History

(Extracted from E-budo.com)

Although we (Beikoku Rembukan) don't want to speak for Kaminoda Sensei, we can share with you all, what Kaminoda Sensei has shared with us regarding the providence of "Kasumi" Shinto Ryu Kenjutsu. He has said many times that Shimizu Takaji S. would say that the proper name of what he referred to, as "Shinto Ryu" kenjutsu had been lost to history. In fact, the name is VERY generic and most likely not the primogenitor of the ryu. The SMR Densho list the teacher of Muso Gonosuke (founder of SMR) as Sakurai Osumi-no-Kami, and thus a most probable source of the kenjutsu that would become incorporated into the SMR.

We are not scholars but understand that this research is difficult because of the limited and fragmented documentation available. Moreover, in Japan, much archival material is kept in private hands. Five years ago (Heisei 6), the family of a minor lord from Makabei donated a large family archive to the municipal historical museum for the purpose of historical research and preservation. Just prior to or about Genroku 10, the Makabei family decided to document and confirm their own family genealogy and used many cross references to go back 23 generations. This Makabei history dates back to Heian Jidai (circa 1140). The Japanese government has authenticated these family documents and granted them "Kunishite Shiseki" status.

Amongst these records were references to a deshi of Tsukuhara Bokuden named Makabei Hisamoto whose nickname was Oni Doumu. This man was a senior student of Tsukuhara Bokuden as well as the 17th generation lord of a minor fief in close proximity to the Kashima Jingu. Even the Takeda (Shingen) records make strong mention of Doumu as a warrior to be feared. Now Bokuden referred to his style of Kenjutsu as "Shinto (god's way) Ryu" Kenjutsu., probably because it was near the shrine that he developed his sword style. Information distributed by the Shrine indicate that he later kept the name Shinto Ryu but changed the characters to read "new just way" and later his son or son in law
made a new conjugation using Shinto Ryu as "new wave". Suffice to say that the style of kenjutsu practiced by Oni Doumo was Shinto Ryu. The Makabei records go further and clearly refer to the Kenjutsu practiced by Doumo and his retainers as "KASUMI Shinto Ryu."

Now how does all this pertain to SMR you might ask? Well, the archive mentions one of the retainers of Doumo who was a lieutenant named Sakurai Osumi-no-Kami, who would become Muso's teacher. Furthermore, the description of the techniques of Kasumi Shinto Ryu bore very strong similarities to those practiced today within the "Shinto Ryu" kenjutsu of SMR. Kaminoda Sensei was invited as a legitimate senior practitioner of Shindo Muso Ryu to meet with the historians who were studying the Makabei archive and consider those martial aspects reflected in the discussions pursuant to Kasumi Shinto Ryu. He was able to clearly identify the 12 kata (8 tachi and 4 kodachi) techniques described in these documents.

Kaminoda Sensei holds in his possession much of the historical documentation pertaining the history of SMR and has shared much of this material with other researchers such as Matsui Kenji in his oft quoted work as translated by Hunter Armstrong. He has said that he has often invited others to review the Makabei documents as well. It is not Kaminoda S. wish to invent something "new" and by using the name of "Kasumi Shinto Ryu" Sensei only wishes to share with his students and others this new historical data. We by no means imply that the Kenjutsu practiced by us is different from the style practiced by other SMR enthusiasts and hope that new information such as this will lead to more congenial relationships within the Jodo community. Moreover, any scholar who considers the case closed is set for surprises, as there are certain to be more pieces of information uncovered that might hold keys to understanding more about these marvelous traditions."

Kasumi Shinto Ryu Kenjutsu

The following information are excerpts from a history book of Makabei-shi, a small town in Ibaraki Prefecture that was designated a Historic Site five years or so ago.

The Makabei family who served the Akita, was not particularly famous but they had a written history that remained virtually intact through 19 lords in succession. These excellent family archives were donated to the town for use in historical research and preservation.

The Makabei family gave a copy of this book to Kaminoda Tsunemori Sensei at the fifth festival commemorating the making of Makabei-shi a historic site.

