Kawakami Sensei's lineage is recognized by the governments of Mie (Iga) and Shiga (Koka) prefectures where the old Iga and Koga areas are located, as well as the Iga Ninja Museum as the last real practitioner of ninjutsu. The Iga Ninja Museum is registered under law as a certified museum by the Mie Prefectural Committee Board of Education. It is the only museum in the world of its kind, the only public ninja museum in Japan that is backed by the government.
There seems to a great degree of propaganda that is being spread by certain organizations who shall remain nameless. This propaganda campaign started over two years ago when emails were sent out thru certain organizations denouncing Jinichi Kawakami's legitimacy. This campaign is still being waged using misinformation. It is eveident that there are those within these organizations that do not want the truth to come out. The following are the facts about Jinichi Kawakami.
Kawakami Sensei's lineage is recognized by the governments of Mie (Iga) and Shiga (Koka) prefecturesas well as the Iga Ninja Museum. The Mie and Shiga prefectures are where the old Iga and Koga areas are located. All of these entities refer to Jinichi Kawakami as the last real practitioner of ninjutsu.
The Iga Ninja Museum is registered under law as a certified museum by the Mie Prefectural Committee Board of Education. It is the only museum in the world of its kind, the only public ninja museum in Japan that is backed by the government.
The Iga-Ryu Ninja museum's purpose is to study and preserve ancient Japanese documents related to Ninjutsu. Part of the museum is for tourism like an entertainment park complete with shows designed to entertain and attract tourists but the other part is actually a real museum. They have many ancient documents related to authentic Ninjutsu. Again, they state that Jinichi Kawakami is the last inheritor of historically authentic Ninjutsu.
Banke Shinobinoden (affiliated with Jinichi Kawakami) state that they are the last practitioners of historically authentic Ninjutsu left in the world: http://www.eonet.ne.jp/~bankeshinobi/ (follow the English link)
There is a troupe of performers at the museum who demonstrate techniques in a show at the museum. (It is a show that is performed by actors for entertainment purposes to attract tourists.) While there are a few techniques used in the show that are authentic it is mostly for entertainment. The troupe is in no way connected to Banke Shinobinoden or Jinichi Kawakami. Banke Shinobinoden is a completely different entity that is connected to the academic and historical side of the museum. Koga/Koka is not dead as some would have you believe. The Banke Shinobinoden is well-documented in Japan.
This is an article on the Seminar that took place in New Jersey last week with Jinichi Kawakami. This article was taken from the koga ryu blog site http://kogaryuninjutsuint.blogspot.com/ I copied and pasted in below. It is two parts with the second part being an interview with Meik Skoss. I personally found it to be an intelligent well put together article with out all the B.S. name calling and personal commercial agendas. THIS IS NOT MY ARTICLE SO PLEASE DO NOT ASK ME QUESTIONS ABOUT IT.
On the afternoon of Friday, June 26th in New Jersey at Drew University in the Brothers College building, a three day seminar was given by Jinichi Kawakami. The week end started with an academic panel discussion about the history and nature of Japanese Ninjutsu, followed by two days of unique demonstrations and training.
Jinichi Kawakami a Koka Ninpoden Soshike (headmaster of Koka or Koga ryu Ninjutsu)and honorary curator of the Iga Ninja Hakubutsukan (Museum) and Yasushi Kiyomoto stood in front of approximately seventy people and a panel of experts. The panel consisted of Meik Skoss, who is the Co-Publisher of Koryu Books, an instructor in Shinto Muso-ryu jojutsu and a shihan (master instructor) of Toda-ha Buko-ryu naginatajutsu. Also on the panel was his wife Diane Skoss, who has earned a Master of Library Science, an MA in English, and has a go mokuroku [license] in Shinto Muso-ryu jojutsu and an okuden in Toda-ha Buko-ryu naginatajutsu.
Other panelists were Jeremy Sather, Department of East Asian Languages and Cultures, University of Pennsylvania; Marc Boglioli, Professor of Anthropology of Drew University; Wyatt Evans, Professor of History from Drew University; and Michel Farivar, psychiatrist and instructor of Geijin Ryu Ninjutsu.
Another in attendance was Professor Ronald Duncan. According to Dayn Derose, Professor Duncan, who is the shihan of the Way of the Winds School and affectionately called O-Sensei by his many students deserves, a special mention due to the fact that without his help this presentation would not have been possible.
Kawakami Sensei's lineage is recognized by the governments of Mie (Iga) and Shiga (Koka) prefectures where the old Iga and Koga areas are located, as well as the Iga Ninja Museum as the last real practitioner of ninjutsu. The Iga Ninja Museum is registered under law as a certified museum by the Mie Prefectural Committee Board of Education. It is the only museum in the world of its kind, the only public ninja museum in Japan that is backed by the government. The prefectural governments' recognition is part of the Japanese system of designating Intangible Cultural Assets and is a designation that is awarded to traditional arts and crafts of many sorts, including martial arts.
