Mugai Ryu Manual

Mugai Ryu Iaihyodo Japanese Swordsmanship Study Group Curriculum Guide

Updated August, 2007

Shinjinkai The Japanese Martial Arts Society

Table of Contents What is Mugai Ryu? A Brief History of Mugai Ryu Meishi-ha Organizational Structure Class Structure Class Schedule & Attendance Special Events Safety Rules Dojo Etiquette Gradings & Promotion Equipment Purchasing Uniforms & Equipment Training Supplements Member’s Duties (Kokoro-e) Principles (Hoshin) Kata Listing & Basic Translation Parts of the Sword / Basic Terms and Concepts

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ippo jitsu mugai kenkon toku ittei suimo hono mitsu dochaku soku kosei “There is nothing but the one truth: It is universal, constant. The wind-blown feather truly obtains this secret; To know harmony amidst confusion is to be illuminated.” - as related to Tsuji Gettan Sukeshige by Sekitan Zenshi, ca. 1693

Document layout © 2007 by Brian Pettett

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What is Mugai Ryu? Mugai Ryu Iaihyodo is a three-hundred-year-old traditional line of Japanese swordsmanship; it is a koryu art, meaning that the techniques have been passed down in an unbroken line of transmittal since the feudal age of Japan. Mugai Ryu comprises techniques for drawing the sword and cutting in the same movement (iaido, or iaijutsu), as well as extended techniques for use in combative encounters (kenjutsu), using either the long or short sword. The Meishi-ha lineage of Mugai Ryu practices kireru (“cutting”) iai: instead of being limited to strictly solo forms, students also engage in partner exercises to learn proper distance and timing to one’s target, and periodically use live blades to ensure that their techniques an actually cut as intended. However, as a school heavily influenced by Zen, the ultimate goal is not simple sword skill; each student must strive to penetrate not only the kata, but the very essence of the martial Way. A Brief History of Mugai Ryu The founder of Mugai Ryu, Tsuji Gettan Sukeshige was born in 1648 in what is now Shiga Prefecture. When he was 13 he went to Kyoto to study Yamaguchi Ryu; at the age of 26 he received menkyo kaiden (full transmission), and opened a Yamaguchi Ryu school in Edo (present-day Tokyo). However, only a few students came to learn at his school as no one wanted to study under an unknown fencing teacher from the countryside. Gettan realized that he required more spiritual education, and so he went to study Zen and Chinese philosophy under monk Sekitan at Azabu Kyukoji Temple. He continued his Zen practice under the second chief priest Shinshu, and at the age of 45 achieved enlightenment. He took the name Gettan Sukeshige and in 1693 founded the Mugai Ryu fencing school. As a sword master and Zen disciple, Gettan felt that the sword and Zen were inseparable, as he explained in his seminal writing on the true meaning of Mugai Ryu, and any who wanted to learn Mugai Ryu fencing had to first become proficient students of Zen before Gettan would teach them the sword. After 20 years of spiritual dedication, Gettan was known not just as a master of the sword, but as an enlightened philosopher and scholar as well. At Kyukoji Temple he was often in contact with many powerful lords of the time. Gettan was invited to teach for two powerful lords’ houses, but being a restless spirit always seeking more, Gettan sent his students instead: his blood relative and second master of Mugai Ryu, Tsuji Uheida, to the Sakai house of the Umayabashi clan, and his adopted disciple and third master of Mugai Ryu, Tsuji Kimata Sukehide, to the Yamaguchi house of the Tosa clan.

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When Gettan was 61 years old, at the discretion of Lord Sakai, he was to debut in front of the fifth shogun Tsunakichi. Unfortunately, Shogun Tsunakichi passed away before Gettan had an audience with him. However, for a masterless sword instructor to be invited to have an audience with the shogun at that time was an incredible achievement. Gettan studied Jikyo Ryu iai from master Taga Jikyosai Morimasa, who did not have a pupil to carry on after him, and so instead of letting Jikyo Ryu fade, he brought his teachings into Mugai Ryu. Today’s Mugai Ryu iai is therefore a combination of the original Mugai kenjutsu teachings and Jikyo Ryu iai, which was later consolidated by Nakagawa-soke into Mugai Ryu Iaihyodo.