When Kaminoda Sensei earned his Menkyo Kaiden in Kenjutsu, formerly called only Shinto Ryu, he was told by his teacher, Shimizu, Takaji that no one knew exactly where the Shinto Ryu name had its specific roots or where the 8 tachi and 4 kodachi techniques had originated. The dramatic discovery of the archives specifically linking the Makabei family and the famous Kenshi, Tsukahara Bokuden provides a highly probable missing link in the story.

These archives positively shed light on the roots of the Kenjutsu that would later be incorporated into the Shindo Muso Ryu. Indeed even the 12 kata can be traced to materials found within these archives which call the Kenjutsu style Kasumi Shinto Ryu. These documents clearly identify the kenjutsu of Tsukahara Bokuden as Kasumi Shinto Ryu.

Tsukahara Bokuden's deshi was the famous warrior Doumu "Hisamoto" or Oni Doumu (1522-1589). A minor lord and contemporary of Takeda Shigen, indeed these men were friends, Oni Doumu was a famous budoka with many battle exploits and accomplishments to boast of. He was the deshi of the famous Tsukahara Bokuden and he succeeded the Kasumi Shinto Ryu.

Besides the sword, Oni Doumo liked to use a polearm that was said to be almost 10 inches in diameter and reinforced with iron spikes.

According to the family archives, a deshii of Oni Doumo and the Kasumi Shinto Ryu was challenged by a Tendo Ryu practitioner, defeated and killed. Members of the Kasumi Shinto Ryu ambushed the successful warrior and killed him at Sakuraimura. The event is still commemorated at Uramimatsu (Revenging pine).

Forms

The sword configuration is indicated in brackets with uchidachi’s format first followed by shidachi’s after the hyphen.

1. Aisui* (hidari) - Mutual slide (left) 相摺

(tachi-tachi)

Both uchi- and shidachi take chudan kamae with the right foot moving forwards. The left foot then moves up next to the right and the right foot then steps back to make hasso no kamae. Both walk forward to one step cutting distance and assume awase. They then both take a step back into migi hasso-gamae with the left foot forward. Uchidachi takes two steps forward and attacks down shidachi’s centre. Simultaneously, shidachi drops the sword and steps forward into a low migi hanmi, scooping the sword down and up to cut the underside of uchidachi’s left forearm and holds the sword slightly above and in front of his head. The kissaki of shidachi’s sword should be projected into uchidachi’s face although the primary objective is to cut the arm (if the kissaki ends up lower then this isn’t a significant problem). As uchidachi steps back into hidari jodan-no-kamae, shidachi allows the tip of the sword to fall to his right side, and in a large motion, swings back up into chudan-no-kamae and steps forward onto the left foot whilst thrusting the sword along the left forearm of uchidachi. Uchidachi retreats slowly lowering the sword to their right side whilst shidachi projects the kissaki into his eyes. Shidachi steps the right foot up to the left then moves the left foot back (fumikae) and brings the kissaki vertically down towards gedan-no-kamae moving the sword into toita shisei. The uchidachi steps back into toita shisei to feet together, the shidachi steps forwards doing the same.

*The characters used here are more commonly pronounced as "aisuri"

2. Aisui (migi) - Mutual slide (right) 相摺

(tachi-tachi)

Both uchi- and shidachi take chudan kamae with the right foot moving forwards. The left foot then moves up next to the right and the right foot then steps back to make hasso no kamae. Both walk forward to one step cutting distance and assume awase. They then both take a step back into hidari hasso no kamae with the right foot forward. Uchidachi takes two steps forwards and attacks down shidachi’s centre. Simultaneously, shidachi drops the sword and steps forward into a low hidari hanmi, scooping the sword down and up to cut the underside of uchidachi’s right forearm and holds the sword with the arms crossed slightly above and in front of his head. The kissaki of shidachi’s sword should be projected into uchidachi’s face although the primary objective is to cut the arm (if the kissaki ends up lower then this isn’t a significant problem). As uchidachi steps back into hidari jodan-no-kamae, shidachi allows the tip of the sword to fall to his left side, swing back up into chudan-no-kamae and steps forward onto the right foot whilst thrusting the sword along the left forearm of uchidachi. Uchidachi retreats slowly lowering the sword to their right side whilst shidachi projects the kissaki into his eyes.  Shidachi then brings the kissaki vertically down towards gedan-no-kamae moving the sword into toita shisei. The uchidachi steps back into toita shisei to feet together, the shidachi steps forwards doing the same.