In the seminar, Kawakami, with Yasushi Kiyomoto, his senior student and the President of the Ban-ke Ninpoden Kenshujo, and interpreter Katie Takahashi, the Artistic Director of Team Takahashi, were welcomed by Drew University's Athletic Director[,] Jason Fein. After that, all attending were shown a Japanese video presentation of Kawakami Sensei, Kiyomoto Sensei and their associates, which was interpreted by Ms. Takahashi.
After the video presentation, a question and answer session took place. Hit with a barrage of questions from both the panel and the other 70 people in attendance, Kawakami sensei and his senior student Yasushi Kiyomoto patiently and politely answered all questions from the panel of experts and those attending.
One of the many questions that was put before Kawakami Sensei was if the art was a complete transmission or if they had reconstructed it based on actual historical densho. Kawakami sensei explained it was a transmission. Another question asked was whether ninjutsu was a koryu or not. Kawakami Sensei gave a unique answer, by saying that he did not think so because he believes ninjutsu to be entirely different from koryu bujutsu.
Koryu organizations have long discounted claims by ninjutsu practitioners, stating that there are too many gaps in their lineages. The explanations given by Kawakami Sensei apparently impressed Meik Skoss; he believes Kamakami Sensei is authentic, saying "I found Kawakami Sensei's answer a telling one with regard to my being convinced of his legitimacy. Many other writers have either spurious or unsubstantiated backgrounds, which is why, up until now, I have dismissed their claims to being genuine exponents of traditional arts."
READ MORE OF MR. SKOSS' AND OTHERS REACTION TO THE SEMINAR IN PART TWO....
This is an article on the Seminar that took place in New Jersey last week with Jinichi Kawakami. This article was taken from the koga ryu blog site http://kogaryuninjutsuint.blogspot.com/ I copied and pasted in below. It is two parts with the second part being an interview with Meik Skoss. I personally found it to be an intelligent well put together article with out all the B.S. name calling and personal commercial agendas. THIS IS NOT MY ARTICLE SO PLEASE DO NOT ASK ME QUESTIONS ABOUT IT.
In an email interview with Mr. Meik Skoss I asked him about his impression of the Jinichi Kawakami seminar. Mr. Skoss participated in the academic panel discussion with Kawakami Sensei on friday, June 26th.
Q. Mr. Skoss, thank you so much for your reply. I understand that you attended the Kawakami seminar and sat in with a panel of experts. It was reported to me that you did think Kawakami was legitimate. I know that ninjutsu isnt considered a koryu and that even some of the biggest ninjutsu organizations have not proven a true lineage. How did Kawakami come off to the panel? Did you indeed find him credible as earlier reports have stated? I understand that you were not there for the entire event but I would still like to get your comments on the presentation of Koka or Koga ninjutsu.
A. Mssrs. Kawakami and Kiyomoto did impress me and, I believe, Drs. Sather and Farivar, as being very knowledgeable about the history and techniques of Koka-ryu ninjutsu. Unlike a lot of previous encounters with so-called "experts" on ninjutsu, there was no bombast or romantic mythologizing. They were very plain spoken, matter of fact about what their art is and how it was transmitted to the present day.
Q. According to some you were blown away with the Kawakami presentation and found him to be the "real deal" so to speak. If he indeed did impress, then what did he do or say that would attribute to this?
A. It is more accurate to say that I think what Mssrs. Kamakami and Kiyomoto said made sense, given what I know of how many of the traditional Japanese arts -- by which I mean not just martial arts, but performing arts and crafts as well -- have developed and been transmitted to modern times. The words I used was, "it all parses," meaning that what he said is consistent with other things I have heard, read, and seen. What he said makes sense, as opposed, for example, the stuff that Stephen Hayes, Hatsumi Masaaki and others of that ilk have written.
Most of the people on the panel have no particular background in martial arts, ninjutsu or otherwise. Kawakami and Kiyomoto wanted the setting to be more of an academic one, not a form of entertaining "show and tell" dog-and-pony show, that is what we were intended to provide. The format of prepared questions was not really one that would be found in a Western academic setting, but was decided upon to make Kawakami and Kiyomoto more comfortable, as Japanese generally do not like to participate in the free-ranging discussions that are common in the U.S.
Q. One of the many questions that was put before Kawakami Sensei was if the art was a complete transmission or if they had reconstructed it based on actual historical densho. Kawakami explained it was a transmission. Another question asked was whether ninjutsu was a koryu or not. Kawakami Sensei gave a unique answer, by saying that he did not think so because he believes ninjutsu to be entirely different from koryu bujutsu.
