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Tamiya Ryu Iaijutsu

Tamiyaryu was founded by Tamiya Heibei Narimasa during the Tempo Era (1573-1591). It was recognised as an official martial art of Tokugawa Kishu province. Tamiyaryu has progressed through three different phases, Ancient Tamiya, Kishu Tamiya and New Tamiya. Ancient Tamiya ceased at the end of the fifth generation and became Kishu Tamiya. Documents report that, "Kishu Tamiyaryu was the authorised successor of Tamiya Okito. Kishu Tamiyaryu was transmitted to Saijo province (Ehime Prefecture) as Shinkenryu. Iyo Saijo province was a branch of the Kishu Family. Through generations of successors, the Kishu Family kept a close affliation with the Ryu. Since the second son of Yorisumi - the Chief Counselor to the Shogunate - Yorinori, had succceded as the heir to Lord Saijo in February 1670, Kishu Tamiyaryu prospered in Saijo. In August 1797, Tsumaki Junjiro Mototsugu inherited the school and since then the Tsumaki family have succeded through to the present, Grand Master Tsumaki Seirin.
LINEAGE OF TAMIYARYU IAIJUTSU Tamiya Heibei Narimasa | Tamiya Tsushimanokami Osakatsu | Eda Gizaemon | Miyake Shui | Kurimoto Hanzo |

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Sanno Bangoro Takamitsu | Toyota Nakazaemon | Toyota Chikazaemon | Tsumaki Junjiro Mototsugu | Tsumaki Nobuhira Motomoro | Tsumaki Heinojo Motoshige | Tsumaki Satoru Motonari | Tsumaki Kotaro Motoatsu | Tsumaki Yoshimoto Makoto | Tsumaki Seirin Motonobu

Tsumaki Seirin soke

TECHNIQUES OF TAMIYARYU IAIJUTSU Tamiya ryu Iaijutsu Koran no Maki - the second volume
This series consists of 8 tachiwaza and 6 suwariwaza. This level would correspond to the 'okuden' in Muso Shinden ryu, and students generally start to practice this at 5th dan.

3 During the European Summer Koryu Seminar 2002 in Brussels, the 8 tachiwaza and first 2 suwariwaza were explained by Takeda N. Sensei - Iaido Kyoshi 7th Dan. The following is a brief description of these kata.

Tachiwaza
1.- T G Setsu (Katana Ai Giri) (Meeting the cutting sword)
Two opponents from the front. Start as for kesagiri, cutting upward to about shoulder level, bring back the right foot assuming kasumi no kamae, bring back the left while cutting to horizontal. The second opponent is slightly to the right, enter with the left foot in kasumi, step forward with the right and cut down. Yoko chiburi and noto.

2.- Mizu Kagami (Reflection in the water)

5 One opponent in front, one on the rear. On the second step, turn clockwise and deliver a tsuka strike to the rear enemy, leading with the right foot. Turn back to the front and perform nukitsuke while bringing back the left foot. Advance two steps and cut down. Yoko chiburi and noto.

3.- Mojiri Tachi (The twisting sword)

One opponent to the rear. Start with your back to shomen. On the second step, turn clockwise and perform nukitsuke, sliding the left foot back or the right foot forward depending on the distance. Advance two steps and cut down. Yoko chiburi and noto.

4.- Sa Tetsu (The left (steel) sword)

One enemy on the left. Start as for soetetsuki. After the tsuki, raise the sword for ukenagashi, with the left hand still on the mune, while bringing the right foot next to the left. Withdraw the left foot and cut down. Yoko chiburi and noto.

5.- U Tetsu (The right (steel) sword)

The same as Sa Tetsu but with the enemy on the right. After the second step, turn right, draw and cut while stepping to the right with the right foot. The rest as for Sa Tetsu.

6.- Fuji San (Mount Fuji)

10 One opponent behind you grabs your saya. Start with your back to shomen. On the second step pull the tsuka towards your shoulder, unbalancing the enemy. Turn the sword so the ha is down and bring down the tsuka sharply on your third step, breaking his grip. Draw and tsuki either as in shiogiri, or as in ganmenate, depending on the distance. Take one or two steps forward and cut down. Yoko chiburi and noto.

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7.- Matsu Kaze (Wind trough the pines)

Two opponents in front. On the third step, perform nukitsuke, eliminating the first opponent. Bring the left foot next to the right while raising the sword. The rest is similar to the end of somakiri except that the second cut (left kesa) goes down to knee level instead of stopping at suigetsu.

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8.- Yo Arashi (Nightstorm)

Four opponents, one on each side. First cut the one one the right as in sanpogiri. Withdraw the right foot and match swords with the enemy in front, advance the right foot, winding his sword and cutting down. Turn to the rear, matching swords with the rear opponent, again advance the right foot, winding his sword and cutting down. Step with the right foot in the direction of the last opponent, while cutting horizontally. Advance two steps and cut down. Yoko chiburi and noto.

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Suwariwaza

9.- Inten Giri (Negative turn-around cut)

From seiza, draw and cover while advancing the right foot to the right. Rise and bring the feet together, raising the sword. Withdraw the left foot, drop down on the left knee and cut. You have evaded the cut to the right and are now facing slightly left. Yoko chiburi and noto while withdrawing the right foot along a curved line.

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10.- Yten Giri (Positive turn-around cut)

One enemy attacks from the dark. Draw horizontal and slowly sweep the sword close to the floor, while advancing the right foot. When you touch the enemy's shin, evade to the left (this time remaining on the knees) and cut down. Yoko chiburi and noto while withdrawing the right foot along a curved line.

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11.- Tsuki Kage no Tachi (The moonshadow sword) Hi Ch (Flying bird) My I (Exquisite strong mind) Mura Kumo (Masses of clouds)

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Omote no Maki (kihon waza) Notes from a seminar on a hot day Lombardzijde, 18/7/1999 taught by P. Demuynck

17 NOTE: the intent of these kata descriptions is to inform, not to "teach" Tamiya ryu. Please read the statement at the bottom. During the opening ceremony, the sageo is held over the thumb, the sword is carried at 30 from vertical. For to rei, the sword is transferred to the right hand, with the index on the tsuba and the sageo over the right thumb. The kojiri is placed on the floor to the right " as if stabbing with a spear", and the sword laid down so the tsuba is in front of the left knee. After bowing, the right hand takes the sageo, then follows the saya to grasp the sword again with the index on the tsuba. The sword is picked up and placed vertical in front of the centre, the left hand grasps the saya 1/3 from the floor and slides down, then brings the kojiri to the centre to be inserted in the obi. The sageo is passed over the saya, then tied under the sword. To finish, the sageo is pulled loose (with the left hand), the sword is pushed forward so the right hand can take over, the index is placed on the tsuba, the sageo over the thumb. After bowing, the sword is picked up with the righe hand until it's in a 45 angle to the floor, then brought directly to the left side. Pictures on this page are taken (without permission) from the "Nihon Kobudo" video on Tamiya Ryu Iaijutsu, and an unlabeled koryu embu tape. The excellent "Nihon Kobudo" video covers a lot more than the Omote no maki (it claims to cover all the iai katas in Tamiya ryu, but I am unqualified to confirm this).]

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Inazuma
Starts in seiza. Teki sits a long way of, slightly to the right. Thus the kata is performed on a line somewhat to the side. Since teki is far off, the left hand grasps the tsuba before the right. Draw and rise, advancing the right foot, and cut nukitsuke over the elbows as teki attempts to cut down. This is a cut at tekis eye level. Maintain pressure. Raise the sword in a seitei-like furikaburi while bringing up the left foot, advance the right again and cut to horizontal. All details are very seitei-like, except the stances are somewhat wider and deeper. The feet are always parallel to the front.

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Now perform ashisabaki, taking jodan (with jo-ha-kyu feeling) while withdrawing the right foot (trick: increase speed when kissaki reaches eye level), step back with the left foot while taking gedan (remember ki-ken-tai-ichi), then very slowly raise the sword to chudan, which here means the tip is at suigetsu height, and from this position perform yoko chiburi. Perform noto as in seitei. The right hand is slid off the tsuka during the first step back. Maintain zanshin to the end.