3. Ju - Eagle 鷲

(tachi-tachi)

Both uchi- and shidachi take chudan kamae with the right foot moving forwards. The left foot then moves up next to the right and the right foot then steps back to make hasso no kamae. Both sides move in to make a high and deep awase. Both begin to slide the swords down towards each other to cut. Shidachi controls the centre and lowering his sword quicker forces uchidachi to retreat. Uchi steps back with the right foot and assumes jodan kamae. Shidachi maintains the space and slides forward with the right foot pressing the sword into uchi’s left forearm where uchi is slightly turned to the right. Uchi continues to step back with his left foot bringing shidachi on to press a cut onto uchi’s right forearm. The kiai for this attack can be suppressed internally. Uchidachi retreats slowly whilst shidachi projects the kissaki into his eyes. Shidachi steps the right foot up to the left then moves the left foot back (fumikae) and brings the kissaki vertically down towards gedan-no-kamae moving the sword into toita shisei. The uchidachi steps back into toita shisei to feet together, the shidachi steps forwards doing the same.

4. Chibarai - Cutting Across The Chest 乳払

(tachi-tachi)

Both uchi- and shidachi take chudan kamae with the right foot moving forwards. The left foot then moves up next to the right and the right foot then steps back to make hasso no kamae. Both walk forward to one step cutting distance and assume awase.  Uchidachi slightly lifts his kissaki to prompt an attack from shidachi. Seizing the initiative, shidachi brings the sword back to the left side of the head and steps through with the left foot with a horizontal cut to dô. To avoid the cut uchidachi takes a sliding step back into migi jodan-no-kamae and then cuts down shidachi’s centre. Avoiding the cut, shidachi steps back to the left with body facing the right and feet together and at the end of the step brings the sword out and up above his head with the kissaki projecting towards uchi’s face. Shidachi then steps in with the right foot and cuts down the the centre onto uchidachi’s forearms finishing at the suigetsu. With a slight push forwards with the feet, shidachi thrusts the sword a short amount into uchidachi. Uchidachi receives this by moving the feet slightly back. Uchidachi retreats slowly whilst shidachi keeps the sword pointing at the centre. Shidachi then brings the kissaki vertically down towards gedan-no-kamae moving the sword into toita shisei. The uchidachi steps back into toita shisei to feet together, the shidachi steps forwards doing the same.

5. Sarin - Wheeling To The Left 左倫

(tachi-tachi)

Both uchi- and shidachi take chudan kamae with the right foot moving forwards. The left foot then moves up next to the right and the right foot then steps back to make hasso no kamae. Both walk forward to one step cutting distance and assume awase. Seizing the initiative, shidachi cuts with a one-handed right cut down uchi’s centre. To avoid the cut uchidachi takes a larger step back into hidari jodan-no-kamae and then cuts down shidachi’s centre. Avoiding the cut, shidachi steps back to the left with body facing uchi the feet together and at the end of the step brings the sword up above his head with the kissaki pointing down to the left as if in an ukenagashi posture. Shidachi then steps in with the right foot and cuts down the the centre onto uchidachi’s forearms starting with a one handed cut and finishing at the suigetsu with both hands gripping. With a slight push forwards with the feet, shidachi thrusts the sword a short amount into uchidachi. Uchidachi receives this by moving the feet slightly back. Uchidachi retreats slowly whilst shidachi keeps the sword pointing at the centre. Shidachi then brings the kissaki vertically down towards gedan-no-kamae moving the sword into toita shisei. The uchidachi steps back into toita shisei to feet together, the shidachi steps forwards doing the same.

