Ashi’s sixth step, Tu Pu, is the fastest way to move from one point of concealment
to another. Unfortunately, it also exposes one to enemy observation. The Rushing Step is employed
only when sufficient background exists to prevent silhouetting or when the enemy’s attention
is distracted.
14 -From the prone position, slowly raise the head and select your next point of concealment.
Lower the head, draw the arms into the body, keeping the elbows in, and pull the
right leg forward.
15 -In one movement, raise the body by straightening the arms. Spring to tile feet. stepping
off with the left foot first.
16 -Run to the new position using the shortest route. Carry the body on the balls of the
feet, in a crouch, with the shoulders rounded, arms hanging loosely at knee level. Press the first
knuckle of each index finger with the ball of the thumb. The fingers are thus curled loosely and
are carried as though the hands were sliding along a rail. This is known as Pao Nei An, or
"running in darkness."
17 -As you near the next position, plant the feet slightly apart, drop to the knees as quietly
as possible, fall forward and break the impact with the heels of the hands. Shift your
weight to either side and roll over into position behind cover. Lie as flat as possible. If you
think your movement was observed, move to the right or left as cover permits.
to another. Unfortunately, it also exposes one to enemy observation. The Rushing Step is employed
only when sufficient background exists to prevent silhouetting or when the enemy’s attention
is distracted.
14 -From the prone position, slowly raise the head and select your next point of concealment.
Lower the head, draw the arms into the body, keeping the elbows in, and pull the
right leg forward.
15 -In one movement, raise the body by straightening the arms. Spring to tile feet. stepping
off with the left foot first.
16 -Run to the new position using the shortest route. Carry the body on the balls of the
feet, in a crouch, with the shoulders rounded, arms hanging loosely at knee level. Press the first
knuckle of each index finger with the ball of the thumb. The fingers are thus curled loosely and
are carried as though the hands were sliding along a rail. This is known as Pao Nei An, or
"running in darkness."
17 -As you near the next position, plant the feet slightly apart, drop to the knees as quietly
as possible, fall forward and break the impact with the heels of the hands. Shift your
weight to either side and roll over into position behind cover. Lie as flat as possible. If you
think your movement was observed, move to the right or left as cover permits.
JU MEN PU (Entering Pivot)
The seventh step is the Ju Men Pu, or Entering Pivot. This consists of a short retreat, heel
first, without shifting the body weight. It is also the basis for the Iluo Nei Kuo (Capture by
Passing) of Tonpo. Practice is most effective when turning the corner.
18 -Approach the barrier, press against it, resting the weight forward. Place the near
hand by the knee and the back hand close to the face. Slowly lean the head forward and peek
around the corner. The lower this is done, the smaller the chances are of being observed.
19 -Having determined that movement can be accomplished safely, draw the head back
out of sight. Step quickly around the corner with the lead foot (in this case the left), placing the
heel in the final position shown. The right leg does not move at this point, thus placing one in a
wide Horse Stance diagonally against the edge of the building. The back glides around the corner
without touching it as the weight is shifted onto the left leg. When the hips have cleared the
wall, the right leg is drawn around to close the stance. Press your back to the wall and check to
see that this action was not seen before proceeding.
This step also appears in the combat applications of Ninjitsu and is used in much the same
manner as the “entering pivot” of Aikido, to grab the enemy’s wrist, lift it above the head, step
underneath, turn, and put the opponent in a wristlock.
first, without shifting the body weight. It is also the basis for the Iluo Nei Kuo (Capture by
Passing) of Tonpo. Practice is most effective when turning the corner.
18 -Approach the barrier, press against it, resting the weight forward. Place the near
hand by the knee and the back hand close to the face. Slowly lean the head forward and peek
around the corner. The lower this is done, the smaller the chances are of being observed.
19 -Having determined that movement can be accomplished safely, draw the head back
out of sight. Step quickly around the corner with the lead foot (in this case the left), placing the
heel in the final position shown. The right leg does not move at this point, thus placing one in a
wide Horse Stance diagonally against the edge of the building. The back glides around the corner
without touching it as the weight is shifted onto the left leg. When the hips have cleared the
wall, the right leg is drawn around to close the stance. Press your back to the wall and check to
see that this action was not seen before proceeding.
This step also appears in the combat applications of Ninjitsu and is used in much the same
manner as the “entering pivot” of Aikido, to grab the enemy’s wrist, lift it above the head, step
underneath, turn, and put the opponent in a wristlock.