Oshinuki
Teki sits close on your left, and grasps his tsuka. Advance the left knee to the left slightly (in kiza) and strike down with your tsuka on his hand, turning the sword so the edge faces down (right hand is on the hip). Grasp your tsuka without losing control of his, pull back your saya, then as he moves away cut nukitsuke while advancing the right foot. The cut is to his do, rather low, and since he is close, so is the cut. While the tsuka strike was to a 45 angle to the left, this cut is to teki's body, which is 90 to your left.

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Now teki attempts a cut to your right shin. Withdraw the right foot towards the left knee, and take soetetsuki no kamae. Then, while performing ashi sabaki (may be done with a jump) tsuki and withdraw the blade. Unlike in seitei, the left hand slides up to the tsuba and back to the middle of the mune during the tsuki. Then, the sword is raised (with left hand still on the mune) with the feeling of protecting the head, while rising, ending in jodan. The left foot steps back while taking gedan, then chudan etc.

Yokemi

21 Teki attacks with a cut to the head. Draw upward in uke nagashi (45) while sitting up on the knees and moving the right knee back slightly to hanmi, then advance the right foot and cut onehanded to teki's right men. Then rise while keeping the sword horizontal and pointing to the right, with the feeling of pushing teki away with your right fist. Advance with the left foot and assume tsuki position (without moving back the right hand). Tsuki position is with left foot forward, right hand close to the right eye, edge pointing up, mune resting on the left fist between thumb and index. The left arm is extended horizontally as far as possible. The feet must remain parallel.

Perform tsuki to the suigetsu and pull back, then raise the sword while lowering the right knee next to the left foot and cut while advancing the left foot. Rise to jodan, step back with the left foot to gedan etc.

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Mawari kakari
This is a standing kata. To end up at your starting point, you first take 3 steps (starting right) 45 to the left front while watching shomen, then turn so shomen is on your left. Start as in seitei soetetsuki. On the 3rd step the right foot is put down pointing to the left, turn left and step back with the left foot while cutting horizontally at do level. Take care not to bring the tsuka within tekis reach during nukitsuke. Pull the right foot back next to the left during furikaburi, step forward again with the right and cut. Jodan, this time while taking a step back with the right foot, etc.

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Mune no katana
Start in seiza. Teki, sitting in front, grabs your lapel. Since teki is close you grab the sword with both hands at once. Draw upward to threaten his wrist while advancing the right foot slightly to the right. Move the left knee to the right foot while lowering the sword to horizontal on the left, then perform a two-handed horizontal cut at do level while advancing the right foot. Rise and advance the left foot to

24 shizentai while raising the sword, move the right foot backwards and lower onto the right knee while performing kiriotoshi. Rise to jodan etc.

Tsuka hazushi

Start in seiza. Teki is sitting in front slightly to the right. As he grasps his tsuba with the left hand, so do you. He then grasps your tsuka with his right hand and attempts to draw your sword. Grasp the end of your tsuka from below, move the right foot forward and hit him (tsuka ate), then turn 90 to the right to pull him off balance, turn

25 135 left while moving the tsuka in a big circle to throw teki. Your edge should now face down. Draw the sword and rise while making a cut to tekis neck. Bring the left foot next to the right while taking jodan, draw the right foot back (straight, so you face shomen again) and drop to the knee while cutting to horizontal. Rise to jodan, etc.

Tsuki tome

Start in seiza. This is a rather weird kata where you strike down a tsuki with your tsuka (sword edge pointing down), while placing the right foot next to the left knee. Then draw the left foot back far (knee hovers) while cutting nukitsuke over his arms, then step with left foot forward and cut. Jodan etc.

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Shiranami

This kata was demonstrated only. It starts in seiza, and there are 2 tekis, one in front and one on the left. Look to the left and start drawing, advance the right foot and manipulate the sword to soetetsuki position as in MSR Iwanami (but facing the front, without turning to the left) then tsuki to the left with a stomp of the right foot. Throw the left teki in front of you, still with the left hand on the mune. The left hand is placed on the hip, then perform a frontal one-

27 handed ukenagashi deflection with the tip to the right. Cut down with both hands. Rise to jodan while stepping back with the right foot, etc. otra demostracin en la pgina siguiente

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Nigemi
Start standing. There are two opponents converging on you from both sides (like a Y). At the 3rd step cut a low nukitsuke (elbow level) to the left, look right, perform ashi sabaki while turning to the right front and perform uke nagashi (one hand). Again perform ashi sabaki (may be with a jump) while performing a kesa giri, ending with the left knee on the floor, facing shomen. Rise and perform chinugui ( as in seitei ukenagashi) without resting the blade on the knee. Perform

29 gyaku noto (without sitting down). The right hand must change to normal grip before sliding off the tsuka.

Oitachi
At the 3rd step draw and cut men la seitei morotetsuki, turn 180 and cut (without stepping forward), turn back and cut again. Step back to jodan, lower the sword to horizontal while dropping on the right knee with the feeling of pushing down teki. Take the sword in gyakuto grip, almost vertical (without changing position) and let blood drip off. This used to be a tsuki but soke didn't like that. Perform gyaku noto while standing up and moving the right foot forward next to the left, taking care to keep the tsuka pointing to the right (to prevent teki from hanging on to it- maybe that tsuki was not a bad idea after all).

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Chojo
From seiza, draw the sword and furikaburi while taking sonkyo, jump forward 6 meters, perform kiriotoshi while landing on your knees (with ki-ken-tai-ichi feeling), yoko chiburi and noto. You can just walk back, without jumping.

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Statement

by Michael

Alexanian, Branch

Manager

and

Principal Instructor of the United States Tamiya Ryu Iaijutsu Michigan Dojo and a direct Deshi (Student) of Tsumaki Kazuo Sensei and his Father, Tsumaki Seirin Motonobu Soke, the current and 14th Headmaster. "The Author has, in my opinion, done a very nice job of summarizing the 11 Omote no Maki Kata, providing Kata Photos from the "Nihon Kobudo" Series video on Tamiya Ryu Iaijutsu (this entire Series has recently been re-released, I understand). However, people wishing to

32 practice this particular Koryu Art should understand that many Okuden, or Oral Teachings exist for each of these Kata, and that these can only be acquired through training with a qualified Instructor of Tamiya Ryu Iaijutsu. Readers should be aware that there is much more to each Kata beyond the scope of the basic information given in this article. Any Koryu System should always be learned and practiced with a qualified Instructor, as opposed to using only a book or picture or video as the sole source for information about individual Kata. This article is a marvelous introduction to Omote no Maki Kata for those unfamiliar with Tamiya Ryu Iaijutsu."

Nakakura Iaido seminar december 1998 in Brussels, ADEPS The iaido seminar was taught by Oda sensei and Furiuchi sensei, assisted by some of their students. (Nakakura sensei didn't attend this year, I heard he had a bad encounter with a stair). I originally planned to use different typeface to distinguish between what was actually said, what was shown, and my own comments, but I decided that this would create an unwarranted impression of objectivity. It's probably better that everything below is considered as my subjective opinion. Oda sensei read from his notes while Furiuchi sensei demonstrated, and the two didn't always agree. It should also be mentioned that the iaido seminar was not acoustically isolated

33 from the Nakakura cup, so we didn't hear everything that was said due to the kendo noise. Technical points

The big "change" this year was nukitsuke. It was explained that nukitsuke ends with the shoulders at an angle of 45 degrees, with the arm at the same angle. What was shown, however, was completely different; at the end of nukitsuke the arm (and the sword) points straight forward, the wrist completely bent, tsuka touching the forearm (B on the drawing). At first I thought this was exaggerated to demonstrate the difference with the demonstrated wrong way (marked A on the figure), however, several members of the club reported being corrected for not bending their wrist sufficiently.