6.Ukenagashi - Flowing Parry 受流

(tachi-tachi)

Uchidachi takse chudan kamae with the right foot moving forwards. The left foot then moves up next to the right and the right foot then steps back to make hasso no kamae.  Shidachi takes a low gedan-no-kamae with the edge pointing up to the left. Both approach each other and at the appropriate moment uchidachi steps forward and cuts down shidachi’s centre.  Shidachi slides his forward right foot back to the left and receives and deflects uchidachi’s sword by lifting the sword up with the kissaki elevated and the edge point up. The sword is almost parallel to the centreline and thus deflects using a kind of suri-age motion. As the deflection is achieved, shidachi steps forward with the right foot to counter with a cut down uchidachi’s centre. Uchidachi copies shidachi’s deflection of the sword and returns a counter-cut. This time shidachi carries out a more conventional ukenagashi action with the kissaki lowered down to the right and the sword covering the upper body properly and steps with the left foot in and to the left and past of uchidachi allowing him to overreach forwards.  Sliding his right foot upwards to his left and turning 90° right to face uchi-, shidachi places the sword on uchidachi’s extended neck and, stepping back with the right foot, cuts without pulling the sword off the neck.. After a moment of zanshin, uchidachi turns to face shidachi who projects the kissaki into uchi’s eyes. Shidachi steps the right foot up to the left then moves the left foot back (fumikae) and brings the kissaki vertically down towards gedan-no-kamae moving the sword into toita shisei. The uchidachi steps back into toita shisei to feet together, the shidachi steps forwards doing the same.

7. Nitoai - Two Sword Meeting 二刀合

(nito-tachi)

Uchi assumes hidari juji dome kamae and lowers to waist level. Shidachi takes gedan-no-kamae with the edge up and to the left. They both approach each other to a suitable distance where shidachi uses the monouchi to slowly cut and lift up the juji dome to eye level. This should be performed keeping the entire sword approximately horizontal. Uchidachi, maintaining the pressure suddenly moves the tachi back to make a cut with the kodachi maintaining the position momentarily. Uchidachi steps forward with the right foot and attacks shidachi’s left thigh with the sword simultaneously bringing the kodachi up to the left side of the head to maintain a positive-negative aspect. Shidachi counters the cut with a block using the shinogi and takes a small sliding step back. Uchi continues the onslaught by attacking shidachi’s right dô with the kodachi, simultaneously bringing the tachi up over his head. Shidachi steps back with the right foot and blocks again using the shinogi. Uchidachi steps in with an overhead cut to shidachi’s centre bringing the kodachi back to his hip. In a similar fashion to the last technique of Ukenagashi, shidachi deflects the attack with the sword but steps with the left foot in and to the left and past of uchidachi allowing him to overreach forwards.  Sliding his right foot upwards to his left and turning 90° right to face uchi-, shidachi places the sword on uchidachi’s extended neck and, stepping back with the right foot, cuts without pulling the sword completely off the neck. After a moment of zanshin, uchidachi turns to face shidachi who projects the kissaki into uchi’s eyes. Shidachi steps the right foot up to the left then moves the left foot back (fumikae) and brings the kissaki vertically down towards gedan-no-kamae moving the sword into toita shisei. The uchidachi steps back into toita shisei to feet together, the shidachi steps forwards doing the same.

8. Surikomi - Slide And Crowd In 摺込

(tachi-tachi)

Both uchi- and shidachi take chudan kamae with the right foot moving forwards. The left foot then moves up next to the right and the right foot then steps back to make hasso no kamae. Both sides move into a close and high awase distance. Both begin to slide the swords down towards each other to cut. Shidachi takes the initiative and forces uchi’s sword down to his right side trapping it against the ground. Uchi can move the front foot back slightly to receive this if necessary. They then take a sliding step back with the right foot to break the suppression and returns to attack down shidachi’s centre. Shidachi retrieves his sword from it’s lowered position and sweeps across uchi’s attack, knocking it to the side and drawing back into hasso gamae. With the uchidachi keeping the same swept-across position, shidachi steps in and cuts down vertically to finish at the centre above uchidachi’s right arm. With a slight push forwards with the feet, shidachi thrusts the sword a short amount into uchidachi. Uchidachi receives this by moving the feet slightly back. Uchidachi retreats slowly whilst shidachi keeps the sword pointing at the centre. Shidachi then brings the kissaki vertically down towards gedan-no-kamae moving the sword into toita shisei. The uchidachi steps back into toita shisei to feet together, the shidachi steps forwards doing the same.

