KUMI UCHI- Escapes and Reversals
Most combat techniques of Ninjitsu involve target avoidance and evasion. The Ninja
value peace and harmony above all else, therefore, they have a simple and preferred method of
dealing with violence run away.
Only when all avenues of escape have been exhausted is a martial artist permitted to use
his deadly art to defend himself. Most martial arts schools begin by teaching this concept, then
spend decades learning how to kill, cripple and maim an attacker.
Ninjitsu, however, is the Way of the Invisible Fist. The practice is to vanish from sight
rather than engage the enemy in a conflict in which either or both combatants might be injured.
More on those techniques in a later section.
Still, even a skilled Ninja can be cornered and trapped. Not only under the gun as
demonstrated in the previous section, but also by an enemy intent on fighting who cannot be
avoided. Most fights begin standing up with a few kicks or punches, progress to grapples and
throws, and end on the mat. Escaping or reversing grapples and throws is the province of Kumi
Uchi.
value peace and harmony above all else, therefore, they have a simple and preferred method of
dealing with violence run away.
Only when all avenues of escape have been exhausted is a martial artist permitted to use
his deadly art to defend himself. Most martial arts schools begin by teaching this concept, then
spend decades learning how to kill, cripple and maim an attacker.
Ninjitsu, however, is the Way of the Invisible Fist. The practice is to vanish from sight
rather than engage the enemy in a conflict in which either or both combatants might be injured.
More on those techniques in a later section.
Still, even a skilled Ninja can be cornered and trapped. Not only under the gun as
demonstrated in the previous section, but also by an enemy intent on fighting who cannot be
avoided. Most fights begin standing up with a few kicks or punches, progress to grapples and
throws, and end on the mat. Escaping or reversing grapples and throws is the province of Kumi
Uchi.
ESCAPE FROM HEADLOCK
This technique works well against a rear naked choke
or side headlock. Should the enemy seize you and seek to
employ the rear choke, the first consideration is freeing
the windpipe. To accomplish this, turn the head inward
toward the enemy ribs and dig into his torso with your
chin. This is an old wrestling trick to make the enemy
“jump” so his balance can be broken. Second, it will provide
a breathing space and take the pressure off your neck
so that the headlock, which painful, is not a choke-hold.
The enemy has secured a Rear Naked Choke
from behind, his forearm pressing against the windpipe,
making it difficult to breathe. Relieve this pressure by
gripping his wrist from below and turning you heard to the
“open” side of his hold. This is a good example of
“starting in the opposite direction from the true intent.
Back Out Step with the left leg, unexpectedly
turning the Choke into a Side Headlock without the enemy
’s permission. Or start from the Headlock, since it is a
commonly encountered hold. Reach over his shoulder and
cup his chin in your right hand. Tilt his head back. Reach
behind his left knee with your left hand and bend his knee
by pressing on the ligaments behind the kneecap.
Drop onto your left knee, turning the enemy
by the two holds to fall across your upraised right knee.
This will snap his spine if done quickly. Immediately releasing
the arm around your head or neck.
or side headlock. Should the enemy seize you and seek to
employ the rear choke, the first consideration is freeing
the windpipe. To accomplish this, turn the head inward
toward the enemy ribs and dig into his torso with your
chin. This is an old wrestling trick to make the enemy
“jump” so his balance can be broken. Second, it will provide
a breathing space and take the pressure off your neck
so that the headlock, which painful, is not a choke-hold.
The enemy has secured a Rear Naked Choke
from behind, his forearm pressing against the windpipe,
making it difficult to breathe. Relieve this pressure by
gripping his wrist from below and turning you heard to the
“open” side of his hold. This is a good example of
“starting in the opposite direction from the true intent.
Back Out Step with the left leg, unexpectedly
turning the Choke into a Side Headlock without the enemy
’s permission. Or start from the Headlock, since it is a
commonly encountered hold. Reach over his shoulder and
cup his chin in your right hand. Tilt his head back. Reach
behind his left knee with your left hand and bend his knee
by pressing on the ligaments behind the kneecap.