The figure marked C shows my previous understanding of nukitsuke (the second step is drawn exaggerated). In this nukitsuke you can actually cut (with the sword at a cutting rather than chopping angle)

34 using the muscles of the back rather than relying on wrist flicks, and cutting with the monouchi instead of just the kissaki. It also keeps the wrist straighter, which is a stronger position, probably more healthy, and it conforms better to the rules of shodo (sword and brush being one), not to mention tennis. In my opinion, this extremely bent wrist thing is one of those points that will be gone or changed by next year. Also, more often than not the bent wrist nukitsuke seemed to end as in figure D, thereby losing control over the opponent. Presumably the weak wrist position makes a clean stop impossible. Perhaps we should all start using those ultralight iaitos so we can do flashy wrist techniques too.

proper cutting angle, by Toriyama sensei On furikaburi, don't forget the stab towards the ear, don't lower the tip and strike immediately once the left hand reaches the tsuka. the cut ends with the tip only slightly lowered (seems less than was usual). Also, the sword must now be horizontal and not 45 degrees up in furikaburi (according to Furiuchi's students). The last move of chiburi must be made directly without first changing (f.e. raising) the sword's position. Keep hips on the same level during ashisabaki and maintain seme.

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Noto starts at the tsuba (they said, but Furiuchi did Omori ryu noto all the time) In ushiro, take care that the left foot is not placed too far to the left. Ukenagashi starts with the opponent sitting. Metsuke is to the eyes of the attacker. The left foot is not placed as far as the knee (somewhat closer). Twisting the body is the important point. The wrist remains in the same position during the twist. Deflection is on the shinogi. The right foot points straight forward. The cut ends below the groin, lower than we were used to. Hakamasabaki seems to be optional. It was pointed out that the sword and the shoulders should remain directed to the front while sitting down. For tsukaate the right foot should not be placed too far to the right. The stab is to the suigetsu (the sword lowers somewhat during the tsuki, from nipple height to almost elbow level). Check the result of the tsuki before looking forward again. During noto the right foot must be kept behind the knee. The hips and upper body should not move during the cuts in kesagiri. The hand should not be brought back too far, it should stay before the body. Cut at once. The cut ends a bit lower here too. Hasso

36 appears to be done with the left hand a bit more to the right of the centre line. Morotetsuki: the nukitsuki here should also be a flick of the wrist instead of a real cut (it was observed that Oda didn't bend his wrist anything near as much as Furiuchi in the few moves he demonstrated). In the chudan position, the left foot must remain behind the right. During the stab the arms are extended farther than we were used too (there is even some bending forward). Raising the sword while turning should be done close to the body and with the tip moving in a vertical plane. Apparently we are to step first and cut later, rather than at the same time.

Sanpogiri: last year there was a big fuss that the left foot should keep pointing straight forward during the first cut. Apparently this was now forgotten, as it was neither mentioned nor observed. Between the first and second cut the tip should move in a vertical plane. It was said that the third cut must happen more quickly (directly contradicting Ishido sensei last August). Ganmenate: atemi is somewhat above the point between the eyes (?) One should keep looking until the opponent drops. Sayabiki by turning the hips, the mune must remain in contact with the body. Tsuki to the suigetsu, so the extension of the tsuka would just touch

37 the body (the right hand not too far in or out). Raising the sword and cutting with the tip moving in a vertical plane. Soetetsuki: first cut ends at navel height. The left foot is straight, not in hanmi. While withdrawing the foot, the body should not move backwards, don't bend the left leg. During the tsuki the heel must be off the ground. Tsuki is almost horizontal, not to the suigetsu. The most important difference (from our practice) in shiogiri is that the hand is not placed on top of the tsuka as per jodo gyakute uchi during the atemi. Probably our practice is somewhat contaminated by jodo-practicing sensei such as Ishido Shizufumi. The tsuki is in the direction of the shoulder (Furiuchi's stab extends his hand beyond the left arm). For the fourth opponent the sword is raised in ukenagashi (tip down). For wakigamae, the tip is lowered during the body turn, not before. This is a normal turn, ending with the left foot turned towards the enemy. Remember to keep the hands in contact with the body. General remarks The left hand should be completely on the tsuka, a bit of the tsuka protrudes from the left hand. Metsuke is too low for everybody, we should look a bit higher. In finishing torei de sageo must be pulled loose before the left hand takes the tsuba. Furiuchi pulls his sageo, passes it to his left hand before taking his tsuba, then passes it again to his right before pulling the sword from the obi, instead of dropping it, and picking it up once the right hand holds the tsuba. His way eliminates the large move with the left hand (see photo below, the guy in the white hakama) which I think is a good thing.

38 In the beginning torei the right hand remains on the tsuka until the left finished with the sageo. The back and neck must be kept straight during the bow. No adjustment to the position of the sword in the obi is allowed after the sageo is tied.

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Uchida ryu tanjojutsu

as taught by Patrik De Muynck and Eddy Wolput at seminars in Zwevegem on Februari 1997 and May 2000 with additional notes from Kobayashi sensei's instruction at the 2005 Nakakura seminar scribbled down by Eli, who is to blame for all mistakes Uchida Ryogoro (1837-1921) was a menkyo in Shindo Muso ryu who taught Nakayama Hakudo. While in Tokyo he invented sutekki-jutsu as a way to popularize Jodo by introducing early 1900 Japan. He went back to Fukuoka and taught the set at Shiriashi Hanjiro's dojo. Shimizu Takaji was one of Shiriashi's students and he later also went to Tokyo and eventually taught jo to over a million students. The weapon itself is, of course, basically Western - the cane, imported during the Meiji era - but all or most of the techniques for handling it are adaptations of moves for other Japanese weapons. Originally the length would depend on the preference of the owner, but generally today a stick of 3shaku long and 9 bu in diameter is used. The son of Ryogoro, Uchida Ryohei, became head of a committee to formulate a standard set of 12 tanjo techniques that became known as Uchida ryu tanjojutsu. However, Uchida ryu also continues to be practiced in the older form by some teachers in Shindo Muso ryu. jo-like self-defence with a western walking stick - which was a big rage in

40 There are considerable differences between the Seitei version of tanjojutsu and the original Uchida ryu katas. Mostly the original katas are more martial, the Seitei version simpler and more concerned with esthetics. The first major difference is in the holding of the stick; in Uchida ryu, the stick is carried as a walking stick, and the grip is changed at the moment of the attack. In Seitei the stick is carried in the combat position from the start. Of course timing is more difficult in the Uchida ryu version. It also provides a logical reason for certain pauses in the kata (for changing grip) that are hard to explain in the Seitei version.

left:

modern

Seitei

tanjo

kamae

right: traditional koryu tanjo kamae Another very apparent difference is in the use of the sword: in Seitei tanjojutsu the sword is raised from hasso to jodan before a cut, in Uchida ryu the cut is made directly from hasso (of course this makes the kata more difficult and perhaps less aesthetically pleasing). Kim Taylor graciously supplied the SeiDoKai version which I also included as well as Kobayashi sensei's version. Rei is with the tanjo held in honte grip. Strikes are administered with the mono-uchi of the tanjo, usually the stick protrudes about the

41 width of a fist beyond the hand. In Zanshin at the end of each kata uchidachi corrects the distance first by moving backwards in kamaeotoku, shijo then corrects by stepping forward, lowering the tanjo.

diagram of kata names

Kote hidari
Seitei version: Uchidachi will attack with a shomen uchi cut from hasso. Shijo is walking towards uchidachi holding the tanjo in the right hand with the tip pointing down and forward (see drawing). At the right distance, while stepping forward with the left foot, shijo raises the tanjo (the tip moving up to the right). Shijo steps forward and to the right with the right foot and strikes the left wrist of uchidachi, the left hand is placed on the hip. This looks simple, but the timing is very difficult.

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kote hidari

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from other side Koryu version: Shijo advances with the stick in a natural walking fashion. At the right distance, while stepping forward with the left foot, shijo slides the hand down on the tanjo to the seitei gripping position, then raises the tanjo (the tip moving up to the right). Shijo steps forward and to the right with the right foot and strikes the left wrist of uchidachi, the left hand is placed on the hip. The strike is followed by a thrust to uchidachi's stomach. SDK: Hidari means a slip to the right front as you strike down on his left wrist. Right foot forward as you strike, make sure the tip is controlling his centreline as you strike down. Keep the tanjo to the right side out of range as you bring it up and down on kote.