9. Inchu - In The Throat 喉中

(tachi-kodachi)

Shidachi takes mugamae with the kodachi with both hands lowered at the sides and the kodachi resting across the right thigh. Uchidachi goes through the usual procedure to assume hasso no kamae. They approach each other. As they close distance, shidachi takes a low hidari hanmi and, lifting the kodachi above the head with the edge up and the kissaki projecting slightly to the left of uchidachi to set a posture guarded against uchidachi’s sword. Uchi steps back to jodan kamae in preparation to cut. Shidachi pursues uchi and steps in with the right foot and attacks uchi’s left forearm. Uchi retaliates by stepping forwards and attacking shidachi down the centre. Shidachi takes a large step back and brings the feet together raising the kodachi above his head to block the attach with his left hand reinforcing the block, hand against the back of the blade and with the body slightly turned to the right. Once received, shidachi throws uchi’s sword down to the right and takes several shuffling steps forward projecting the tip of the kodachi into uchidachi’s throat. Uchi steps back to receive. After a moment of zanshin uchidachi lowers their sword to toita shisei and shidachi returns to mugamae.

10. Ukekaeshi - Receive And Avoid 受返

(tachi-kodachi)

Shidachi takes mugamae with the kodachi with both hands lowered at the sides and the kodachi resting across the right thigh. Uchidachi goes through the usual procedure to assume hasso no kamae. They approach each other. When shidachi is in range, uchi steps in and cuts down the centre. Shidachi steps forwards and to the right avoiding the cut and lifting the kodachi into an ukenagashi posture. He immediately steps in and cuts to the centre of uchi’s head. After a moment of zanshin uchidachi lowers their sword to toita shisei and shidachi returns to mugamae.

11. Sanukedome* - Three Blocks 三受留

(tachi-kodachi)

Shidachi takes mugamae with the kodachi with both hands lowered at the sides and the kodachi resting across the right thigh. Uchidachi goes through the usual procedure to assume hasso no kamae. They approach each other. As they close distance, shidachi takes a low hidari hanmi and, lifting the kodachi above the head with the edge up and the kissaki projecting slightly to the left of uchidachi to set a posture guarded against uchidachi’s sword. Uchidachi takes the initiative and makes a cut to shidachi’s left thigh, sliding his right foot forwards. Shidachi takes a step back and blocks with the omote shinogi of the kodachi. Uchidachi continues the attack to shidachi’s right thigh whilst stepping forward onto the left foot, which is again blocked against with shidachi stepping back and sweeping the kodachi to the right to receive on the ura shinogi**. Shidachi seizes the initiative and steps his right foot forward and to the left whilst turning the kodachi around so that the omote of the kodachi maintains pressure against the sword. This brings about a flicking motion to throw the tachi out to the right. Shidachi then steps in with the left foot simultaneously grabbing uchi’s right upper arm with his left hand and bringing the kodachi up and over to attack the head. After a moment of zanshin uchidachi lowers their sword to toita shisei and shidachi returns to mugamae.

*This can also be read as "Miukedome"

**This block can be quite stressful on the wrist. An alternative is to keep the sword tip up and to bring the right hand close to the right hip to make the block. This should be done without trying to coordinate with the attacking sword as it is likely to end up following the sword through space only to end up being cut.

12. Tsukidashi - Projection 突出

(tachi-kodachi)

Shidachi moves into seigan kamae Uchidachi goes through the usual procedure to assume hasso no kamae. They approach each other. As uchidachi nears, he attacks in a shallow kesa cut to shidachi’s thumb. Shidachi steps his right foot back to the left and pulling the kodachi back above the right shoulder with the elbow almost at 90° to avoid the cut and then steps in to cut down the uchidachi’s centre. With a slight push forwards with the feet, shidachi thrusts the sword a short amount into uchidachi. Uchidachi receives this by moving the feet slightly back.

There is a kaewaza for this form which is slightly dangerous so should be practiced with care. As Uchidachi makes their cut, the shidachi lunges forwards keeping the rear left foot almost planted on the ground. This lunge puts the shidachi’s head beneath the cut while they thrust the sword into the uchidachi’s side abdomen.