TONPO The Art of Escaping
Tonpo, the Art of Escaping, may be divided into three phases. The hideout may be a point of
concealment inside the enemy camp or on its perimeter. It is a temporary refuge only. The refuge
refers to a hiding place within enemy control but sufficiently safe to allow rest or regrouping.
The refuge may be an indigenous ally or take the form of a disguise. The FBI and CIA
frequently use this device. They are known as safe houses and new identities. The sanctuary
consists of a position outside the control of enemy forces, where friendly forces can assist you.
Beware of these situations, however; even here, a Ninja is not truly safe.
Previously stressed has been the importance of observing the enemy, his encampment, and
so on. For the most part, the escape route should be the same as the penetration route. It should
be retraced stealthily, as if one were entering instead of leaving; indeed, this is penetration outwards.
The reason for using the same route is that less likelihood exists of being discovered.
Also, since the route has been used once, it is more familiar. Great care must be taken not to let
one’s guard down during Tonpo.
No one can plan for all contingencies, but one can try. To this end, at least two other escape
routes should be available, one directly opposite and the other veering ninety degrees from the
original path. These are to be employed in the event of the primary route’s discovery.
In selecting the primary route, look for means to employ stealth.
In selecting alternatives, look first for means to employ speed and cover. Second, look for
areas where distractions can be created. If possible, locate and prepare an escape route from the
guardhouse for use in the unlikely event you are captured. Bear in mind that when being pursued,
it may be necessary to stand and fight. Select points along the escape route that have the
advantage of high ground, and note that doorways and gates can often be held by one man. In
short, any spot where the enemy will be hampered by obstacles can be used to the escaping
Ninja’s advantage.
Avoid inhabited areas such as barracks, mess halls, or command posts. Beware of booby
traps, mined or alarmed areas, and those brightly lit. The location and strength of every guard
post should be known before entering.
Long-term escape and evasion may include identity changes and familiarization with public
and private means of transportation, border patrols, and security checks. Numerous works exist
on these subjects, which are not directly connected with pure Ninjitsu.
However, in modern warfare, these considerations must be planned for assiduously. Nothing
can be left to chance because the stakes are life and death.
concealment inside the enemy camp or on its perimeter. It is a temporary refuge only. The refuge
refers to a hiding place within enemy control but sufficiently safe to allow rest or regrouping.
The refuge may be an indigenous ally or take the form of a disguise. The FBI and CIA
frequently use this device. They are known as safe houses and new identities. The sanctuary
consists of a position outside the control of enemy forces, where friendly forces can assist you.
Beware of these situations, however; even here, a Ninja is not truly safe.
Previously stressed has been the importance of observing the enemy, his encampment, and
so on. For the most part, the escape route should be the same as the penetration route. It should
be retraced stealthily, as if one were entering instead of leaving; indeed, this is penetration outwards.
The reason for using the same route is that less likelihood exists of being discovered.
Also, since the route has been used once, it is more familiar. Great care must be taken not to let
one’s guard down during Tonpo.
No one can plan for all contingencies, but one can try. To this end, at least two other escape
routes should be available, one directly opposite and the other veering ninety degrees from the
original path. These are to be employed in the event of the primary route’s discovery.
In selecting the primary route, look for means to employ stealth.
In selecting alternatives, look first for means to employ speed and cover. Second, look for
areas where distractions can be created. If possible, locate and prepare an escape route from the
guardhouse for use in the unlikely event you are captured. Bear in mind that when being pursued,
it may be necessary to stand and fight. Select points along the escape route that have the
advantage of high ground, and note that doorways and gates can often be held by one man. In
short, any spot where the enemy will be hampered by obstacles can be used to the escaping
Ninja’s advantage.
Avoid inhabited areas such as barracks, mess halls, or command posts. Beware of booby
traps, mined or alarmed areas, and those brightly lit. The location and strength of every guard
post should be known before entering.