Kote migi
Seitei version: Uchidachi will attack with a shomen uchi cut from hasso. Shijo is walking towards uchidachi holding the tanjo as in the first kata. This time shijo evades to the left (step left with the left foot) and raises the tanjo (with the tip moving accross to the left). The strike is now to the right wrist (while stepping forward with the right foot).

44 Koryu version: Shijo advances with the stick in a natural walking fashion. This time, while stepping forward with the right foot, shijo slides the hand down on the tanjo to the seitei gripping position, then strikes the wrist in a similar way as the seitei version, but without raising the stick that high. It's a much quicker strike coming from the wrist here. The strike is again followed by a thrust to uchidachi's stomach. SDK: on the step with the right foot forward he cuts shomen, you slide back (LeftRight) to the left rear as you bring your tanjo across your front and then slide back in (rightLeft) as you hit his right kote. Kobayashi: evade sideways to the left, not back.

Sutemi
Seitei version: Shijo holds tanjo in gyakute (reverse) grip (tip pointing down backwards). Uchidachi attacks shomen uchi from hasso when shijo steps forward with the left foot to a very low stance (right knee hovers), strongly placing the end of the stick on the floor and sliding the hand to the middle. Shijo steps forward with the right foot

45 (while remaining low), and blocks the attack with the tanjo horizontal, just behind uchidachi's elbows, with the right arm well extended, and punches upward with the left fist (kiai). The left knee is on the floor. Remain in contact with uchidachi's arms as he lowers the sword to his left, while turning the right knee to the right side somewhat (hand holding tanjo held close to the knee). Then face forward and stand up with the tanjo in a tsune-no-kamae like position.

sutemi

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from other side Koryu version: Shijo always advances with the stick in a natural walking fashion. The block is just behind the wrists instead of behind the elbows, and the atemi is a straight backfist instead of an upward punch. Push uchidachi's arms to the right. SDK: This is a backfist. The left and right steps are quick, slight delay in stepping with the left. Kobayashi: rather than lowering the body as much to grip the stick in the middle, the end of the stick is bounced on the floor.

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Kuritsuke
Seitei version: Shijo is walking towards uchidachi holding the tanjo as in the first kata. Uchidachi attacks shomen uchi, shijo deflects on the tsuka by stabbing to the face (uto), the tanjo is horizontal on forehead level, left foot forward, right hand holding the tanjo at the end, the left supporting the tanjo from the side. The arms are pushed down to the right and kept under control as shijo advances in suriashi with his left leg behind uchidachi's right. Uchidachi uses the tsuka to protect his groin, and turns away to his left to gain space for a horizontal strike, to attack shijo's knee. Shijo pulls back the stick so only a short bit extends from the left hand, moves forward and hits

48 uchidachi on the side or ribs with this end (right arm remains extended down), thereby blocking his arms.

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kuritsuke

from other side

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corresponding jo technique Koryu version: In this version, shijo enters with his right side and pushes the sword down to his left (reverse from seitei version) which is much more destabilising to uchidachi (who has the right foot forward). From the walking position with the stick, the right hand is slid down on the stick, the left hand grasps the top (reverse from seitei, of course more difficult). The first movement is a strike to uchidachi's left hand, not just placing the stick against it. Another version is like the seitei one, but one enters directly to the right pushing down the sword instead of moving off the line to the left first with the deflecting move. This requires precise timing! SDK: Done on the fourth step, the third with the right foot is slightly to the right. Kuritsuke with left foot forward. Put your left hand over

51 the tip of the tanjo to smack tachi in the ribs or your partner will develop bruises and be very angry at you. Then it's your turn. On the jo thrust make sure you're well inside tachi's striking range, ie above his wrists, don't stand off and poke at him

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Ushiro zue
Seitei version: Uchidachi stands behind shijo, sword in the obi. Shijo starts forward with the left foot, uchidachi with the right. Uchidachi steps right, left, right, pushing shijo forward with the tsuka from the second step in order to draw, draws and strikes shomen. Shijo holds the stick with reverse grip and steps left, right, left and turn to the right, hitting uchidachi under the arms (fist strikes the armpit, tanjo across the chest) The left hand grabs the end of the stick, thumb to the left. The right hand slides over the arm to the wrist, and pressure is applied with the tanjo just above the elbow joint. Step in with left foot to unbalance uchidachi and push him to the ground.

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ushiro zue Koryu version: There is no contact with the tsuka against the back, you just feel uchidachi is drawing. Shift your grip on the tanjo and turn around. Instead of striking with the fist to the right armpit, you strike the groin with the tip of the tanjo (your right foot forwardtowards uchidachi that is). The left foot is placed close to the right while the left hand grasps the top of the stick as in the seitei version, the right hand grasps his wrist while the tanjo is moved directly to the elbow in a striking movement, then apply pressure and step forward with the left foot (note that the tip of the tanjo remains in uchidachi's groin) and throw him.

55 SDK: Plant the right foot then pivot off the line as you turn back toward tachi. Tachi thrusts you in the koshiita (tsuka ate) to get room to draw against you, that's when you pivot. Make sure tachi backs off the jo at the end, don't leave him close as you finish. Straighten the arms and put on the arm-bar before stepping in with the left foot or you'll collapse. Kobayashi: Shijo strikes across the chest, but does not hit the armpit with the fist, and did not step in with the left foot at the end for the throw.

Suigetsu hidari

56 Seitei version: Uchidachi attacks shomen uchi, shijo shifts to the right, with the left knee on the floor, extends the right arm and stabs suigetsu. Left hand is on the hip.

suigetsu

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from other side Koryu version: holding the stick in normal walking position at the start is the only difference. SDK: Keep the tanjo lined up with the right hip or you'll collapse. Good tenouchi. Kobayashi: the shoulders turn completely sideways for maximum range.

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Suigetsu migi
Seitei version: Shijo shifts to the left, but places left knee on the floor as in the previous kata. All the rest is the same. Koryu version: holding the stick in normal walking position at the start is the only difference. SDK: This is the second way to move to the left side of the attack line, on the second step hesitate a bit, then as tachi starts to cut step to the side with the left foot, then quickly forward with the right as you thrust to tachi's right ribs (suigetsu is angled away from you and the tanjo slides off unless tachi has turned toward you as he cuts).

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Shamen hidari
Seitei version: Begins like the first kata, shijo stepping to the right, but hit uchidachi on the left side of the head with a large circular strike instead of the kote.

shamen

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from other side No koryu version given. SDK: Exactly as per #1 Kote migi, except the target is the right side of tachi's head rather than kote. Kobayashi: the jo is already left to trail back a bit while the left foot moves forward.

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Shamen migi
Seitei version: Begins like the first kata, but turn a bit more so you strike down on the mune of his bokuto, then perform a horizontal strike to the right side of his head.

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shamen migi Koryu version: evade to the right and strike sideways to the left side of uchidachi's head, with the palm of your hand facing up. Uchidachi

63 leans back so the strike misses, and the stick continues to strike down his sword, then returns to hit him in the face as he straightens up. SDK: Not as you expect, on the third step slip right as per #1 and #9, but strike down on top of the bokuto in a roundish sweep so your tanjo moves to your left side, then return as per nuki-tsuke and strike to the head. (Yoko uchi) Tach must turn his head to the left to face you so as to protect his face, and the strike then would land on the right side of his head. Kobayashi: Note that for the first strike, shijo turns a full 90 hanmi facing left, then turns back towards the opponent for the second strike.

Kobushi kudaki

64 Seitei version: shijo pauses with the tanjo at the side in normal grip. Uchidachi draws the bokuto and attacks shijo's right wrist. Shijo pulls back the left foot and raises the hand, tanjo pointing down. The tanjo is hit, rotates clockwise and strikes the sword to the left. The tanjo continues on an arc that ends at uchidachi's head.