Drop onto your left knee, turning the enemy
by the two holds to fall across your upraised right knee.
This will snap his spine if done quickly. Immediately releasing
the arm around your head or neck.
K’Al KUAN (Standing Switch)
Should the enemy seize you about the waist in seeking to capture you, it is possible to reverse
positions with him or escape by employing the Standing Switch.
As the waist cinch is secured, drive your left arm down along the inside of the enemy’s
knee. This locks his elbow between your hip and tricep. Toe-out with the left foot and
drop the left shoulder.
Pivot on the ball of the left foot, swinging the right leg for added momentum. This
action will certainly break the waist cinch or dislocate the enemy’s elbow. Step behind the enemy
with your right foot, maintaining a grip on his thigh with your left hand. From here you
may step behind with the left foot and cinch him, or slide up and apply the Japanese Strangle.
positions with him or escape by employing the Standing Switch.
As the waist cinch is secured, drive your left arm down along the inside of the enemy’s
knee. This locks his elbow between your hip and tricep. Toe-out with the left foot and
drop the left shoulder.
Pivot on the ball of the left foot, swinging the right leg for added momentum. This
action will certainly break the waist cinch or dislocate the enemy’s elbow. Step behind the enemy
with your right foot, maintaining a grip on his thigh with your left hand. From here you
may step behind with the left foot and cinch him, or slide up and apply the Japanese Strangle.
LUN T’OU (Wheel Throw)
Should the enemy seize you by both wrists, free your hands by rotating them up and
to the outside line. (Double Mirror Block) Step forward with the left foot, striking with double
palm heels to the enemy’s chest. This will drive him slightly back, breaking his balance to the
rear. Grip the enemy lapels with both hands. If lapels are not available, cup both hands behind
his head.
Maintaining your hold on the
enemy, sit down near your left heel,
pulling him forward and onto you, taking
advantage of his natural reaction in
trying to save himself from being pushed
backward. Execute Ke-Age (kicking up)
with the right leg. Strike the enemy
groin or Hara.
Use your grip on the enemy to
support him over you. This prevents his
falling forward too fast and striking you
with his head. Place the left foot in the
enemy’s Hara and push up strongly with
both legs, lifting him off the ground.
Push the enemy clear allowing
him to Backfall to a head-to-head position
above you. The impact alone of this
fall is sufficient to drive the air from his
lungs and incapacitate him. Using your
grip on the enemy to maintain your momentum,
execute a back roll swinging
the feet overhead, tucking the head to
one side, and pulling with both hands.
Completing the Back Roll, land
with the buttocks on the enemy chest or
abdomen, driving the air from his lungs
and crushing the chest cavity. Both
knees should land on his biceps, rupturing
the muscles. Release the grip on the
enemy with the right hand and execute a driving
Palm Heel to the enemy chin, snapping his neck.
The Wheel Throw, or Tomoe-Nage, illustrates one
of the fundamental principles common to all martial
arts– yielding. By alternately pushing the enemy
back then using his own resistance to pull him forward,
it is easy to unbalance even a much larger opponent.
And send him crashing to the mat. Tomoe-
Nage is a basic sport Judo throw, but has it’s roots in
Jujitsu., the much more ancient martial art of the
Samurai.
to the outside line. (Double Mirror Block) Step forward with the left foot, striking with double
palm heels to the enemy’s chest. This will drive him slightly back, breaking his balance to the
rear. Grip the enemy lapels with both hands. If lapels are not available, cup both hands behind
his head.
Maintaining your hold on the
enemy, sit down near your left heel,
pulling him forward and onto you, taking
advantage of his natural reaction in
trying to save himself from being pushed
backward. Execute Ke-Age (kicking up)
with the right leg. Strike the enemy
groin or Hara.
Use your grip on the enemy to
support him over you. This prevents his
falling forward too fast and striking you
with his head. Place the left foot in the
enemy’s Hara and push up strongly with
both legs, lifting him off the ground.