Meishi-ha Organizational Structure The study groups in the U.S. are part of the Gyokusuikai, which is the international branch of the Suimokai organization in Japan, headed by Gyokudo Toyoaki Niina. Suimokai is dedicated to the study and spread of traditional Japanese martial arts, and specifically the Meishi-ha lineage of Mugai Ryu. The Chicago Mugai Ryu study group operates under the direction of Tony Alvarezsensei, who administrates the US Federation of Mugai Ryu. Gyokudo Toyoaki Niina (Niina-gosoke) Founder - Meishi-ha Mugai Ryu Iaihyodo Chairman - Suimokai Hanshi, Menkyo Kaiden

Honbu dojo, Tokyo

Renfield Kuroda-sensei International Director - Suimokai Renshi

Honbu dojo, Tokyo

Tony Alvarez-sensei Director - US Federation of Mugai Ryu

Senpokan, Costa Mesa CA

Meido Moore-sensei Administrator - Mugai Ryu program

Shinjinkai, Chicago IL

Brian Pettett Study Group leader - Mugai Ryu program

Shinjinkai, Chicago IL

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Class Structure Mugai Ryu classes begin with reiho: the paying of respects to the dojo, your classmates and to your sword. Students then warm-up by either practicing the four basic cuts - known as suburi - or practicing other fundamentals (kihon) such as drawing (nuki), sheathing (noto) or other specific routines. A large portion of each class is typically devoted to solo kata, or pre-arranged sets of movements. These deal with responses to attacks from the front, from behind, or sometimes in groups. Kata generally have four basic elements; the initial draw (nukitsuke), a follow-up cut (kiritsuke), the symbolic cleaning of the blade (chiburi), and then returning the sword to its scabbard (noto). Students are instructed on the details of these basic movements, and repeat them until they are comfortable doing them on their own. The program is self-paced; as they progress, students are gradually shown new kata to work on. Periodically, the techniques learned in the kata are further explained through kumitachi (partner exercises) using bokken (wooden swords). Training is an ongoing activity; the martial arts - and Mugai Ryu specifically should be thought of as a lifetime learning process; the objective should not be rank in and of itself, but of your own personal development. Chasing this is the true goal of the art, and even thirty-year practitioners find new areas to concentrate on with each day. Class Schedule & Attendance The Mugai Ryu study group meets three times per week: Mondays Wednesdays Saturdays

8:00 to 9:30pm 5:45 to 6:45pm 4:30 to 6:30pm

Like all koryu arts, Mugai Ryu is a system passed down directly from instructor to student through regular, hands-on practice. Repetition and observation are key components to learning the Japanese arts. Therefore, while students may attend as little or as often as they wish, those who wish to progress should attend a minimum of one class a week. Regular attendance proves the individual student’s commitment to the art, and also maintains a sense of community spirit among the group .

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Special Events In addition to the regular curriculum, the Mugai Ryu study group also takes part in various other activities throughout the year (i.e.: tameshigiri practice, out-of-town seminars, trips, etc.). Because of the emphasis on regular training in the dojo, participation in these events will be open only to students who maintain regular weekly attendance. Tameshigiri The Meishi-ha lineage of Mugai Ryu encourages the regular use of tameshigiri (also known as shizan) to further teach effective swordsmanship technique. Tameshigiri - cutting practice using actual swords - involves cutting soaked rolls of tatami omote, a traditional material made of woven reeds. Tameshigiri practice gives the student a tactile sense of how blade angle, grip, body posture and proper power delivery all contribute to effective cutting technique. These factors cannot be fully understood through kata practice alone. However, tameshigiri is not an isolated event done for it’s own sake, but is a serious training evolution used to enhance and reinforce the skills practiced daily in class. And while safe procedures are rigidly followed, there is always risk involved in handling live blades. Therefore, these sessions will be limited not only to those who meet or exceed the minimum levels of class participation, but who are of an appropriate level of skill and who also demonstrate safe sword-handling. Seminars Our dojo hosts visiting sensei several times during the year, and these local seminars are open to all members. They are valuable opportunities to train under senior members of the Mugai Ryu organization, receive more details on kata that one may already be familiar with, or to learn advanced new techniques. They are also good occasions to build relationships with Mugai Ryu members from other study groups throughout the country, who frequently attend these events. Members of our group also travel to similar events held elsewhere within the United States several times a year, and also to Tokyo every summer. Seminars may be restricted to students of specific experience levels, depending on content. All seminars typically require a nominal participation fee.

