Mugai Ryu Manual

7/21/2019 Mugai Ryu Manual

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Mugai Ryu Iaihyodo

Japanese SwordsmanshipStudy Group

Curriculum Guide

ShinjinkaiThe 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 4Class 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 Japaneseswordsmanship; it is a koryuart, 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 bladesto ensure that their techniques an actually cut as intended. However, as a school

heavily influenced by Zen, the ultimate goal is not simple sword skill; each studentmust 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 aYamaguchi 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 fencingteacher 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 secondchief priest Shinshu, and at the age of 45 achieved enlightenment. He took the

name Gettan Sukeshige and in 1693 founded the Mugai Ryu fencing school.

As a sword master and Zen disciple, Gettan felt that the sword and Zen were

inseparable, as he explained in his seminal writing on the true meaning of Mugai

Ryu, and any who wanted to learn Mugai Ryu fencing had to first becomeproficient 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 thesword, 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 seekingmore, 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 theYamaguchi house of the Tosa clan.


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When Gettan was 61 years old, at the discretion of Lord Sakai, he was to debut

in front of the fifth shogun Tsunakichi. Unfortunately, Shogun Tsunakichi passed

away before Gettan had an audience with him. However, for a masterless swordinstructor 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 acombination of the original Mugai kenjutsu teachings and Jikyo Ryu iai,

which was later consolidated by Nakagawa-soke into Mugai Ryu Iaihyodo.

Meishi-ha Organizational Structure

The study groups in the U.S. are part of the Gyokusuikai, which is the international

branch of the Suimokai organization in Japan, headed by Gyokudo Toyoaki Niina.Suimokai is dedicated to the study and spread of traditional Japanese martial arts,

and specifically the Meishi-ha lineage of Mugai Ryu.

The Chicago Mugai Ryu study group operates under the direction of Tony Alvarez-sensei, who administrates the US Federation of Mugai Ryu.

Gyokudo Toyoaki Niina (Niina-gosoke) Honbu dojo, TokyoFounder - Meishi-ha Mugai Ryu Iaihyodo

Chairman - Suimokai

Hanshi, Menkyo Kaiden

Renfield Kuroda-sensei Honbu dojo, TokyoInternational Director - Suimokai

Renshi

Tony Alvarez-sensei Senpokan, Costa Mesa CADirector - US Federation of Mugai Ryu

Meido Moore-sensei Shinjinkai, Chicago ILAdministrator - Mugai Ryu program

Brian Pettett Shinjinkai, Chicago ILStudy Group leader - Mugai Ryu program


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Class Structure

Mugai Ryu classes begin with reiho: the paying of respects to the dojo, yourclassmates and to your sword. Students then warm-up by either practicing the

four basic cuts - known assuburi- or practicing other fundamentals (kihon)such as

drawing(nuki), sheathing (noto)or other specific routines.

A large portion of each class is typically devoted to solo kata, or pre-arranged sets

of movements. These deal with responses to attacks from the front, from behind,or sometimes in groups. Kata generally have four basic elements; the initial draw

(nukitsuke), a follow-up cut (kiritsuke), the symbolic cleaning of the blade (chiburi),

and then returning the sword to its scabbard (noto).

Students are instructed on the details of these basic movements, and repeat themuntil they are comfortable doing them on their own. The program is self-paced; asthey progress, students are gradually shown new kata to work on.

Periodically, the techniques learned in the kata are further explained throughkumitachi (partner exercises) using bokken(wooden swords).

Training is an ongoing activity; the martial arts - and Mugai Ryu specifically -

should be thought of as a lifetime learning process; the objective should not berank in and of itself, but of your own personal development. Chasing this is the

true goal of the art, and even thirty-year practitioners find new areas toconcentrate 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 6:45pmSaturdays 4:30 to 6:30pm

Like all koryu arts, Mugai Ryu is a system passed down directly from instructor tostudent 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 alsomaintains 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 invarious 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 rollsof 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 factorscannot 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 inclass. 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 thosewho 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 localseminars 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 arealso good occasions to build relationships with Mugai Ryu members from other

study groups throughout the country, who frequently attend these events.

Members of our group also travel to similar events held elsewhere within the

United States several times a year, and also to Tokyo every summer.

Seminars may be restricted to students of specific experience levels, depending on

content. All seminars typically require a nominal participation fee.


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Taikai

Seminars frequently take place in conjunction with taikai (competitive meets). Atthese 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 theyperform their kata, but also on their display of proper etiquette.