Long-term escape and evasion may include identity changes and familiarization with public
and private means of transportation, border patrols, and security checks. Numerous works exist
on these subjects, which are not directly connected with pure Ninjitsu.
However, in modern warfare, these considerations must be planned for assiduously. Nothing
can be left to chance because the stakes are life and death.
P’ENG WEI (CRASHING OUT)
The first principle of Tonpo is to escape as quickly as possible. The longer you remain in
enemy control, the less likely you are to escape. Should your presence be discovered, vanish
and follow your escape route to freedom. Should you be captured, and it becomes necessary to
attempt escape from a guardhouse, consider the Peng Wei, or Crash Out.
Locked doors which open outward may be kicked open in P’eng Wei, using the
Dragon Stamp Kick or the more common Side Kick. Direct the force of the blow as close to
the latch as possible, the object being to shatter the doorjamb with the bolt.
The shoulder also can be used to force open the door. When striking the door with
the shoulder, apply the force as near the center of the door as possible. This will bend the door,
pulling the lock bolt clear of the doorjamb to spring it open. Doors with panels will shatter,
causing you to fall forward. It is necessary that you roll out to avoid losing momentum. Striking
with the shoulder may also be used against flimsy doors which open inward. To accomplish
this feat requires a running start from several feet away. This adds momentum and impact.
A third P’eng Wei possibility calls
for diving out a window. Again, it is
essential to execute a forward roll on
impact to avoid injury and to maintain
momentum. In the case of diving
out, you will land on the hands,
which must collapse, allowing the
shoulders to bear the brunt of the fall.
Diving through glass is not recommended,
though it may be necessary
if the window’s lock cannot be compromised. In this event, cross both arms over the head to
protect the face and eyes and drive forward. Extend the arms to break your fall once clear of
the window, not before. Diving through glass with the arms extended results in serious injuries.
Sufficient forward momentum must be generated to clear the windowsill, since jagged bits of
glass will cling to the frame and slash you. Never dive through a large plate glass window or
door. Glass from the upper portion will fall and spear you before you can get clear. Smash
these large windows with a chair or similar object, then escape.
enemy control, the less likely you are to escape. Should your presence be discovered, vanish
and follow your escape route to freedom. Should you be captured, and it becomes necessary to
attempt escape from a guardhouse, consider the Peng Wei, or Crash Out.
Locked doors which open outward may be kicked open in P’eng Wei, using the
Dragon Stamp Kick or the more common Side Kick. Direct the force of the blow as close to
the latch as possible, the object being to shatter the doorjamb with the bolt.
The shoulder also can be used to force open the door. When striking the door with
the shoulder, apply the force as near the center of the door as possible. This will bend the door,
pulling the lock bolt clear of the doorjamb to spring it open. Doors with panels will shatter,
causing you to fall forward. It is necessary that you roll out to avoid losing momentum. Striking
with the shoulder may also be used against flimsy doors which open inward. To accomplish
this feat requires a running start from several feet away. This adds momentum and impact.
A third P’eng Wei possibility calls
for diving out a window. Again, it is
essential to execute a forward roll on
impact to avoid injury and to maintain
momentum. In the case of diving
out, you will land on the hands,
which must collapse, allowing the
shoulders to bear the brunt of the fall.
Diving through glass is not recommended,
though it may be necessary
if the window’s lock cannot be compromised. In this event, cross both arms over the head to
protect the face and eyes and drive forward. Extend the arms to break your fall once clear of
the window, not before. Diving through glass with the arms extended results in serious injuries.
Sufficient forward momentum must be generated to clear the windowsill, since jagged bits of
glass will cling to the frame and slash you. Never dive through a large plate glass window or
door. Glass from the upper portion will fall and spear you before you can get clear. Smash
these large windows with a chair or similar object, then escape.
LAO TSU CHI HUO (Drop The Hold)
The following is an escape to be employed when the Ninja is detained in the military frisk
position.