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Taikai Seminars frequently take place in conjunction with taikai (competitive meets). At these events, students have the opportunity to put their techniques to the true test; performing kata and/or tameshigiri in front of judges.These events consist of contests between two competitors, who are judged not only on how well they perform their kata, but also on their display of proper etiquette. While competition is a rewarding activity, the intent in Mugai Ryu is not to build the ego or to seek recognition; these things are contrary to the spirit of Zen which underlies our art. The main benefit of these events is that they teach the student how to perform under pressure in an unfamiliar environment. It can also give the practitioner some insight into the days in which these techniques arose, where skill with the sword in one-on-one encounters might be required for survival. As competitors in such events directly represent the quality of the program here at Shinjinkai, participation will be extended only to those students who have demonstrated an appropriate level of experience, and who also have shown their commitment to the program by satisfying the minimum attendance requirements. Safety Rules Never relax your attention, even off the mat. Swordsmanship is a safe activity when practiced with regard to your surroundings, but can be hazardous if proper safety is not observed. The ultimate responsibility to stay safe belongs to you. 1.

Stainless steel, replica or decorative swords are NOT allowed for practice; all training weapons must be specified and approved by the instructor.

2.

Treat any sword as if it is a live blade; iaito (unsharpened blades) or bokken can still cause serious injuries if not handled properly.

3.

When using iaito, check all hardware - specifically mekugi pins - before practice begins, and frequently during class. Failure of any part could cause injury to yourself or others. If you doubt your sword’s safety in any way, let your instructor know immediately.

4.

Unless engaged in kata, your left thumb or forefinger should be on the tsuba, preventing the sword from falling out of the saya. IMPORTANT! If the sword does slip out of the saya, let it fall! Grabbing after a falling sword (even a blunt iaito) may result in serious injury.

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5.

If class is already in session, remain outside the practice area until you are given permission to enter by the instructor.

6.

Never walk with a drawn sword. If you are not performing a kata, your sword must be in its saya (scabbard).

7.

Never walk behind a swordsman; if necessary, cross in front of the other student, indicating to them that you are passing by showing your hand.

8.

Always be aware of your space and position, and do not cut unless adequate space is available.

9.

Horseplay is expressly forbidden. Swordsmanship is a serious activity; unpredictable motions and inattention can have severe consequences.

Dojo Etiquette Shoes must not be worn in the dojo. However, footwear (either shoes or sandals) must be worn while in the changing rooms, to avoid tracking germs into the dojo. When entering or leaving the dojo, one must perform a standing bow (ritsurei) towards the shomen (scroll area at front of room). Before stepping on to the mat, always bow towards the shomen first, and enter the mat with your left foot first. When leaving the mat, reverse the procedure; bow, then step off backwards, right foot first. If there is time before class is started, you may stretch or practice on your own. When the instructor takes to the mat, students should remove their swords from their obi and line up in order of rank, with the most senior student to the right. When carrying a sword outside your obi, it must be held at your side in the right hand. Holding it in your left hand indicates your readiness to draw, a very aggressive posture. Unnecessary talking during class should be kept to a minimum; class time is limited, and should be used for training-related activities only. If you have questions about a particular technique, ask the instructor or senior student for clarification on the side; do not interrupt class to do so. Always respect your equipment, and that of others; always perform ritsurei to weapons when taking them from their rack or other location.

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Never step over a sword when it is lying on the ground. Do not handle other students’ swords without permission. When laying a sword to the side when not in use, the tip (kissaki) should face away from shomen. Students must assist in cleaning the dojo following each practice.

Grading & Promotion Unlike many other martial arts programs, Mugai Ryu schools in the US do not award kyu (junior) ranks. Study group members focus solely on perfecting their kihon (fundamentals) until they display a good basic grasp of kata, blade handling and overall movement. They are then submitted as candidates for shodan, which other arts refer to as “black belt”. Note that in the Japanese arts, this rank does not denote mastery of the art, but merely states that the student has taken the first step toward becoming a committed practitioner of the art. Students can expect to test for shodan within 1 1/2 to 2 years of beginning the program; testing (shinsa) is held every summer in California. Candidates for promotion will be those who display acceptable levels of skill and understanding of the kata, who have demonstrated proper commitment to the program, and who have met (and preferably exceeded) the minimum attendance requirements. Testing for shodan generally consists of the recitation of either the Hoshin or Kaiin Kokoro-e (provided in this document), proper demonstration of the opening and closing reiho ceremonies, performance of several kata, as well as basic tameshigiri. Successive rank promotions will require additional skill tests.