While competition is a rewarding activity, the intent in Mugai Ryu is not to buildthe ego or to seek recognition; these things are contrary to the spirit of Zen which

underlies our art. The main benefit of these events is that they teach the student

how to perform under pressure in an unfamiliar environment. It can also give thepractitioner 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 theircommitment to the program by satisfying the minimum attendance requirements.

Safety Rules

Never relax your attention, even off the mat. Swordsmanship is a safe activitywhen 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 mustbe specified and approved by the instructor.

2. Treat any sword as if it is a live blade; iaito(unsharpened blades) or bokken

can still cause serious injuries if not handled properly.

3. When using iaito, check all hardware - specifically mekugipins - 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, letyour instructor know immediately.

4. Unless engaged in kata, your left thumb or forefinger should be on the tsuba,preventing the sword from falling out of the saya.

IMPORTANT! If the sword does slip out of the saya, let it fall! Grabbingafter 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

mustbe in its saya(scabbard).

7. Never walk behind a swordsman; if necessary, cross in front of the other

student, indicating to them that you are passing by showing your hand.

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

space is available.

9. Horseplay is expressly forbidden. Swordsmanship is a serious activity;

unpredictable motions and inattention can have severe consequences.

Dojo Etiquette

Shoes must not be worn in the dojo. However, footwear (either shoes or sandals)

must be worn while in the changing rooms, to avoid tracking germs into the dojo.

When entering or leaving the dojo, one must perform a standing bow (ritsurei)towards the shomen(scroll area at front of room).

Before stepping on to the mat, always bow towards the shomen first, and enter the

mat with your left foot first. When leaving the mat, reverse the procedure; bow,

then step off backwards, right foot first.

If there is time before class is started, you may stretch or practice on your own.

When the instructor takes to the mat, students should remove their swords fromtheir 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 righthand. 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 forclarification on the side; do not interrupt class to do so.

Always respect your equipment, and that of others; always perform ritsurei toweapons 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 theirkihon(fundamentals) until they display a good basic grasp of kata, blade handlingand 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 firststep 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 forpromotion will be those who display acceptable levels of skill and understanding

of the kata, who have demonstrated proper commitment to the program, and whohave met (and preferably exceeded) the minimum attendance requirements.

Testing for shodan generally consists of the recitation of either the Hoshinor Kaiin

Kokoro-e(provided in this document), proper demonstration of the opening and

closing reihoceremonies, 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 gitops. Those students participating solely in Mugai Ryu

classes may wish to purchase more traditional iai uniform items such as: a blackjacket (uwagi), pleated hakama(black), and a wider, iai-style obi.


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Bokken are provided initially, but you are encouraged to buy your own for home

practice. These should be made specifically of Japanese white oak to withstand

impacts during kumitachi practice. They should also come with a plastic saya.Note that bokken with painted finishes are not allowed, as the finish will rub off

onto other students bokken during practice.

Students who are committed to long-term training may also purchase an iaito, or

alloy training blade. These are not able to be sharpened, and can cost anywhere

from $250 and up.

NOTE: For safety reasons, we require that students purchase their iaito from the

suppliers listed below only. Discuss all potential purchases with your instructor,both to ensure proper sizing and that your sword will be appropriate for class.

Purchasing Uniforms and Equipment

In addition to being able to purchase uniforms and training equipment directlythrough the dojo, there are also several local and online retailers that provide

quality merchandise. The following is only a representative listing; more sources

may be available. Feel free to speak to your instructor or senior students for their

recommendations, or experience with specific vendors:

Clothing & Related Supplies

Midwest Martial Arts Supply 4821 W. Irving Park Road, ChicagoJ. Toguri Mercantile 851 W. Belmont Avenue, Chicago

E-Bogu www.e-bogu.com

Bu Jin Design www.bujindesign.comSwordstore www.swordstore.com

Bokken

Purpleheart Armoury www.woodensword.com

E-Bogu www.e-bogu.comBokkenshop www.bokkenshop.com/eng

Iaito

Swordstore www.swordstore.com

Tozando www.tozandoshop.comAoi Budogu www.budo-aoi.com


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Training Supplements

Official training DVDs are also available for purchase through Shinjinkai. Theseprofessionally-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 fill theuniverse.

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 orenma shi, katsu tasha no yokitokoro o mitome, onore no ningen keisei ni yakudatsu

koto o mokuteki to shi, hoshin to suru.

