Five elements of Ninja (Ninjutsu)

Stemming from Tibetan tantric lore, the doctrine of mikkyo, or the "secret knowledge", teaches that all aspects of the universe originate from KU, the "emptiness" of potential, which is the sub-atomic energy or "nothing" from which all things take their form. These physical aspects can be classified into four primary mani¬festations, of the elements: FU, the wind {elements in a gaseous state); KA, the fire (elements in an energy-releasing state); SUS, the water (elements in a fluid state); and CHI, the earth (elements in a solid state).
The four elemental manifestations that appear as physical matter around us are also paralleled in the stages of elevation of the personality within us. We all move up and down from one element of influence to another and refer to the effects as our "moods."

CHI, the earth, or basest grouping of the elements, shows up as the solid, physical structure of the body. It is reflected in feelings of stability and resistance to change or movement.
SUI, the water, the next highest grouping of the elements, is mani-fested in the fluid aspects of the body. It is reflected in feelings of changeability and emotional reactions to physical changes.
KA, the fire, third-highest form of the elements, is seen as the dynamic energy of aggressiveness. it is re-flected in feelings of warmth, expan-siveness, and the active direction of power and control in one's environment.
FU, the wind, the highest physical manifestation of the elements, dis¬plays itself as intellect and love.
It is reflected in feelings of wisdom, benevolence, and in conscious con-sideration of one's interactions with other individuals.
KU, the emptiness, source of all physical elements, is the creative capability to direct the body's energies to take any of the four lower forms. When developed, this is the power to allow our mood to fit the surrounding environment at any given moment.

Each ninjutsu fighting technique can be classified by one of the elemental manifestations. The ninja's fighting system is taught as a total method that includes sticks, fists, blades, throws, mental outlooks and all aspects of personal combat that might be faced. As a general guideline, the following approaches to a fighting clash reflect the specific elemental manifestation influencing the response:
From the earth level you hold your ground solidly, taking the onslaught without letting it affect you. You know that your strength will prevail. The hips are the body's center of motion and consciousness. Your adversary feels as though he is fighting against a rock impervious to anything he does.
From the water level of influence you shift and flow, using distancing and unexpected movement to defeat your adversary. You know that your flexibility and cleverness will win out. The lower abdomen is the body's center of motion and consciousness. Your assailant feels as though he is fighting against ocean waves that recede from his advances and then crash back to knock him over.
From the fire level, you go after your adversary with fierce resolve. The harder he fights, the more intense your blows become. You are committed to injuring him in direct proportion to the strength he uses against you. The solar plexus is the body's center of motion and consciousness.
Your adversary feels as though he is fighting against a brush fire that flares up hotter and brighter the more he beats and fans it in an attempt to put it out.
Under the influence of the wind level of the personality, you fight with purely defensive moves, protecting yourself well without causing undue injury to your adversary. You use enough force to discourage him without harshly punishing him, and your counterattacks intercept his moves, stunning him without the necessity of blocking first. The center of the chest is the body's center of motion and consciousness, allowing for quick lightness. Your attacker feels as though he is fighting against the wind, ever elusive and occasionally stinging his eyes with a little dust as a gentle disuader.
Under the influence of the source level, the emptiness, you use your creative powers in words and actions to create
an environment in which you have no need to fight with anyone. An adversary never appears.
These centers of consciousness and approaches to fighting are not "concentrated on" or actively pursued. They are merely ways of classifying thought and action for better understanding after they have taken place. A successful outcome will then be the result of knowing how to properly balance out all aspects of any situation.

The major factor separating the Ninja's combat technique from ordinary fist fighting, stick fighting, or military action, is the application of KYOJITSU TEN KAN HO, or deception strategy. Literally translated as "the method of presenting falsehood as truth", this strategy is applied to all of the Ninja's activity. This application of the balancing elements of IN and YO (the YIN and YANG of China or the + and - of the West) makes use of the psychology of preparing an adversary to think in one manner, and then approaching him in another.
Examples can be seen in unarmed fighting. Examine yourself in a mirror to see how your body looks as you prepare for and deliver a high punch. At the moment it becomes obvious that you are punching high, drop your shoulder and punch to your adversary's ribs or stomach. In a close-in clash where fists have turned into grappling hands, pull your adversary towards you. He will probably instinctively try to pull away. As you feel his pull, change your motion to a push while stepping behind his foot and throwing him to the ground. As you begin an attack, wind up and start a punch at your adversary's face. As he brings his forearn up to block, change your fist to a knife-hand and slash into the target his forearm presents.
Examples can also be seen in blade fighting. As you slash at your adversary's head with a sword or long knife, and he attempts to block with a blade or metal bar, pull in suddenly with your arms and let the tip of your blade catch his forearm or hand. A blade could also be concealed behind the arm by gripping the handle in an underhand manner with the blade extending up behind the back of the elbow.
KYOJITSU TEN KAN HO was often used in escape tactics. A ninja might throw a heavy stone into a moat or river, and hide in shrubbery to trick those seeking him into searching the ripples of the water. A Ninja might rush up
to a group of castle guards with a frenzied tale of some calamity behind him. As the guards rush off, the Ninja could slip through the gate to go and "warn" other guards, making his escape.
The pretense of innocence, or the appearance of being off-guard or not suspecting, was also a way of using the deception strategy. Traitors within an organization might be allowed to remain, and be supplied with false information to confuse the enemy. The appearance of a castle or camp unprepared for war could be a trap to lure the enemy into battle. And perhaps the most universal application of this innocence deception was the annonimity of the Ninja. With the motto of "no name, no art" the Ninja made sure that he always appeared unobtrusively, just one of the crowd in everyday life. The Ninja had a cover occupation and family, and if he were a successful Ninja, was not known to be an agent by anyone.