Note that the enemy hooks your leg with his left leg to sweep your feet from under
you should you resist. His left hand presses against your back, locking the vertebrae and forcing
him to raise the pistol over his arm.
As pressure is applied to your back, tuck your arms and fall straight forward, twisting
to your left rear. Break this fall by seizing the enemy’s right wrist, pulling him forward and
turning the weapon to the outside. Land on your left hip, driving your left knee behind his left
knee. Catch his left ankle with the crotch of your right knee. Drive your right palm upward
into his hip, striking his left hip socket. Watch the pistol. He may resist, trying to keep his balance,
or spasmodically get off a shot.
Pull down and push up with your hands. Swing the body to the right, using your
weight to slam the enemy into the wall. Slip your leg between the enemy legs and scissor his
left leg with your own. This trips him forward and prevents him from saving himself. This
movement must be executed with blinding speed.
position.
Note that the enemy hooks your leg with his left leg to sweep your feet from under
you should you resist. His left hand presses against your back, locking the vertebrae and forcing
him to raise the pistol over his arm.
As pressure is applied to your back, tuck your arms and fall straight forward, twisting
to your left rear. Break this fall by seizing the enemy’s right wrist, pulling him forward and
turning the weapon to the outside. Land on your left hip, driving your left knee behind his left
knee. Catch his left ankle with the crotch of your right knee. Drive your right palm upward
into his hip, striking his left hip socket. Watch the pistol. He may resist, trying to keep his balance,
or spasmodically get off a shot.
Pull down and push up with your hands. Swing the body to the right, using your
weight to slam the enemy into the wall. Slip your leg between the enemy legs and scissor his
left leg with your own. This trips him forward and prevents him from saving himself. This
movement must be executed with blinding speed.
SHOU K’AO K’Al (HANDCUFF SWITCH)
The enemy has captured you and ordered your hands atop your head. He moves into position
behind you and reaches up to take your right arm into a Hammer Lock. This is preparatory
to tying your hands or handcuffing them behind your back. The enemy presses his weapon into
your back to discourage resistance. In an arrest, one officer generally covers the other.
The enemy pulls your arm behind your back. This is the best moment to attack since
he must either reach for his cuffs or holster his weapon. His attention will be distracted.
Step to the right with your left foot, pivoting on the ball of the right foot, and reversing
the enemy’s wristlock by lifting it over your head and seizing his arm. Slap the enemy
weapon to the outside with the left hand by crossing the body. This is known as a cross-push
block. If he has bolstered his weapon, strike him in the rib cage as you turn.
Slide-step with the right foot to a position even with the enemy. Step to his rear with
your left foot, maintaining your grip on his wrist. Pull downward in a semicircular arc with
your right hand, twisting the enemy’s right arm into a hammer lock. Seize the enemy’s left wrist
from behind to prevent his executing a similar reverse.
This is a common escape from a Hammer Lock found in most martial arts as a self defense
trick. It involves using the Entering Pivot from the Kuji Ashi. From this it can be seen that
the Ninja applied a few techniques to a variety of purposes. Making their system simple and
easy to learn as well as effective. This is the same step used to enter a doorway without letting
light escape as the door is opened shown earlier.
behind you and reaches up to take your right arm into a Hammer Lock. This is preparatory
to tying your hands or handcuffing them behind your back. The enemy presses his weapon into
your back to discourage resistance. In an arrest, one officer generally covers the other.
The enemy pulls your arm behind your back. This is the best moment to attack since
he must either reach for his cuffs or holster his weapon. His attention will be distracted.
Step to the right with your left foot, pivoting on the ball of the right foot, and reversing
the enemy’s wristlock by lifting it over your head and seizing his arm. Slap the enemy
weapon to the outside with the left hand by crossing the body. This is known as a cross-push
block. If he has bolstered his weapon, strike him in the rib cage as you turn.