Push the enemy clear allowing
him to Backfall to a head-to-head position
above you. The impact alone of this
fall is sufficient to drive the air from his
lungs and incapacitate him. Using your
grip on the enemy to maintain your momentum,
execute a back roll swinging
the feet overhead, tucking the head to
one side, and pulling with both hands.
Completing the Back Roll, land
with the buttocks on the enemy chest or
abdomen, driving the air from his lungs
and crushing the chest cavity. Both
knees should land on his biceps, rupturing
the muscles. Release the grip on the
enemy with the right hand and execute a driving
Palm Heel to the enemy chin, snapping his neck.
The Wheel Throw, or Tomoe-Nage, illustrates one
of the fundamental principles common to all martial
arts– yielding. By alternately pushing the enemy
back then using his own resistance to pull him forward,
it is easy to unbalance even a much larger opponent.
And send him crashing to the mat. Tomoe-
Nage is a basic sport Judo throw, but has it’s roots in
Jujitsu., the much more ancient martial art of the
Samurai.
ERH LUNG TE (Twin Dragon Fist)
These techniques are used in the event the enemy is successful in cornering you and
launches a Fist attack. They result in the enemy’s permanent blindness, making possible your
escape.
Should the enemy throw a right lead, fall back slightly and counter with a right Mirror-
Block. This action crosses the enemy with his own arm, preventing him from using his left
hand to attack. Bear in mind that in Ninjitsu one does not truly block-one strikes. Therefore,
the mirror-block is actually an attack to the wrist. By striking the ulnar nerve at this point, one
numbs the arm.
Immediately overturn with the right hand, trapping tile enemy’s right wrist and
pulling him forward. Remember, he is forward already, heaving advanced to launch his attack
in the first place. This action pulls him even farther, breaking his balance. As you begin to tip
the enemy over, extend the left hand palm down, with the index and middle fingers outstretched.
This forms the
Twin Dragon Fist. The third
and little fingers are curled
into the hand. Do not stiffen
tile fingers as they will be easily
broken. Do not drive forward
with the fingers; rather,
draw the enemy to them. No
great amount of strength is required-
only accuracy.
If the enemy is
more cautious and launches a
left jab or hook, fall back
slightly, executing a right
shoulder-block. Again, you
are actually attacking the
wrist, in this case the radial
nerve. This action opens the
enemy center line to attack.
Before the enemy’s
arm can be recovered
from his left jab, strike out
from the right shoulder-block position with the Twin Dragon Fist, attacking the eyes. Do not
stiffen the fingers; imitate the action of a serpent striking. Use the left arm to execute a depressing
forearm block as you lash out. This will deflect any attack that might have been launched
by the enemy’s right fist or, as in this case, will trap his left arm, preventing him from saving
himself.
Blinding a fellow human being is an extreme measure and should only be used in selfdefense.
Deliberately breaking into a man’s castle to rob him or kill him is NOT self-defense. It
should also be noted that these two techniques, the Inside and Outside Finger Jab are the hallmarks
of the Black Dragon Fighting Society self defense system. It may be brutal, but is it more
brutal than being killed? That is the question to be considered.
launches a Fist attack. They result in the enemy’s permanent blindness, making possible your
escape.
Should the enemy throw a right lead, fall back slightly and counter with a right Mirror-
Block. This action crosses the enemy with his own arm, preventing him from using his left
hand to attack. Bear in mind that in Ninjitsu one does not truly block-one strikes. Therefore,
the mirror-block is actually an attack to the wrist. By striking the ulnar nerve at this point, one
numbs the arm.
Immediately overturn with the right hand, trapping tile enemy’s right wrist and
pulling him forward. Remember, he is forward already, heaving advanced to launch his attack
in the first place. This action pulls him even farther, breaking his balance. As you begin to tip
the enemy over, extend the left hand palm down, with the index and middle fingers outstretched.
