The historical Ninja of Japan were famed for their skill at magick, both the stage/illusion type and the working with or channelling the forces of nature and used both to protect their homes. The common term for this technique in Japanese is Saiminjutsu, which translates as “hypnotism” in most English to Japanese dictionaries, but the kanji (Japanese writing) can be rendered to mean “meeting-sleep-magic” which is closer to its idiomatic connotation.

Such was the perceived power of Saiminjutsu that in 1908 it was legislated against in the ‘Minor Offences Act’ which meant that the police of the day were able to able to arrest anyone practising even therapeutic hypnosis if it was being done “without due cause”, which was open to very broad interpretation. Although this level of offence would not result in a court appearance in Japan a police record would be a severe handicap to anyone trying to live a successful life. So therapeutic hypnosis was renamed ‘Sieshin Ryouhou’ which means “curing using the mind”. Very similar to the European Establishment legislating against herbalists, Witches and unsanctioned midwives/doctors as part of the overall persecution that lead to laws similar to the various British “Witchcraft Acts” that ran from 1542 to 1952.Fortunately the historical Ninja and other magick users in Japan did not have to deal with persecution on the European level and so many of the techniques that they used to protect their homes and themselves survived into the present day. Even if it was only as museum exhibits.

It was one such museum that was the first place outside Tokyo I visited in the November of 1989 when I spent time living and travelling in Japan to learn more about the Ninja. I had been practising Ninpo, the modern expression of Ninjitsu since 1984 and when I had a chance to visit Japan to see and experience the areas where the art had developed along some of the places the Ninja had lived. One such place was a house set in the grounds of Iga Ninja Museum in Uneo, Marunouchi, in the Iga-shi, Mie-ken region of Japan. Having looked at the museum in the morning I had reserved the afternoon for looking at the Ninja house in the museum grounds.

The house itself was an original home from Takayama in Ueno City, formerly owned by the Ninja Takayama Tarodziro, which was moved to the museum in 1964. Its original site had been farmland and it looked like a typical single storied traditional Japanese farm house with attic space for storage, but this was far from the truth. I was lucky in that the day I was there I was the only visitor at the time, and the guide had plenty of time to escort me around the house and explain everything. First he showed me the outdoor garden, and explained how plants for making various drugs for healing and protection were grown amongst the usual plants common to kitchen gardens of the time. This reminded me of the traditional European Witch’s cottage garden where the same principle was used.

Moving indoors my guide showed me a secret compartment under a shoji screen and how the subtle arrangement of the tatami floor mats acted as a burglar alarm against subtle intrusions. He bowed politely and left me for a moment to see all was in order for the tour. I took this time to gently look around and see if I could spot any of the hidden devices that the house contained. I also tried to dowse for any energies that the structure might have that could connect me deeper with the historical Ninja. Images formed in my mind of a village high up in the mountains with traditional Japanese buildings, all built to a high standard of carpentry, which felt like where the house had come from. It came across more like a house built by a Ninja enthusiast rather than a historical Ninja, but who still had a connection with them. The feeling I had was similar to several Witch’s’ cottages I had visited that had a history of both traditional ‘Craft’ and the more modern Wicca being practised there. In both cases there was a definite aura of positive protective energy

I refocussed myself to the physical plane as my guide returned to show me more of the house. It had three levels, including the attic space rather than the single one suggested from its outer appearance. There was also a distinct ‘split’ between the living rooms on one side of the house, and rooms used for storage, and possibly training, on the other. The living areas were the ones that had most of the “surprises” in addition to the ones already mentioned. These included secret passages connecting to the outside, a wall that although it looked solid spun on a central pivot, and my personal favourite; A barred window that looked solid, and even felt solid, until you slid a piece of paper up an almost invisible gap between the window frame and the wall. This disengaged two hidden catches and the whole frame complete with bars swung open on concealed hinges leaving a clear escape or entrance. Closing the frame re-engaged the catches and the barred window appeared solid again.

Perhaps the best example of esoteric and exoteric protection in the house was the statue of Fudo My-O. In Japan this Deity, or aspect of Divinity, is frequently found outside temples and shrines as a protector and as a link to the Danchi Buddha who connects to the life forces of nature as the title “Life Force Who Illuminates the Universe” expounds. I sensed that this statue had been charged regularly by someone well versed in the local magickal arts and its influence probably extended throughout the Ninja House and the Museum grounds. It probably didn’t hurt that this deity is linked to prosperity as well, so it would make sense for someone in the museum to keep up a good connection with those Gods. On the practical level the shelf on which the statue rested had a concealed latch which opened a panel leading into a secret passage to the outside as part of the house’s security system.

There were many protective devices in the house, that I will cover in the forum section. I found several links to the Iga Ninja House on various areas of the Internet, and if nothing else, they really made me appreciate the extra time I had by being the only visitor that afternoon. It looks like most tours take only 15 minutes and the crowds make it hard to appreciate some of the subtle details like Fudo My-O. I spent at least an hour there looking at the various devices built into the structure and communicating/chatting with the guide, who was very interested when I showed him some of the Ninpo techniques I had learned training in England. When I left the house and museum I felt much more in tune with the historical Ninja and ready to explore the regions and special sites connected with them. What I did not expect was the encounter I was to have with the cultural descendants of the Ninja at Tokyo Imperial Palace under some very strange circumstances, which I will tell you about in the next article.