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kobushi kudaki

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from other side

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corresponding jo technique Koryu version: Shijo advances with the stick in a natural walking fashion. At the proper distance, shijo momentarily pauses to change the grip on the stick, which is when uchidachi attacks him. Most important difference however is that shijo withdraws the right (front) foot, then steps forward again with the right to strike. SDK: Another interpretation is to treat this like the block in Tora no Issoku, as tachi cuts for your right knee (you're walking) you circle the jo over and block, then circle t y the sword. Kobayashi: this is actually a block with the jo, similar to tora issoku in Hasegawa Eishin ryu.

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Kaminoda Tsunemori and Donn F. Draeger perform Sune Kudaki (from "Jodo, la voie du baton", P. Krieger)

Sune kudaki

69 Seitei version: shijo, holding the stick in reverse grip, runs towards uchidachi with small quick steps, drops on the left knee, slightly to the left, and strikes with the jo to the shins as uchidachi strikes shomen uchi from hasso. At the impact the stick is pointing forward about 45, shijo should not be too close, uchidachi must be able to deliver a proper cut to the neck from his position or the rest of the kata makes no sense. Uchidachi raises the sword to strike shijo's neck, shijo turns and stands up while moving the left foot to the left behind uchidachi, blocking uchidachi's right arm with the stick (the hand slightly above but close to the arm for proper control) and strikes uchidachi's side (floating ribs) with the left fist.

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sune kudaki

corresponding jo technique Koryu version: shijo advances naturally, the rest is similar except that after the shin strike uchidachi must turn the hips towards shijo to strike, so shijo must enter more deeply to uchidachi's rear.

71 SDK: Walking together as most previous. Tanjo in reverse grip, as tachi (draws????, cuts from hasso I think) slide to left side (same shift to left as #7 suigetsu migi) and smacks the tanjo into tachi's right shin/ankle. (Sune crushing). You're inside now so tachi pulls back to cut do, lift tanjo up and block above his elbow, your hand above his arm, and do a reverse punch to the ribs with the left fist. Kobayashi: Enter deeply during the shin strike, almost past

uchidachi. Strike strongly to the shins.

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Irimi
Seitei version: Shijo is standing with the stick held with the right hand resting over the shoulders. Uchidachi advances cautiously in hasso, when close enough lowers the sword and performs a tsuki. Shijo steps backward with the left foot to hanmi (the right foot follows a bit I think), pointing the tanjo straight up in the process, and striking the sword down and to his right. He then moves slightly to the left, then enters with the right foot, drops on the left knee and strikes uchidachi accross the chest from (shidachi's) right to left, as uchidachi raises his sword to jodan. Koryu version: Is almost the same except shijo walks forward. After striking down the sword shijo does not move to the left first but steps directly forward with his second strike. SDK: This starts like kasa no shita with the tanjo under your hat. Tachi attacks like in Sakan, a big move down from hasso, back to left hip (left foot forward) then thrust with right foot moving forward. Jo turns his left side back (step back with the left foot to avoid the strike, then after the thrust is avoided, whip the tanjo down to strike aside the tachi. Tachi lets the blade travel to his left then up to jodan to cut. As he cuts jo slides to the left (RightLeft) drops to the left knee and strikes diagonally across tachi's chest (heart) one handed. No reason not to walk I suppose, but done from tanjo standing.

73 Kobayashi: shijo advances also, stopping as tachi readies the thrust, and raises the jo to normal jodan while moving back into hanmi to evade the thrust.

Shinkage ryu iaijutsu techniques

Matsuoka Yoshitaka sensei

IAIDO SEMINAR AMSTERDAM, August 1996 The Yagyu Shinkage ryu was founded by Sekishusai in the beginning of the Edo period, so there are no techniques implying armour, no

74 tate hiza, and nukitsuke is a cut only on exception. Mostly it's taking a defensive posture. Only if the bad guy insists does he get a beating. At the moment there are about 100-200 students of this ryu in Japan. There are 43 iai kata with no particular order, but 7 are considered basic. Cuts use only the tip, so the cuts never stop (never touch bone) but are part of a flowing movement. One will often shift back near the end of the cut as a defensive move. A Yagyu suburi demonstrated by sensei is making big circles (or figure 8's) from left hasso to right waki to right hasso to left waki, while changing feet. (sorry about the poor description) Cuts are made using the muscles of the back, not the arms. Properly speaking, Shinkage-ryu does not contain iaijutsu techniques, it is strictly a school of hyoho (or heiho, i.e., martial strategy) and kenjutsu. However, the Yagyu Shinkage-ryu line has subsumed the battojutsu of Yagyu Seigo-ryu, a school derived from Seigo-ryu jujutsu (and some jojutsu techniques developed by Yagyu Jubei Mitsutoshi). Also, present-day Yagyu Seigo-ryu battojutsu waza are a reconstruction of the original techniques, probably at the end of the Meiji era, by Yagyu Toshichika (Genshu) and his son, Gencho. Originally, Seigo-ryu was a jujutsu ryu that was practised in the Owari han (domain). The founder was a man named Mizuhaya Chozaemon Nobumasa, who was also involved (perhaps the founder) of Ippon-ryu. It was a jujutsu ryu, but it also included iai and hojojutsu (rope-tying, a common adjunct to jujutsu ryu). Back in the late 1700s, the then-headmaster, Nagaoka Fusashige (Torei), was an assistant instructor (shihan hosa) of the then-head of the Shinkage-ryu. He was a very exceptional man as a scholar, administrator *and* swordsman, and he took voluminous notes on what he'd learned. He incorporated Shinkage-ryu principles and training methods into Seigo-ryu and created a number of techniques

75 of sword-drawing, which we refer to over-all as battojutsu. Seated techniques are called iai, the standing techniques are tachi-ai batto. Matsuoka Yoshitaka is 7-dan kyoshi kendo and iaido. I had never even seen this ryu before. In addition I missed the explanations of the first half, so that part is from observation only. Sensei mentioned something about the meaning of tsuki kage. Some people here say it's about seeing an enemy's shadow in the moonlight. According to sensei, kage does not mean shadow here but reflection. It's the reflection of the moon on water. Just like the moon is unmoved by movement of the water, so your kokoro should be unmoved by people with pointy objects... You sit down without hakama sabaki, by slightly shifting back the left foot, dropping straight down, and then sliding the left knee next to the right. To rei for start and finish looked the same to me. Right hand holds sword and sageo, thumb(?) on tsuba, place vertical on your right. Then lift horizontally in front of you on shoulder height, tsuka to the left, and put down in front of you like this. Bow with both hands together. Pick up sword and sageo with right hand. Put left thumb in obi before your tanden, then move it to the left and insert the saya. Sageo goes over the back of the saya and is tied on the left front. Big step forward to get up. I didn't remember these names, but sensei kindly handed out a diagram with stick-person drawings (very few sticks in the person unfortunately) for the seven basic kata.

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Yokemi:

Start from seiza. Draw like nukitsuke but at the end the left hand grabs the tsuka too. This is an often returning defensive position. At the same time the left foot is placed forward and to the left and there is a body shift to the left (still on the knees). Without getting up, right

78 foot forward and left back, shift forward and to the right and cut. At the end of the cut you shift backwards. You are now on the left knee. Raise the sword and repeat the cut without moving the body. This is the shinkage chiburi. It's just a kiri oroshi with less speed and power. It doesn't appear in every kata. Then there is an often returning guarding position I will call kamaeX in the following (sorry, I don't know its name), the tsuka is moved towards the right hip and the blade tilts so the ha is pointing down to the right. Grab the saya and noto. During noto, the right foot is withdrawn so you end in kiza. Place right hand on the tigh and stand up. Return to starting position. Noto is with the ha pointing up, koiguchi is raised rather high, tsuka goes rather far to the right. Makikiri:

Start in seiza. Draw like the previous kata, but standing up with left foot forward. Step forward while lowering the sword to chudan (ha and kissaki are tilted slightly to the right side). After the 3rd step cut kesagiri from the upper left, at the same time slide forward and drop to the knee. An allowed variant is an extra step forward during the cut. Noto.