This forms the
Twin Dragon Fist. The third
and little fingers are curled
into the hand. Do not stiffen
tile fingers as they will be easily
broken. Do not drive forward
with the fingers; rather,
draw the enemy to them. No
great amount of strength is required-
only accuracy.
If the enemy is
more cautious and launches a
left jab or hook, fall back
slightly, executing a right
shoulder-block. Again, you
are actually attacking the
wrist, in this case the radial
nerve. This action opens the
enemy center line to attack.
Before the enemy’s
arm can be recovered
from his left jab, strike out
from the right shoulder-block position with the Twin Dragon Fist, attacking the eyes. Do not
stiffen the fingers; imitate the action of a serpent striking. Use the left arm to execute a depressing
forearm block as you lash out. This will deflect any attack that might have been launched
by the enemy’s right fist or, as in this case, will trap his left arm, preventing him from saving
himself.
Blinding a fellow human being is an extreme measure and should only be used in selfdefense.
Deliberately breaking into a man’s castle to rob him or kill him is NOT self-defense. It
should also be noted that these two techniques, the Inside and Outside Finger Jab are the hallmarks
of the Black Dragon Fighting Society self defense system. It may be brutal, but is it more
brutal than being killed? That is the question to be considered.
CAPTURE IN PASSING
Ninjitsu is known as the Art of Invisibility. Inpo, the Art of Hiding, teaches us how to
remain unseen once we are out of the enemy’s view. Tonpo, likewise, teaches us how to vanish
from the view of the enemy. The techniques of Huo Nei Kuo are the basis for this ability.
Translated to mean "capture in passing," the term is related to the stratagem in chess of overcoming
the enemy pawns should they fail to act. These techniques are the basis for many legends
about masters of the martial arts who would overcome an opponent with no physical contact.
In each case it is possible to evade the enemy’s attack without killing him. For this reason
the Mi Lu kata from which the techniques are drawn is sometimes known as the Way of Fighting
Without Fighting or the Dance of Invisibility.
remain unseen once we are out of the enemy’s view. Tonpo, likewise, teaches us how to vanish
from the view of the enemy. The techniques of Huo Nei Kuo are the basis for this ability.
Translated to mean "capture in passing," the term is related to the stratagem in chess of overcoming
the enemy pawns should they fail to act. These techniques are the basis for many legends
about masters of the martial arts who would overcome an opponent with no physical contact.
In each case it is possible to evade the enemy’s attack without killing him. For this reason
the Mi Lu kata from which the techniques are drawn is sometimes known as the Way of Fighting
Without Fighting or the Dance of Invisibility.
KASUMI (Clouding the Mind)
This method is employed when the enemy is poised in a wide stance, but has not yet advanced.
Lower the body slightly for better balance. Relax both wrists so the hands hang
loosely with the backs toward the enemy. Assume a Horse Stance. This will sometimes induce
the enemy to widen his stance since he will expect lateral movement from you. You should be
three to five feet from the enemy. Raise the hands, arms extended between you, aiming the
back of the wrists at the enemy face. You must do this not so slowly that he reacts before you
are ready, and not so quickly that he will ignore the movement. Watch your own hands this
will induce the enemy to do likewise. The idea is to focus his attention on your hands.
Step quickly forward, lowering the body still more. This will move the hands toward
the enemy but, since the arms are not moving and the perspective is foreshortened, you
will be upon him before he can react. As the right foot touches the ground, flick the fingers into
the face of the enemy. Regardless of whether you actually touch his face or merely flash him,
he will flinch or blink. This is an autonomic reflex and is virtually uncontrollable. Immediately
as you flash or haze the enemy, drop straight down over the feet into a squatting position. You
will not see the enemy blink, since you are looking over the ends of your wrists and, by lifting
the fingers, you will obscure his face from view. The haze will cause the enemy to raise his
guard to protect his eyes. Since you will be crouched almost at his knee level, you will be
screened from view by his own arms.