Slide-step with the right foot to a position even with the enemy. Step to his rear with
your left foot, maintaining your grip on his wrist. Pull downward in a semicircular arc with
your right hand, twisting the enemy’s right arm into a hammer lock. Seize the enemy’s left wrist
from behind to prevent his executing a similar reverse.
This is a common escape from a Hammer Lock found in most martial arts as a self defense
trick. It involves using the Entering Pivot from the Kuji Ashi. From this it can be seen that
the Ninja applied a few techniques to a variety of purposes. Making their system simple and
easy to learn as well as effective. This is the same step used to enter a doorway without letting
light escape as the door is opened shown earlier.
TEARING OFF THE FINGER
This method is employed should the enemy be so foolish as to place his weapon
against your chest to intimidate you.
Slap down with the right hand, clamping it over the pistol. Two things are essential:
the web of the hand must fall between the hammer and the firing pin to prevent discharging a
round; and the weapon must be deflected down and to. the left outside line, just in case. In the
case of revolvers, it is further possible to grip tile cylinder and keep it from turning. This prevents
the weapon from firing.
Having secured the grip, twist the barrel back upon the enemy. This traps his finger
inside the trigger guard. Seize his wrist with your left hand to reinforce the finger lock. The
enemy will most likely seize your right elbow to resist this attack. In this event, step quickly
back with the right foot, jerking down on the weapon. The index finger will dislocate at the
knuckle and can be torn off using tile metal edges of the trigger guard.
against your chest to intimidate you.
Slap down with the right hand, clamping it over the pistol. Two things are essential:
the web of the hand must fall between the hammer and the firing pin to prevent discharging a
round; and the weapon must be deflected down and to. the left outside line, just in case. In the
case of revolvers, it is further possible to grip tile cylinder and keep it from turning. This prevents
the weapon from firing.
Having secured the grip, twist the barrel back upon the enemy. This traps his finger
inside the trigger guard. Seize his wrist with your left hand to reinforce the finger lock. The
enemy will most likely seize your right elbow to resist this attack. In this event, step quickly
back with the right foot, jerking down on the weapon. The index finger will dislocate at the
knuckle and can be torn off using tile metal edges of the trigger guard.
ESCAPE BY TURNING
Should the enemy apprehend you and place his weapon at your back, consider the
point at which he actually touches you. This will determine the type of block you will employ
when turning. In most instances, a Mirror Block will be most effective since, as you turn, your
shoulder will drop. In this, as in the previous technique, be assured that it is possible to act before
the enemy can fire. In both cases, your first concern is moving out of the line of fire, either
by deflecting the weapon or by shifting your position.
Pivot on the balls of both feet simultaneously. Execute a right Mirror Block to deflect
the weapon to the outside line. Execute a left hooking arc with the left Palm-Heel, striking
the enemy on the mastoid process. This consists of the small bony ridge just under tile ear.
Bear in mind that the carotid sheath is near the surface at this point also. The impact should be
sufficient to dislocate the jaw.
By these means, the enemy can be disarmed and the Ninja can escape from custody. These
techniques are drawn form the Ninja Art of Kumi-Uchi, Escapes and Reversals. A part of the
fighting system.
point at which he actually touches you. This will determine the type of block you will employ
when turning. In most instances, a Mirror Block will be most effective since, as you turn, your
shoulder will drop. In this, as in the previous technique, be assured that it is possible to act before
the enemy can fire. In both cases, your first concern is moving out of the line of fire, either
by deflecting the weapon or by shifting your position.
Pivot on the balls of both feet simultaneously. Execute a right Mirror Block to deflect
the weapon to the outside line. Execute a left hooking arc with the left Palm-Heel, striking
the enemy on the mastoid process. This consists of the small bony ridge just under tile ear.
Bear in mind that the carotid sheath is near the surface at this point also. The impact should be
sufficient to dislocate the jaw.
By these means, the enemy can be disarmed and the Ninja can escape from custody. These
techniques are drawn form the Ninja Art of Kumi-Uchi, Escapes and Reversals. A part of the
fighting system.