PIEN PU (Side Step)
Eighth among the Kuji Ashi is the Pien Pu, or Side Step. Though similar to the Heng Pu
(Cross Step) in that movement is directed to the side, Pien Pu is employed to move more slowly
in narrow spaces. Its best use comes when passing through a threshold, such as a door.
20 -Press your shoulder to the wall, placing the lead hand near the hip and the rear hand
near the shoulder. Crouch, and peek around the doorway, noting the position of any occupants
or sentries. The lower this is done the more effectively hidden you will be, since most people
tend to look and search at eye level first. Key your actions. to the movement of the enemy head
by directing your attention to the base of his skull.
21 -Withdraw the head, maintaining a slight body pressure against the wall. As quickly
and silently as possible, push off with the rear leg (the right in this case), stepping clear across
the door opening in one swift motion. This will look like a quick sideways hop, landing on the
left leg first. As you cross by this method, glance at the enemy by turning to look over your
right shoulder. This is the safest way to pass an open doorway.
22-Having gained a position on the opposite side of the doorway, assume the illustrated
position and check around the corner to insure that your movement was not observed.
If one is confronted by an open doorway at night, with light falling across the path, it is preferable
to move outside the circle of light, remaining invisible in the shadows.
(Cross Step) in that movement is directed to the side, Pien Pu is employed to move more slowly
in narrow spaces. Its best use comes when passing through a threshold, such as a door.
20 -Press your shoulder to the wall, placing the lead hand near the hip and the rear hand
near the shoulder. Crouch, and peek around the doorway, noting the position of any occupants
or sentries. The lower this is done the more effectively hidden you will be, since most people
tend to look and search at eye level first. Key your actions. to the movement of the enemy head
by directing your attention to the base of his skull.
21 -Withdraw the head, maintaining a slight body pressure against the wall. As quickly
and silently as possible, push off with the rear leg (the right in this case), stepping clear across
the door opening in one swift motion. This will look like a quick sideways hop, landing on the
left leg first. As you cross by this method, glance at the enemy by turning to look over your
right shoulder. This is the safest way to pass an open doorway.
22-Having gained a position on the opposite side of the doorway, assume the illustrated
position and check around the corner to insure that your movement was not observed.
If one is confronted by an open doorway at night, with light falling across the path, it is preferable
to move outside the circle of light, remaining invisible in the shadows.
Ml LU PU (Lost Track Pivot)
The last of the Nine Steps is the Mi Lu Pu, or Lost Track Pivot. It consists of two 90-degree
side steps, turning the body to face oppositely from its original position. It is taken from the
Lost Track Form, an ancient kata (practice form) of the Ninja. During Inpo, it is best employed
to dart behind cover; in Tonpo, it may be used to suddenly turn and face the enemy, or to gain a
position behind him.
24 -Assume the following posture to practice this form. Stand in a basic Horse Stance,
knees slightly bent with toes pointing forward, the body lowered slightly, shoulders squared,
eyes looking straight ahead. The classic Two Man Exercise of this invisibility technique is to
begin standing behind the training partner, completely hidden from view, and tap him on the
left shoulder.
25 - As he turns to see what touched him, shift your weight over the right foot and lean
deeply toward your right forward corner.
26 - As he looks back to his right, shift to your left. Drawing the right foot near the left
ankle as you duck down to remain out of sight. Keep the shoulders square and hold the head
steady. Do not try to keep looking forward, as this will upset your balance. Instead, focus your
attention on the base of his skull.
27 - As he continues to turn to his right, step forward past him with your right foot. The
instant the right foot touches the ground, shift the weight to that side and execute a 90-degree
pivot to your left rear corner, by drawing the right foot to the left ankle and stepping out 90 degrees
to the right. You now face 180 degrees from your first position. Still behind the opponent.
Fig. 28– As he steps to his rear with his left foot, pursue the enemy and drop your left arm
over his head in preparation for applying the Japanese Stranglehold.
29 –Wrapping the left arm around his throat, apply the Sleeperhold and render him silently
and painlessly unconscious. This technique has been used by soldiers and assassins for
centuries to neutralize posted or patrolling sentries.
This is sometimes known as the Spinning Back Pivot, or the Box Step. When employing
this technique to duck behind cover, or remain invisible behind an opponent, it is not always
possible to make exact angles on these pivots. Only practice will enable you to master this.
The exercise helps develop the legs and balance. It should be practiced by turning five times to
the right and five to the left. Each partner taking a turn as the attacker and defender. Mi Lu
Pivot is the primary exercise of Ninja invisibility.