As you sink out of sight, and see the enemy lifting his guard, tuck your head into your chest, round the shoulders, and push off with both feet. The momentum of this effort will carry you between the enemy’s legs. Execute a forward roll as
your hands touch the ground behind him. This will enable you to vanish downward to a position ten feet behind the enemy.
Lower the body slightly for better balance. Relax both wrists so the hands hang
loosely with the backs toward the enemy. Assume a Horse Stance. This will sometimes induce
the enemy to widen his stance since he will expect lateral movement from you. You should be
three to five feet from the enemy. Raise the hands, arms extended between you, aiming the
back of the wrists at the enemy face. You must do this not so slowly that he reacts before you
are ready, and not so quickly that he will ignore the movement. Watch your own hands this
will induce the enemy to do likewise. The idea is to focus his attention on your hands.
Step quickly forward, lowering the body still more. This will move the hands toward
the enemy but, since the arms are not moving and the perspective is foreshortened, you
will be upon him before he can react. As the right foot touches the ground, flick the fingers into
the face of the enemy. Regardless of whether you actually touch his face or merely flash him,
he will flinch or blink. This is an autonomic reflex and is virtually uncontrollable. Immediately
as you flash or haze the enemy, drop straight down over the feet into a squatting position. You
will not see the enemy blink, since you are looking over the ends of your wrists and, by lifting
the fingers, you will obscure his face from view. The haze will cause the enemy to raise his
guard to protect his eyes. Since you will be crouched almost at his knee level, you will be
screened from view by his own arms.
As you sink out of sight, and see the enemy lifting his guard, tuck your head into your chest, round the shoulders, and push off with both feet. The momentum of this effort will carry you between the enemy’s legs. Execute a forward roll as
your hands touch the ground behind him. This will enable you to vanish downward to a position ten feet behind the enemy.
T’IAO UKE (Vaulting the Enemy)
This method is employed when the enemy attempts a low-line attack, such as a leg dive or
tackle.
The enemy steps forward, dropping his shoulders and reaching in to seize the
knees. Effect a back-out step by slapping down onto his back with both hands and kicking both
feet straight to the rear. This prevents the leg dive and stalls the enemy in a forward leaning
stance.
Push off with both hands and jump straight up spreading the legs. The combination
of the enemy’s forward momentum and your own spring will carry him under you. Some
practitioners prefer to grip the enemy head when vaulting, thus insuring that it remain low
enough to prevent accidental groin injuries.
Any type of Roman Horse vault will suffice to clear the enemy, depending on the acrobatic
agility of the practitioner and the depth at which the enemy attacks. In this way, one vanishes
upward to a position three to five feet behind the enemy.
Note that this technique is commonly practiced and seen in Professional Wrestling, but ancient
acrobats practiced it by leaping onto the backs of raging bulls as an Olympic event when civilization
was in its infancy.
tackle.
The enemy steps forward, dropping his shoulders and reaching in to seize the
knees. Effect a back-out step by slapping down onto his back with both hands and kicking both
feet straight to the rear. This prevents the leg dive and stalls the enemy in a forward leaning
stance.
Push off with both hands and jump straight up spreading the legs. The combination
of the enemy’s forward momentum and your own spring will carry him under you. Some
practitioners prefer to grip the enemy head when vaulting, thus insuring that it remain low
enough to prevent accidental groin injuries.
Any type of Roman Horse vault will suffice to clear the enemy, depending on the acrobatic
agility of the practitioner and the depth at which the enemy attacks. In this way, one vanishes
upward to a position three to five feet behind the enemy.
Note that this technique is commonly practiced and seen in Professional Wrestling, but ancient
acrobats practiced it by leaping onto the backs of raging bulls as an Olympic event when civilization
was in its infancy.