English

Gyokusuikai is an organization based on the fundamentals of Mugairyu Iaihyodo.Through diligent, daily practice, we seek to improve our skill and find the spiritual

path within the physical technique. By always cultivating our spirit and learningfrom the good examples of others, our principle goal is to better ourselves.

keiko ni wa

shimizu no sue no

hosoboso to

taezu nagaruru

kokoro koso yoki

As for training, you must have a spirit that never dies, like the ever flowing thin

streams of the fresh water spring.

- Hyakusokuden, Tsuji Gettan Sukeshige


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Kata Listing & Basic Translation

Zagi waza (seated forms)

Goyo (Five Needs)

Shin truth, realityRen connectedSa left (hidari)Yu right (migi)Sha to discard, or throw away

Goka (Five Items)

Suigetsu the moon in the waterInchuyo In= Yin; Chu= Center; Yo= YangYochuin (seeInchuyo, above)Hibikigaeshi echo returningHazumi Ha= break;Zu= diagram; Mi= flavor

Tachi waza (standing forms)

Go-O(Five Responses)

Munazukushi stabbing the chestEnyo roundRyoguruma two, bothNo-okuri sending off to the fieldGyokko ball of light

Hashigakari(Begin Running)

Maegoshi hips forwardMusogaeshi vision returningMawarigakari begin rotationMigi-no-teki enemy to the rightShiho 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 tsukaKissaki 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 bladeMune Back edge of the blade

Sageo Cord affixed to the saya

Saya Scabbard

Tsuba Circular metal handguard

Tsuka Sword handle

Basic Terms and Concepts

Bokken Traditional wooden training sword

Chiburi Simulating the removal of blood from the blade

Chudan-no-kamae A ready position with the sword held in the center

position.Furikaburi Raising the sword from striking position to

jodan-no-kamae


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Gyaku-kesagiri Rising diagonal cut; cutting from just under the armpit,

exiting the opposite shoulder

Gosoke Honorific title referring to the head of the Ryu

Hakama Pleated trousers worn by the samurai class

Hasso-no-kamae A ready position in which the sword is held up and to

the side, with the tsuba level with the cheek.

Hidari Left side

Iaito An aluminum training blade with no cutting edge

Jodan-no-kamae A ready position in which the sword is held high over

the head

Jo-Ha-Kyu Beginning, middle, end; a sense of accelerating motion

Kamae Stance or combative posture

Kata Sequence of forms

Katana Long sword

Kesagiri Downward diagonal cut from the base of the neck to

the waist, just below the floating ribs

Kiza Kneeling position, with the toes raisedKoiguchi-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 cutMetsuke Gaze; visualizing your opponent

Migi Right side

Noto Replacing the blade in the saya

Nukitsuke Drawing and cutting in the same motion

Obi Wide belt used to support the sword(s)

Omote Outside, or the side facing away from the body. Also

refers to public techniques, those shown to beginners.

Rei Bowing

Ritsurei Standing bow


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Ryu A term literally meaning current or stream. Refers to a

martial arts school, style, system or method.

Sayabiki Movement of the saya in either drawing or sheathing

Seiza Formal kneeling position, toes flat on the floor

Seme Pressure; forcing an opponent to retreat.

Sempai Elder (or more advanced) student

Sensei Instructor

Shibori Wringing of the tsuka with the hands, for better grip

Shidachi In kumitachi practice, the partner who wins

Shomen Front of the dojo or practice area

Shinken Real sword; generally, any sharp blade

Suburi Practice of any of the four main cutting strokes

Suki Opening or vulnerability

Tameshigiri (or Shizan) Test cutting using live blades to verify proper form

Tanto Dagger or knife

Tekizuke Keeping the kissaki pointed at the opponent

Te-no-uchi Drawing the tsuka into the hands with ones fingersTorei Bowing to the sword

Tsuki Thrust

Uchidachi In kumitachi practice, the partner who loses

Ukenagashi Raising the sword above the head, to deflect an

incoming strike

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

Waki-no-kamae A ready position in which the sword is held to the rear

and to the side, with the edge facing downwards.

Wakizashi Short sword

Waza Technique

Yoko Ichi-monji Horizontal cut at chest (or heart) level

Zagi Seated forms

Zanshin State of focused awareness of ones surroundings, with

out concentrating on one specific thing

Mugai Ryu Manual

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