Note that the first three steps are linear, the second three ground level, and the third
triad deal with techniques of remaining unseen in close proximity to the opponent, enabling the
Ninja to use invisibility as a weapon.
side steps, turning the body to face oppositely from its original position. It is taken from the
Lost Track Form, an ancient kata (practice form) of the Ninja. During Inpo, it is best employed
to dart behind cover; in Tonpo, it may be used to suddenly turn and face the enemy, or to gain a
position behind him.
24 -Assume the following posture to practice this form. Stand in a basic Horse Stance,
knees slightly bent with toes pointing forward, the body lowered slightly, shoulders squared,
eyes looking straight ahead. The classic Two Man Exercise of this invisibility technique is to
begin standing behind the training partner, completely hidden from view, and tap him on the
left shoulder.
25 - As he turns to see what touched him, shift your weight over the right foot and lean
deeply toward your right forward corner.
26 - As he looks back to his right, shift to your left. Drawing the right foot near the left
ankle as you duck down to remain out of sight. Keep the shoulders square and hold the head
steady. Do not try to keep looking forward, as this will upset your balance. Instead, focus your
attention on the base of his skull.
27 - As he continues to turn to his right, step forward past him with your right foot. The
instant the right foot touches the ground, shift the weight to that side and execute a 90-degree
pivot to your left rear corner, by drawing the right foot to the left ankle and stepping out 90 degrees
to the right. You now face 180 degrees from your first position. Still behind the opponent.
Fig. 28– As he steps to his rear with his left foot, pursue the enemy and drop your left arm
over his head in preparation for applying the Japanese Stranglehold.
29 –Wrapping the left arm around his throat, apply the Sleeperhold and render him silently
and painlessly unconscious. This technique has been used by soldiers and assassins for
centuries to neutralize posted or patrolling sentries.
This is sometimes known as the Spinning Back Pivot, or the Box Step. When employing
this technique to duck behind cover, or remain invisible behind an opponent, it is not always
possible to make exact angles on these pivots. Only practice will enable you to master this.
The exercise helps develop the legs and balance. It should be practiced by turning five times to
the right and five to the left. Each partner taking a turn as the attacker and defender. Mi Lu
Pivot is the primary exercise of Ninja invisibility.
Note that the first three steps are linear, the second three ground level, and the third
triad deal with techniques of remaining unseen in close proximity to the opponent, enabling the
Ninja to use invisibility as a weapon.
MORE KUJI ASHI WAYS TO MOVE
When ascending a stairway, keep as close as possible to the wall and climb using
Heng Pu, the Cross Step. On stone steps, this will aid in concealing your position; on wooden
stairs, this will prevent creaking since the stairs are most secure nearest the wall and are thus
less likely to shift as weight is applied.
It was said in ancient times that a Ninja cast no shadow. This applies equally to
casting a reflection. Never pass a mirror openly. Even a tiny movement is reflected to every
angle and an observer with his back to you will almost certainly catch the action. Treat mirrors
as open windows, and cross outside their field of reflection.
Beware also of where your shadow falls. The human silhouette is distinctive and
easily recognizable. Even if you are out of view, your shadow may fall across the path of the
enemy, revealing your position. In all these things, it is essential that you observe the enemy
without being observed by him. Only in this way can you succeed.
This concludes the movements of the Kuji Ashi, by which it is possible to advance from one
point of concealment to another without fear of discovery.
It cannot be stressed too highly that silence, speed, and careful consideration are the keys to
this phase of Ninjutsu.
Heng Pu, the Cross Step. On stone steps, this will aid in concealing your position; on wooden
stairs, this will prevent creaking since the stairs are most secure nearest the wall and are thus
less likely to shift as weight is applied.
It was said in ancient times that a Ninja cast no shadow. This applies equally to
casting a reflection. Never pass a mirror openly. Even a tiny movement is reflected to every
angle and an observer with his back to you will almost certainly catch the action. Treat mirrors
as open windows, and cross outside their field of reflection.
Beware also of where your shadow falls. The human silhouette is distinctive and
easily recognizable. Even if you are out of view, your shadow may fall across the path of the
enemy, revealing your position. In all these things, it is essential that you observe the enemy
without being observed by him. Only in this way can you succeed.
This concludes the movements of the Kuji Ashi, by which it is possible to advance from one
point of concealment to another without fear of discovery.
It cannot be stressed too highly that silence, speed, and careful consideration are the keys to
this phase of Ninjutsu.