Equipment Beginning students may purchase basic uniforms consisting of cotton jacket (keiko gi), trousers and belt (obi) through any of several local martial arts supply companies, as well as through various online retailers. Students purchasing uniforms for use in both aikido and Mugai Ryu should purchase judo-weight gi tops. Those students participating solely in Mugai Ryu classes may wish to purchase more traditional iai uniform items such as: a black jacket (uwagi), pleated hakama (black), and a wider, iai-style obi.

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Bokken are provided initially, but you are encouraged to buy your own for home practice. These should be made specifically of Japanese white oak to withstand impacts during kumitachi practice. They should also come with a plastic saya. Note that bokken with painted finishes are not allowed, as the finish will rub off onto other students bokken during practice. Students who are committed to long-term training may also purchase an iaito, or alloy training blade. These are not able to be sharpened, and can cost anywhere from $250 and up. NOTE: For safety reasons, we require that students purchase their iaito from the suppliers listed below only. Discuss all potential purchases with your instructor, both to ensure proper sizing and that your sword will be appropriate for class. Purchasing Uniforms and Equipment In addition to being able to purchase uniforms and training equipment directly through the dojo, there are also several local and online retailers that provide quality merchandise. The following is only a representative listing; more sources may be available. Feel free to speak to your instructor or senior students for their recommendations, or experience with specific vendors: Clothing & Related Supplies Midwest Martial Arts Supply J. Toguri Mercantile E-Bogu Bu Jin Design Swordstore

4821 W. Irving Park Road, Chicago 851 W. Belmont Avenue, Chicago www.e-bogu.com www.bujindesign.com www.swordstore.com

Bokken Purpleheart Armoury E-Bogu Bokkenshop

www.woodensword.com www.e-bogu.com www.bokkenshop.com/eng

Iaito Swordstore Tozando Aoi Budogu

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www.swordstore.com www.tozandoshop.com www.budo-aoi.com

Training Supplements Official training DVDs are also available for purchase through Shinjinkai. These professionally-produced training aids feature Gyokudo Toyoaki Niina (or Niinagosoke), who covers the twenty basic kata in detail, plus reiho. The DVDs are intended for use as a visual reminder of the basic movements found in each kata, and not to be used as a substitute for regular class practice.

Members’ Duties (Kaiin Kokoro-e) Japanese 1. 2. 3. 4. 5.

Gyokusuikai wa Iaihyodo no kai de aru. Tsuneni taitekidosa o ishiki shi, kireru iai de are. Keiko de ase o nagashi, giryo o ageyo. Mi wa shonari to mo, ke u sodai de are. Kokoro ha tsuneni sei, soshite maruku are. Kokoro ni kokoro, kokoro mayowasu kokoro nari, kokoro ni kokoro, kokoro yurusuna.

English 1. 2. 3. 4. 5.

Gyokusuikai is an organization of Iaihyodo. Always envision your opponent and strive for “cutting iai.” Sweat hard during practice and train diligently. Even though you are but one small human, let your spirit expand to fill the universe. Always keep your heart and mind “quiet” and at peace. Do not be false in spirit or intention; know in your heart the difference between right and wrong. 11

Principles (Hoshin) Japanese Gyokusuikai wa, Mugairyu Iaihyodo o moto to shi, tayumanu higoro no keiko de, giryo no kojo o mezasu to tomoni, “jitsu” no naka ni “michi” o miidashi, tsuneni kokoro o renma shi, katsu tasha no yokitokoro o mitome, onore no ningen keisei ni yakudatsu koto o mokuteki to shi, hoshin to suru. English Gyokusuikai is an organization based on the fundamentals of Mugairyu Iaihyodo. Through diligent, daily practice, we seek to improve our skill and find the spiritual “path” within the physical “technique”. By always cultivating our spirit and learning from the good examples of others, our principle goal is to better ourselves.

keiko ni wa shimizu no sue no hosoboso to taezu nagaruru kokoro koso yoki

“As for training, you must have a spirit that never dies, like the ever flowing thin streams of the fresh water spring.” - Hyakusokuden, Tsuji Gettan Sukeshige

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Kata Listing & Basic Translation Zagi waza (seated forms) Goyo (Five Needs) Shin Ren Sa Yu Sha

truth, reality connected left (hidari) right (migi) to discard, or throw away

Goka (Five Items) Suigetsu Inchuyo Yochuin Hibikigaeshi Hazumi

”the moon in the water” In = Yin; Chu = Center; Yo = Yang (see Inchuyo, above) echo returning Ha = break; Zu = diagram; Mi = flavor

Tachi waza (standing forms) Go-O (Five Responses) Munazukushi Enyo Ryoguruma No-okuri Gyokko

stabbing the chest round two, both “sending off to the field” ball of light

Hashigakari (Begin Running) Maegoshi Musogaeshi Mawarigakari Migi-no-teki Shiho

hips forward vision returning begin rotation enemy to the right four directions

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Parts of the Sword Bo-hi

Grooves cut in the blade to lighten it and to provide audible feedback

Fuchi

Metal collar at the top of the tsuka, just below the tsuba

Ha

Sharp edge of the blade

Habaki

Metal wedge-shaped collar at the base of the blade, which locks sword in the saya.