79 Junnuki:

Rise from seiza and draw, stand in defensive posture with left foot forward. Step forward with right foot and cut while dropping on the knee and shifting back. Withdraw the right foot and slide back until you are on the right knee with left foot forward, while raising the sword. Repeat the cut (chiburi) without shifting the body. "kamaeX" and noto. Hirakinuki: From seiza slide the right foot far forward and cut horizontally very close to the ground, bending forward. (the left knee turns outward wile doing this) Sit straight, arm and cut while shifting forward. 'kamaeX' and noto. Hikimi:

80 From seiza come up into sonkyo, lean back to evade a cut, and draw upward in gyaku kesa. Pull the right foot back far and take hasso (sort of) Left hand now grabs the tsuka too, cut diagonal and the right foot steps next to the left in sonkyo and in the same action pull the left foot back far at the end of the cut. Repeat the cut without moving. 'kamaeX' and noto. Sagarifuji:

You free a passing horse from its rider in this scenario. Start standing, draw and left foot takes small step forward, hips turn to the right, and deflect the opponent's cut with the sword (ha pointing right, kissaki forward and left), left hand still holding the saya. Make an oblique cut to the left, a bit like ryuto, but higher, on shoulder height, while at the same time exchanging the position of the feet. Lower the sword a bit, step back far with the right foot, 'kamaeX' and noto. Left foot goes back next to the right. One step to the left.

81 Uchidome:

Start standing, like kesagiri but the draw (gyaku kesa) ends at shoulder height and immediately step forward with the left foot while the left hand goes to the tsuka to a low defensive posture (the kissaki is higher than your hands). Right foot steps forward and cut and slide back at the end of the cut. Pull right foot back far. 'kamaeX' and noto. Variation on hirakinuki: Start standing. Slide right foot forward and lower the body, keeping the back straight. Continue as in hirakinuki. Zengo no teki:

Start standing. Four steps, look back over left shoulder, turn clockwise and draw nukitsuke (1 hand this time) in a wide half circle. Left foot steps forward and cut the wrist with both hands, right foot steps forward and cut kesa from top right. Slide forward and tsuki.

82 Turn around and wakigamae, take 2 small slides forward, then a big slide and kesa cut from top left and at once shift backwards and to the right. 'kamaeX' and noto. Mune no katana:

You are grabbed by the lapels from seiza. Draw to the right and place left hand under the sword, ha pointing up. Place the sword against the opponent's upper arms, left foot steps forward and you turn to the right, throwing the opponent. Keep the sword very low, pushing with the left hand. Raise and cut immediately. The left hands slides over the mune to its place on the tsuka to save time while raising the sword. During the cut you slide forward or backward according to where teki is rolling himself, to escape or a desparate attack.

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Muso Shinden ryu Iaido Okuden Tachiwaza

Illustrated kata descriptions, as shown by Ishido Shizufumi sensei in Amsterdam 2002

Yukizure (company)
You are accompanied by two friends. Fall back behind the left one and cut the right one, then the left one.

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Tsuredachi (together)
You are accompanied by two friends. Fall back behind the right one and stab the left one, then cut the right one.

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So Makuri (all wrapped up)

Five cuts to the front in succession.

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So Dome (stop all)

You are on stairs and people attack you from below. basic form:

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In the advanced training form a cut is made at each step, ie 5 cuts instead of 3

Shinobu (stealth)
You lure out an enemy in the dark.

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Alternative version for those not wanting to bend their kissaki:

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Yukichigai (crossing)

91 One in front and one behind you. Basic form:

Alternative form:

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Sodesuri Gaeshi (brush back the sleeves)

Pass through some bystanders to get to your man.

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Moniri (entering the gate)

Some enemies hiding in a gate.

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Kabezoe (follow the wall)

Your movements are restricted on both sides.

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Ukenagashi (deflecting parry)

Some guy attacks you from the front. Basic form:

Alternative 1:

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Alternative 2:

Alternative 3:

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Alternative 4 is secret...

Itomagoi 1, 2, 3 (saying goodbye)

Your visit did not conclude satisfactorily. Itomagoi 1:

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Itomagoi 2:

... Itomagoi 3:

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... Advanced practice style (advanced because you can easily cut off your left hand):

Counter to itomagoi (start from appropriate bowing angle):

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Complete kata list

Shoden Omori ryu Shohatto Sato Uto Atarito Inyo Shintai Ryuto Junto Gyakuto Seichuto Koranto Gyakute Shintai Batto Inyo

Chuden Hasegawa Eishin ryu Yokogumo Toraisoku Inazuma Ukigumo Yama Oroshi Iwanami Urokogaeshi Namigaeshi Takiotoshi Nukiuchi

Okuden Suwariwaza Kasumi Sunegakoi Tozume Towaki Shihogiri Tanashita Ryozume Torabashiri

Okuden Tachiwaza Yukizure Tsuredachi So Makuri So Dome Shinobu Yukichigai Sodesuri Gaeshi Moniri Kabezoe Ukenagashi Itomagoi 1, 2, 3

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Tachi Uchi no Kurai

see also the Muso Jikiden Eishin ryu version Tachi uchi no kurai is a form of kumitachi (paired sword form) practiced as part of Shinmei ryu and its branches. There is a seated set called Tsumi Ai no Kurai, but this is taught even less often than the Tachi set. The forms as practiced today are probably of relatively recent origin. Originally a lot more forms probably existed, and may have contained a jiujutsu component. As the name suggests, an important aspect of the form is striking the swords together, so bokutou are used. Chiburi and noto is performed after each kata, so ideally bokutou with saya are used. Reigi On formal occasions, you start and end with the following reigi: Uchidachi and shidachi meet outside the embu area. Both have swords in teito, shidachi walks in front and turns around right. Both go to seiza and place the sword on the right with kashira level to the knee. Both hands move together for the bow. Stand, enter the embu

105 area, perform shomen ni rei and tou rei as at the beginning of MSR iaido. Stand and perform the forms. Reigi at the end is the same but in reverse order. 1 Deai Uchi and shi take the saya with the left hand, then the tsuka with the right and advance the right foot to a slight hanmi. Both take three large, accelerating steps; right, left and draw sword, right and aiuchi towards the right knee. Shi pushes through the center with a slight forward movement, draws the left foot next to the right and cuts a two-handed shomen uchi, advancing the right foot. Uchi moves the right foot back and performs a crossed block. Shi draws the left foot next to the right and pushes through. Uchi abandons the block and lowers the sword to his left. Shi retains control. Uchi slowly withdraws to chudan. From issoku itto no maai, both lower swords to horizontal, perform yoko chiburi and noto. Left foot forward next to the right, hand releases the tsuka, and withdraw 5 steps to starting position. 2 Tsukekomi Uchi and shi take the saya with the left hand, then the tsuka with the right and advance the right foot to a slight hanmi. Both take three large, accelerating steps; right, left and draw sword, right and aiuchi towards the right knee. Shi steps forward with the left foot behind Uchi's right into hidari hanmi, pushes uchi's sword aside and with the left hand blocks uchi's

106 wrist to his thigh. Shi thrusts upward with the kissaki to uchi's throat or chest, right arm against the body, tsuba in front of the hara. Uchi slowly withdraws to chudan. Shi retains control. From issoku itto no maai, both lower swords to horizontal, perform yoko chiburi and noto. Left foot forward next to the right, hand releases the tsuka, and withdraw 5 steps to starting position. 3 Ukenagashi From taito shize, nuke tou to migi hanmi, draw left foot up to right to chudan, withdraw right foot to hasso. Both advance three steps, left, right, left. Shi attacks shomen uchi while stepping forward with the right foot. Uchi blocks crossed while keeping position. Uchi steps back left and performs shomen uchi, shi advances left and performs crossed block. Shi advances right with shomen uchi, uchi steps back right and performs open block. Uchi steps back left with shomen uchi, shi advances left with open block. Shi advances right with shomen uchi, uchi steps back right and sweeps shi's sword aside to hasso. Shi advances right with seme tsuki to uchi's throat, uchi slides back. Shi again advances right with seme tsuki to uchi's throat, uchi slides back. Uchi strikes shi's sword aside and down, and thrusts to shi's hara, right foot forward, arms stretched, leaning forward. Shi takes a large