A. Yes, this was an interesting point raised by Mr. Kawakami. I found it a telling one with regard to my being convinced of his legitimacy. As I mentioned before, many other writers have either spurious or unsubstantiated backgrounds, which is why, up until now, I have dismissed their claims to being genuine exponents of traditional arts.
I spoke with a teacher of mine about this. He also studies Katori Shinto-ryu heiho, which has a ninjutsu component in its curriculum. He told me that what I told him of Kawakami's presentation is very similar to what he has learned in his own training and studies. That is a rather significant datum, I think, because Shinto-ryu is one of the oldest koryu bujutsu, one of the best preserved, and his teacher knows more about Japanese martial culture than most other martial arts exponents or academic specialists.
In conclusion, I think it's best to say that I believe Mssrs. Kawakami and Kiyomoto have a legitimate tradition. Whether or not it is being transmitted in the traditional manner at this time is not something I'm prepared to comment upon without observing the training and discussing it with them at length.
I want to extend my appreciation to Mr. Skoss for his cander, expertise and for taking the time to respond to my questions.
With the Panel discussion now over everyone attending was excited about the following morning and looking forward to what was to come. The ninjutsu training that Kawakami Sensei was going to cover over the next two days was going to entail demonstrations of breathing methods, conditioning, walking, running, jumping methods, as well as bujutsu.
Saturday morning started out with an introduction to some body conditioning aimed at strengthening the body to get the body used to being hit. Then they showed how much damage one could take to the throat by taking a wooden stick and thrusting the solid piece of wood very hard into the neck of the other. Kawakami Sensei and Kiyomoto Sensei did not go lightly and used a great amount of force. After this particular demonstration they asked if anyone in the audience would like to try it. No one took them up on their invitation.
Also covered were unarmed bujutsu techniques called yawara. Kawakami Sensei and Kiyomoto demonstrated movement moving forward into the attack while blocking, striking and grappling. Technically yawara is Jujutsu and can be explained as unarmed combat techniques which are among the first to be studied and usually the last to be fully understood and appreciated. All the basic components of a martial art are included in the practice of Yawara, such as balance, momentum and leverage, combined with the variants of timing and strength. Every Yawara technique contains elements that can be developed into very devastating techniques of self-defense.
To the beginner, Yawara teaches the relation between physical movement and mental intention. An action is no longer an isolated process, it involves the whole body. It is a process that has the potential to create both emotional and physical unity with an opponent, a prerequisite for the most efficient conflict management.
Sunday began with a demonstration of different weapon techniques.This short demonstration included sword techniques, and defenses using ring weapons called Kanawa. Kanawa were an early version of a pot holder the edges were sharpened for use as an household impromptu weapon.
Afterward, the attendees were invited to participate in different techniques. Methods of body movement, control, crawling, and walking were taught, with an emphasis of the stealth applications of the techniques. Kiyomoto Sensei was extremely flexible, and demonstrated each of the movements in a silent, cat-like manner.The techniques were taught as being historically accurate, as Ninja practitioners actually performed in the period.
There was a short discussion on the kuji-in, and their ritual applications. Each mudra was taught, with its corresponding mandra, and the significance of these ideas.Besides the historical significance, the philosophy and influence of the kuji-in was discussed.
Kuji-in, meaning “Nine symbolic cuts”, from the outside seems to consist in drawing nine lines in the form of a grid, then drawing a symbol on the grid. In fact, it is the setting in place of nine energy structures, that once activated, can empower a concept represented by the drawn symbol over the grid. It was also explained that not just ninja practiced kuji but most samurai as well.
The kuji were explained to be a way of "self-protection" related to religious acts. All were shown the basic Kuji although it was explained there were an infinite number of kuji that were not shown obviously.
Other topics covered were shuriken, with different methods of throwing, as well as classical weaponry. These weapons consisted of infiltrative devices, farming tools, chain weapons, as well as explosives, based on the technology of the period.
In addition, there were discussions about period assassination techniques with poison, disguises, and methods of communication using the technology of the period. Kawakami Sensei had a wealth of information at his command, regarding a plethora of topics – each relating to the art of Ninjutsu of antiquity.
Pictures were shown of the Ninja Museum in Mie Prefecture, which is the only government sponsored Ninja organization in Japan. This Museum, and its curator, Kawakami Sensei, have been declared by the Japanese Government as the Guardians of the Ninja traditions.
Kawakami Sensei and Kiyomoto Sensei appeared to be people of rare integrity, humility, and very willing to share information. They were very enthusiastic about the material presented, and dedicated to maintaining the authenticity of the historical and cultural traditions.
I would like to thank Renshi Steve Mauner of the Nakano Dojo for his help and contributions with this article.
Koga/Koka is not dead as some would have you believe. The Banke Shinobinoden is well-documented in Japan.