Hamon

Visible tempered area of the blade

Hasuji

The angle the blade follows through the target

Kashira (Tsukagashira)

End cap of the tsuka

Kissaki

Tip of the sword

Koiguchi

Mouth of the saya

Kurigata

Knob on the saya which holds the sageo

Mekugi

Bamboo peg used to fasten the tsuka to the sword

Monouchi

Area of sword actually used for cutting; the last twelve inches or so of the blade

Mune

Back edge of the blade

Sageo

Cord affixed to the saya

Saya

Scabbard

Tsuba

Circular metal handguard

Tsuka

Sword handle

Basic Terms and Concepts Bokken

Traditional wooden training sword

Chiburi

Simulating the removal of blood from the blade

Chudan-no-kamae

A ready position with the sword held in the center position.

Furikaburi

Raising the sword from striking position to jodan-no-kamae

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Gyaku-kesagiri

Rising diagonal cut; cutting from just under the armpit, exiting the opposite shoulder

Gosoke

Honorific title referring to the head of the Ryu

Hakama

Pleated trousers worn by the samurai class

Hasso-no-kamae

A ready position in which the sword is held up and to the side, with the tsuba level with the cheek.

Hidari

Left side

Iaito

An aluminum training blade with no cutting edge

Jodan-no-kamae

A ready position in which the sword is held high over the head

Jo-Ha-Kyu

“Beginning, middle, end”; a sense of accelerating motion

Kamae

Stance or combative posture

Kata

Sequence of forms

Katana

Long sword

Kesagiri

Downward diagonal cut from the base of the neck to the waist, just below the floating ribs

Kiza

Kneeling position, with the toes raised

Koiguchi-o kiru

Unlocking the sword from the saya; pushing on the back of the tsuba, so that the habaki is free of the koiguchi

Koryu

Traditional Japanese martial art dating before the 1800’s

Kumitachi

Partner forms

Ma-ai

Proper distance and timing between opponents

Makko-giri

Vertical outward cut

Metsuke

Gaze; visualizing your opponent

Migi

Right side

Noto

Replacing the blade in the saya

Nukitsuke

Drawing and cutting in the same motion

Obi

Wide belt used to support the sword(s)

Omote

Outside, or the side facing away from the body. Also refers to “public” techniques, those shown to beginners.

Rei

Bowing

Ritsurei

Standing bow

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Ryu

A term literally meaning current or stream. Refers to a martial arts school, style, system or method.

Sayabiki

Movement of the saya in either drawing or sheathing

Seiza

Formal kneeling position, toes flat on the floor

Seme

“Pressure”; forcing an opponent to retreat.

Sempai

Elder (or more advanced) student

Sensei

Instructor

Shibori

“Wringing” of the tsuka with the hands, for better grip

Shidachi

In kumitachi practice, the partner who ‘wins’

Shomen

Front of the dojo or practice area

Shinken

“Real sword”; generally, any sharp blade

Suburi

Practice of any of the four main cutting strokes

Suki

Opening or vulnerability

Tameshigiri (or Shizan)

“Test cutting” using live blades to verify proper form

Tanto

Dagger or knife

Tekizuke

Keeping the kissaki pointed at the opponent

Te-no-uchi

Drawing the tsuka into the hands with one’s fingers

Torei

Bowing to the sword

Tsuki

Thrust

Uchidachi

In kumitachi practice, the partner who ‘loses’

Ukenagashi

Raising the sword above the head, to deflect an incoming strike

Ura

Inside, or the side facing towards the body. Also refers to “secret” techniques shown only to advanced students

Waki-no-kamae

A ready position in which the sword is held to the rear and to the side, with the edge facing downwards.

Wakizashi

Short sword

Waza

Technique

Yoko Ichi-monji

Horizontal cut at chest (or heart) level

Zagi

Seated forms

Zanshin

State of focused awareness of one’s surroundings, with out concentrating on one specific thing

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