Mugai Ryu Iaihyodo

Japanese Swordsmanship
Study Group
Curriculum Guide
Shinjinkai
The Japanese Martial Arts Society
Updated August, 2007
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Table of Contents
What is Mugai Ryu? 3
A Brief History of Mugai Ryu 3
Meishi-ha Organizational Structure 4
Class Structure 5
Class Schedule & Attendance 5
Special Events 6
Safety Rules 7
Dojo Etiquette 8
Gradings & Promotion 9
Equipment 9
Purchasing Uniforms & Equipment 10
Training Supplements 11
Members Duties (Kokoro-e) 11
Principles (Hoshin) 12
Kata Listing & Basic Translation 13
Parts of the Sword / Basic Terms and Concepts 14-16
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 ones target, and periodically use live blades
to ensure that their techniques an actually cut as intended. However, as a school
heavily inuenced 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 rst become
procient 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 fth 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. Todays 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 specically the Meishi-ha lineage of Mugai Ryu.
The Chicago Mugai Ryu study group operates under the direction of Tony Alvarez-
sensei, who administrates the US Federation of Mugai Ryu.
Gyokudo Toyoaki Niina (Niina-gosoke) Honbu dojo, Tokyo
Founder - Meishi-ha Mugai Ryu Iaihyodo
Chairman - Suimokai
Hanshi, Menkyo Kaiden
Reneld Kuroda-sensei Honbu dojo, Tokyo
International Director - Suimokai
Renshi
Tony Alvarez-sensei Senpokan, Costa Mesa CA
Director - US Federation of Mugai Ryu
Meido Moore-sensei Shinjinkai, Chicago IL
Administrator - Mugai Ryu program
Brian Pettett Shinjinkai, Chicago IL
Study Group leader - Mugai Ryu program
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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 specic 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 specically -
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 nd new areas to
concentrate on with each day.
Class Schedule & Attendance
The Mugai Ryu study group meets three times per week:
Mondays 8:00 to 9:30pm
Wednesdays 5:45 to 6:45pm
Saturdays 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 students 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 prac-
tice 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 its own sake, but is a seri-
ous 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 specic 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 benet 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 specied 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 - specically mekugi pins - before
practice begins, and frequently during class. Failure of any part could cause
injury to yourself or others. If you doubt your swords safety in any way, let
your instructor know immediately.
4. Unless engaged in kata, your left thumb or forenger 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 rst, and enter the
mat with your left foot rst. When leaving the mat, reverse the procedure; bow,
then step off backwards, right foot rst.
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
clarication 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 rst
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 specically of Japanese white oak to withstand
impacts during kumitachi practice. They should also come with a plastic saya.
Note that bokken with painted nishes are not allowed, as the nish 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 specic vendors:
Clothing & Related Supplies
Midwest Martial Arts Supply 4821 W. Irving Park Road, Chicago
J. Toguri Mercantile 851 W. Belmont Avenue, Chicago
E-Bogu www.e-bogu.com
Bu Jin Design www.bujindesign.com
Swordstore www.swordstore.com
Bokken
Purpleheart Armoury www.woodensword.com
E-Bogu www.e-bogu.com
Bokkenshop www.bokkenshop.com/eng
Iaito
Swordstore www.swordstore.com
Tozando www.tozandoshop.com
Aoi Budogu www.budo-aoi.com
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Training Supplements
Ofcial training DVDs are also available for purchase through Shinjinkai. These
professionally-produced training aids feature Gyokudo Toyoaki Niina (or Niina-
gosoke), 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. Gyokusuikai wa Iaihyodo no kai de aru. Tsuneni taitekidosa o ishiki shi, kireru
iai de are.
2. Keiko de ase o nagashi, giryo o ageyo.
3. Mi wa shonari to mo, ke u sodai de are.
4. Kokoro ha tsuneni sei, soshite maruku are.
5. Kokoro ni kokoro, kokoro mayowasu kokoro nari, kokoro ni kokoro, kokoro
yurusuna.
English
1. Gyokusuikai is an organization of Iaihyodo. Always envision your opponent
and strive for cutting iai.
2. Sweat hard during practice and train diligently.
3. Even though you are but one small human, let your spirit expand to ll the
universe.
4. Always keep your heart and mind quiet and at peace.
5. Do not be false in spirit or intention; know in your heart the difference
between right and wrong.
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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 nd 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 owing 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 truth, reality
Ren connected
Sa left (hidari)
Yu right (migi)
Sha to discard, or throw away
Goka (Five Items)
Suigetsu the moon in the water
Inchuyo In = Yin; Chu = Center; Yo = Yang
Yochuin (see Inchuyo, above)
Hibikigaeshi echo returning
Hazumi Ha = break; Zu = diagram; Mi = avor
Tachi waza (standing forms)
Go-O (Five Responses)
Munazukushi stabbing the chest
Enyo round
Ryoguruma two, both
No-okuri sending off to the eld
Gyokko ball of light
Hashigakari (Begin Running)
Maegoshi hips forward
Musogaeshi vision returning
Mawarigakari begin rotation
Migi-no-teki enemy to the right
Shiho 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 afxed 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 Honoric 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 oating 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 1800s
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 at on the oor
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 ones ngers
Torei Bowing to the sword
Tsuki Thrust
Uchidachi In kumitachi practice, the partner who loses
Ukenagashi Raising the sword above the head, to deect 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 ones surroundings, with
out concentrating on one specic thing