HSING TSIA (Go Behind Step)
This method requires an external distraction to be truly effective. Two methods are preferred,
one being Kiai, the spirit shout. Sometimes called the "attack by intimidation," the Kiai
is a belly shout drawn from the Hara. It is a scream of total commitment. Charge the enemy
from out of range, feinting a ferocious attack to the eyes. This attack must be sufficiently terrifying
to startle the enemy and make him cover his own eyes in defense. The Kiai may be employed
effectively with the Kasumi technique.
Sha Nei Mu, or "sand in the eyes," is the second distraction which is used to temporarily
blind the enemy. Some schools devise complex fomulae for their blinding powders. Itching
and sneezing dust are two obvious examples. In ancient times these were stored in hollowedout
eggshells, so they could be brought quickly into play. A handful of native dirt will produce
the same effect if one can be surreptitiously obtained.
Cup the right palm lightly, keeping the dust concealed from the enemy. Swing the
arm in a semicircular arc, crossing from the right to left hip, up to the left shoulder, then back in
front of the right shoulder. Abruptly stop the right palm in an extended shoulder-block position,
casting the powder into the face of the enemy. As you begin the casting movement, step toward
tile left. This will give the impression that you are attempting to flee in that direction and distract
the enemy’s attention from the action of the right arm.
As the enemy gropes forward toward what he believes to be your position, duck under
his attack to his lead side. In this way you will have less distance to travel to get behind him.
This is an extended variation of the Spinning Back Pivot found in Inpo. Fix your attention on
the left temple of the enemy. This is where you will strike him should he somehow not have
been blinded. If you are close enough to the enemy, the action of casting will
carry your extended finger tips horizontally across the enemy’s eyes, producing the desired effect.
This attack is also found in Wing Chun, but is followed by a palm-up finger jab.
Execute the second half of the Mi Lu pivot, slipping by the enemy as his grasp closes on emptiness. You are now invisible behind his left shoulder. Continue to target his left temple. You may now pivot into the final Mi Lu position and
assume a stance behind the enemy, or dart behind cover to vanish, or simply flee, In this way, you vanish completely, in full
view of the enemy.
one being Kiai, the spirit shout. Sometimes called the "attack by intimidation," the Kiai
is a belly shout drawn from the Hara. It is a scream of total commitment. Charge the enemy
from out of range, feinting a ferocious attack to the eyes. This attack must be sufficiently terrifying
to startle the enemy and make him cover his own eyes in defense. The Kiai may be employed
effectively with the Kasumi technique.
Sha Nei Mu, or "sand in the eyes," is the second distraction which is used to temporarily
blind the enemy. Some schools devise complex fomulae for their blinding powders. Itching
and sneezing dust are two obvious examples. In ancient times these were stored in hollowedout
eggshells, so they could be brought quickly into play. A handful of native dirt will produce
the same effect if one can be surreptitiously obtained.
Cup the right palm lightly, keeping the dust concealed from the enemy. Swing the
arm in a semicircular arc, crossing from the right to left hip, up to the left shoulder, then back in
front of the right shoulder. Abruptly stop the right palm in an extended shoulder-block position,
casting the powder into the face of the enemy. As you begin the casting movement, step toward
tile left. This will give the impression that you are attempting to flee in that direction and distract
the enemy’s attention from the action of the right arm.
As the enemy gropes forward toward what he believes to be your position, duck under
his attack to his lead side. In this way you will have less distance to travel to get behind him.
This is an extended variation of the Spinning Back Pivot found in Inpo. Fix your attention on
the left temple of the enemy. This is where you will strike him should he somehow not have
been blinded. If you are close enough to the enemy, the action of casting will
carry your extended finger tips horizontally across the enemy’s eyes, producing the desired effect.
This attack is also found in Wing Chun, but is followed by a palm-up finger jab.
Execute the second half of the Mi Lu pivot, slipping by the enemy as his grasp closes on emptiness. You are now invisible behind his left shoulder. Continue to target his left temple. You may now pivot into the final Mi Lu position and
assume a stance behind the enemy, or dart behind cover to vanish, or simply flee, In this way, you vanish completely, in full
view of the enemy.