107 step forward with the left foot, catches the thrust with uke nagashi, turns 90 around the left foot and cuts to the back of uchi's neck while stepping back with the right foot. Uchi turns 90 under shi's sword and slowly withdraws to chudan. Shi retains control. Both turn around their mutual center to face back in the original direction. From issoku itto no maai, both lower swords to horizontal, perform yoko chiburi and noto. Left foot forward next to the right, hand releases the tsuka, and withdraw 5 steps to starting position. 4 Ukekomi (or uke-iri) From taito shize, nuke tou to migi hanmi, draw left foot up to right to chudan, withdraw right foot to hasso. Both advance three steps, left, right, left. Shi attacks shomen uchi while stepping forward with the right foot. Uchi blocks crossed while keeping position. Uchi steps back left and performs shomen uchi, shi advances left and performs crossed block. Shi advances right with shomen uchi, uchi steps back right and performs open block. Uchi steps back left with shomen uchi, shi advances left with open block. Shi advances right with shomen uchi, uchi steps back right and sweeps shi's sword aside to hasso. Shi advances right with seme tsuki to uchi's throat, uchi slides back.

108 Uchi steps back to jodan and intents to attack, shi immediately attacks the head or left kote in case of low jodan. Uchi slowly withdraws to chudan. Shi retains control. From issoku itto no maai, both lower swords to horizontal, perform yoko chiburi and noto. Left foot forward next to the right, hand releases the tsuka, and withdraw 5 steps to starting position. 5 Tsukikage From taito shize, nuke tou to migi hanmi, draw left foot up to right to chudan. Uchi advances left foot to hasso, shi lowers sword to gedan. Both advance three big steps. Uchi steps left, right, left. Shi steps right, left, right. Uchi attacks shomen uchi while stepping forward with the right foot. Shi crosses swords from below while keeping position. Both move forward to tsuba zeriai at chest height, right foot forward. Uchi steps back with the right foot to hasso, shi steps back with the right foot to waki. Uchi steps forward with the right foot and cuts horizontally to shi's left knee or body, depending on distance (optionally place left knee on the floor). The tsuka remains close and stops left of the hara. Shi withdraws left and cuts shomen uchi. Uchi slowly withdraws to chudan. Shi retains control. From issoku itto no maai, both lower swords to horizontal, perform yoko chiburi and noto. Left foot forward next to the right, hand releases the tsuka, and withdraw 5 steps to starting position.

109 6 Suigetsuto From taito shize, nuke tou to migi hanmi, draw left foot up to right to chudan. Uchi advances left foot to hasso, shi raises his sword horizontally to eye level. Both advance three big steps. Uchi steps left, right, left. Shi steps right, left, right. Uchi steps forward with the right foot and cuts horizontally to shi's right knee (optionally place left knee on the floor). The tsuka remains close and stops left of the hara. Shi withdraws the right foot and cuts shomen uchi. Uchi slowly withdraws to chudan. Shi retains control. From issoku itto no maai, both lower swords to horizontal, perform yoko chiburi and noto. Left foot forward next to the right, hand releases the tsuka, and withdraw 5 steps to starting position. 7 Doku myoken From taito shize, nuke tou to migi hanmi, draw left foot up to right to chudan. Uchi advances left foot to hasso, shi lowers sword to gedan. Both advance three big steps. Uchi steps left, right, left. Shi steps right, left, right. Uchi attacks shomen uchi while stepping forward with the right foot. Shidachi attacks ai uchi shomen uchi, right foot forward. Both move forward to tsuba zeriai at chest height, right foot forward.

110 Uchi steps back with the right foot to jodan, intending to strike, shi immediately attacks with ganmen ate, right foot forward, back of the sword resting on the right shoulder. Uchi lowers the sword to the side and withdraws to chudan. Shi keeps pressure, and when uchi withdraws, brings the kissaki to uchi's men, and lowers to chudan. From issoku itto no maai, both lower swords to horizontal, perform yoko chiburi and noto. Left foot forward next to the right, hand releases the tsuka, and withdraw 5 steps to starting position. 8 Zetsumyoken From taito shize, nuke tou to migi hanmi, draw left foot up to right to chudan, withdraw right foot to hasso. Both advance three steps, left, right, left. Shi attacks shomen uchi while stepping forward with the right foot. Uchi blocks crossed while keeping position. Uchi steps back left and performs shomen uchi, shi advances left and blocks diagonally, supporting the blade with the left hand. Shi advances in okuri ashi and pushes uchi's sword aside with a clockwise motion, followed by a thrust to the side of the throat, the left hand still supporting the blade. Uchi moves back right to migi hanmi, his sword being pushed aside. Uchi slowly withdraws to chudan. Shi retains control and goes to chudan. From issoku itto no maai, both lower swords to horizontal, perform yoko chiburi and noto. Left foot forward next to the right, hand releases the tsuka, and withdraw 5 steps to starting position.

111 9 Shinmyoken Uchi: from taito shize, nuke tou to migi hanmi, draw left foot up to right to chudan. Uchi advances left foot to hasso. Shi remains in shizentai. Uchi advances left, shi places hands on the sword. Uchi advances right and left, shi advances right and left while drawing the sword. Uchi attacks shomen uchi while stepping forward with the right foot. Shidachi blocks one-handed, left hand at saya, right foot forward. Shi pushes the block slightly. Uchi tries to attack from waki, shi grabs tsuka with both hands and cuts the left of uchi's neck. Uchi is forced to withdraw the right foot. Uchi withdraws to chudan. Shi keeps pressure, and goes to chudan. From issoku itto no maai, both lower swords to horizontal, perform yoko chiburi and noto. Left foot forward next to the right, hand releases the tsuka, and withdraw 5 steps to starting position. 10. Uchi Komi From taito shize, nuke tou to migi hanmi, draw left foot up to right to chudan, withdraw right foot to hasso. Both advance three steps, left, right, left. Shi attacks uchi's left neck while stepping forward with the right foot. Uchi blocks as in kirigaeshi. Shi steps forward left and cuts uchi's right neck, uchi steps back left and blocks right.

112 Shi attacks uchi's left neck while stepping forward with the right foot. Uchi blocks left. Shi steps forward left and cuts uchi's right neck, uchi steps back left and blocks right, pushes shi's sword down and moves to waki. Shi cuts shomen uchi, right forward, shi tries to attack from waki but is forced to step back with the right foot. Uchi slowly withdraws to chudan. Shi retains control and goes to chudan. From issoku itto no maai, both lower swords to horizontal, perform yoko chiburi and noto. Left foot forward next to the right, hand releases the tsuka, and withdraw 5 steps to starting position. Second form: This is the same as the first except shi cuts twice to the neck before uchi's failed counterattack. Third form: Shi strikes shomen uchi, right foot forward, uchi strikes shi's right yokomen in aiuchi, right foot forward. Shi has the center and presses forward to uchi's men, uchi withdraws left with crossed block. Shi pushes through the block, uchi abandons. Uchi slowly withdraws to chudan. Shi retains control and goes to chudan. Muso Shinden

113 Omori ryu Shohatto The key to Omori ryu is the proper use of footwork.

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Sato Here too, the footwork is key.

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Uto Again, footwork...

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Atarito

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Inyo Shintai

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Continued at different angle:

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Ryuto

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The left hand grasps the tsuka in the movement of the cut:

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Junto

141 A lot of variation in distance and scenario for this kata.

On standing, you can draw the left foot up to the right, or the right one back to the left, depending on the distance.

There are various ways of raising the sword.

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When an assistant is present to clean the sword, it is not necessary to let the blood drip off in gedan, but then chinugui is more to the side.

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There are various ways to bring the sword over the shoulder:

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Continued:

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The old way of raising the sword into the cut was like this:

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A more modern, simpler version:

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A different way of raising the sword into the cut:

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From behind:

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Continued - chinugui to the side, so the assistant can wipe the blade:

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On rising, you can move forward or back. If you move forward, there is another backward step to end the kata. Bow to the corpse.

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Gyakuto

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There are several ways to finish: a stab; a simple pull (supposedly popularized by Nakayama Hakudo to stop his students from stabbing through their hands), and a vertical stab. Also optional is moving forward and back before and after the stab. Stab:

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Pull:

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Stab with forward movement:

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The draw can be an evasive move like so:

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Or a deflection, like so:

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With stab:

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With forward and backward movement:

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Seichuto The footwork is key:

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Koranto

176 Big steps with the right foot, small steps with the left:

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Gyakute Inyo Shintai

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Compare: Inyo shintai

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Gyakute inyo shintai:

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Batto Basically, two ways to draw. First:

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Second:

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First:

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Second:

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Second:

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The feet are to be kept together:

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ryu iaijutsu techniques Matsuoka Yoshitaka sensei

198 IAIDO SEMINAR AMSTERDAM, August 1996 The Yagyu Shinkage ryu was founded by Sekishusai in the beginning of the Edo period, so there are no techniques implying armour, no tate hiza, and nukitsuke is a cut only on exception. Mostly it's taking a defensive posture. Only if the bad guy insists does he get a beating. At the moment there are about 100-200 students of this ryu in Japan. There are 43 iai kata with no particular order, but 7 are considered basic. Cuts use only the tip, so the cuts never stop (never touch bone) but are part of a flowing movement. One will often shift back near the end of the cut as a defensive move. A Yagyu suburi demonstrated by sensei is making big circles (or figure 8's) from left hasso to right waki to right hasso to left waki, while changing feet. (sorry about the poor description) Cuts are made using the muscles of the back, not the arms. Properly speaking, Shinkage-ryu does not contain iaijutsu techniques, it is strictly a school of hyoho (or heiho, i.e., martial strategy) and kenjutsu. However, the Yagyu Shinkage-ryu line has subsumed the battojutsu of Yagyu Seigo-ryu, a school derived from Seigo-ryu jujutsu (and some jojutsu techniques developed by Yagyu Jubei Mitsutoshi). Also, present-day Yagyu Seigo-ryu battojutsu waza are a reconstruction of the original techniques, probably at the end of the Meiji era, by Yagyu Toshichika (Genshu) and his son, Gencho. Originally, Seigo-ryu was a jujutsu ryu that was practised in the Owari han (domain). The founder was a man named Mizuhaya Chozaemon Nobumasa, who was also involved (perhaps the founder) of Ippon-ryu. It was a jujutsu ryu, but it also included iai and hojojutsu (rope-tying, a common adjunct to jujutsu ryu). Back in the late 1700s, the then-headmaster, Nagaoka Fusashige (Torei), was an assistant instructor (shihan hosa) of the then-head of the Shinkage-ryu. He was a very exceptional man as a scholar, administrator *and* swordsman, and he took voluminous notes on what he'd learned. He incorporated Shinkage-ryu principles and training methods into Seigo-ryu and created a number of techniques of sword-drawing, which we refer to over-all as battojutsu. Seated techniques are called iai, the standing techniques are tachi-ai batto. Matsuoka Yoshitaka is 7-dan kyoshi kendo and iaido. I had never even seen this ryu before. In addition I missed the explanations of the first half, so that part is from observation only. Sensei mentioned something about the meaning of tsuki kage. Some people here say it's about seeing an enemy's shadow in the moonlight. According to sensei, kage does not mean shadow here but reflection. It's the reflection of the moon on water. Just like the moon is unmoved by movement of the water, so your kokoro should be unmoved by people with pointy

199 objects... You sit down without hakama sabaki, by slightly shifting back the left foot, dropping straight down, and then sliding the left knee next to the right. To rei for start and finish looked the same to me. Right hand holds sword and sageo, thumb(?) on tsuba, place vertical on your right. Then lift horizontally in front of you on shoulder height, tsuka to the left, and put down in front of you like this. Bow with both hands together. Pick up sword and sageo with right hand. Put left thumb in obi before your tanden, then move it to the left and insert the saya. Sageo goes over the back of the saya and is tied on the left front. Big step forward to get up. I didn't remember these names, but sensei kindly handed out a diagram with stick-person drawings (very few sticks in the person unfortunately) for the seven basic kata.

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Yokemi:

Start from seiza. Draw like nukitsuke but at the end the left hand grabs the tsuka too. This is an often returning defensive position. At the same time the left foot is placed forward and to the left and there is a body shift to the left (still on the knees). Without getting up, right foot forward and left back, shift forward and to the right and cut. At the end of the cut you shift backwards. You are now on the left knee. Raise the sword and repeat the cut without moving the body. This is the shinkage chiburi. It's just a kiri oroshi with less speed and power. It doesn't appear in every kata. Then there is an often returning guarding position I will call kamaeX in the following (sorry, I don't know its name), the tsuka is moved towards the right hip and the blade tilts so the ha is pointing down to the right. Grab the saya and noto. During noto, the right foot is withdrawn so you end in kiza. Place right hand on the tigh and stand up. Return to starting position. Noto is with the ha pointing up, koiguchi is raised rather high, tsuka goes rather far to the right.

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Makikiri:

Start in seiza. Draw like the previous kata, but standing up with left foot forward. Step forward while lowering the sword to chudan (ha and kissaki are tilted slightly to the right side). After the 3rd step cut kesagiri from the upper left, at the same time slide forward and drop to the knee. An allowed variant is an extra step forward during the cut. Noto.

Junnuki:

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Rise from seiza and draw, stand in defensive posture with left foot forward. Step forward with right foot and cut while dropping on the knee and shifting back. Withdraw the right foot and slide back until you are on the right knee with left foot forward, while raising the sword. Repeat the cut (chiburi) without shifting the body. "kamaeX" and noto.

Hirakinuki:
From seiza slide the right foot far forward and cut horizontally very close to the ground, bending forward. (the left knee turns outward wile doing this) Sit straight, arm and cut while shifting forward. 'kamaeX' and noto.

Hikimi:

From seiza come up into sonkyo, lean back to evade a cut, and draw upward in gyaku kesa. Pull the right foot back far and take hasso (sort of) Left hand now grabs the tsuka too, cut diagonal and the right foot steps next to the left in sonkyo and in the same action pull the left foot back far at the end of the cut. Repeat the cut without moving. 'kamaeX' and noto.

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Sagarifuji:

You free a passing horse from its rider in this scenario. Start standing, draw and left foot takes small step forward, hips turn to the right, and deflect the opponent's cut with the sword (ha pointing right, kissaki forward and left), left hand still holding the saya. Make an oblique cut to the left, a bit like ryuto, but higher, on shoulder height, while at the same time exchanging the position of the feet. Lower the sword a bit, step back far with the right foot, 'kamaeX' and noto. Left foot goes back next to the right. One step to the left.

Uchidome:

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Start standing, like kesagiri but the draw (gyaku kesa) ends at shoulder height and immediately step forward with the left foot while the left hand goes to the tsuka to a low defensive posture (the kissaki is higher than your hands). Right foot steps forward and cut and slide back at the end of the cut. Pull right foot back far. 'kamaeX' and noto.

Variation on hirakinuki:
Start standing. Slide right foot forward and lower the body, keeping the back straight. Continue as in hirakinuki.

Zengo no teki:

Start standing. Four steps, look back over left shoulder, turn clockwise and draw nukitsuke (1 hand this time) in a wide half circle. Left foot steps forward and cut the wrist with both hands, right foot steps forward and cut kesa from top right. Slide forward and tsuki. Turn around and wakigamae, take 2 small slides forward, then a big slide and kesa cut from top left and at once shift backwards and to the right. 'kamaeX' and noto.

Mune no katana:

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You are grabbed by the lapels from seiza. Draw to the right and place left hand under the sword, ha pointing up. Place the sword against the opponent's upper arms, left foot steps forward and you turn to the right, throwing the opponent. Keep the sword very low, pushing with the left hand. Raise and cut immediately. The left hands slides over the mune to its place on the tsuka to save time while raising the sword. During the cut you slide forward or backward according to where teki is rolling himself, to escape or a desparate attack.