Tsukanigiri and tenouchi refer to how to properly grip the sword. As with most budo concepts, there is an omote definition and a deeper ura aspect for these terms.

This is the last installment of a 3-part essay on the development of iaido and battodo in North America. Looking back on the post-war history of iai we’ve observed that in the 1960s, iai was taught almost exclusively through kendo dojo and then expanded through the interest of judoka like Donn Draeger sensei. Iai practice in the mid-1970s to mid-1990s expanded again through karateka and aikidoka whose maturing study of budo led them to both find Japanese sensei in America, and American sensei who had studied in Japan. This effort was also boosted in the 1990s by a small group of American budoka who in the model of Draeger, studied in Japan and returned to the US, bringing back an expanded knowledge of iai and other little known koryu budo.

On the surface, metsuke, maai, and ma may appear to refer to distinct ideas, but in fact they are connected concepts that relate to the level of one’s perception (and one’s ability to manipulate the perception of another) when using the sword.

This essay is part two of three and covers the years from 1970 to 1989, a challenging time in the development of iaido/ battodo worldwide. The predominant iai ryuha practiced internationally at this time were Musō Shinden-ryū and Musō Jikiden Eishin-ryū – sometimes taught in an orthodox manner and sometimes with variations.

Michael sensei gave a short talk at a meeting of the New York Token Kai about his most recent trip to Japan, which included an intensive retreat focused on the advanced practices of Kurikara Ryū Heihō (倶利伽羅流兵法), a syncretic school of Japanese swordsmanship with roots in shugendō (修験道 / mountain asceticism).

This essay is divided into three parts: part one covering 1945 to 1969, part two covering the 1970s and 80s, and part three covering 1990 to 2001. In as much as gendai budo generally don’t have soke lineages; rarely have central registries of who was or wasn’t given a menkyo or mokuroko, and as the fragmentation of koryū lineages has increased, I hope this essay will assist students of the Nakamura Ha of Toyama-ryū Battōdō, Nakamura-ryū Happōgiri Battōdō, Eishin-ryū Battō Hō and related battōdō to learn about the people who earnestly studied these budo and passed them down to us.

The common theme of optimizing body structure and accommodating the body's natural range of motion in battodo and naginata is pretty striking. It now seems to me that my previous training in the martial arts and in martial art-adjacent sports was based on conflict with the body, either focusing on the body's capacity for (directed) brute force or imposing sets of movements on it with little attention paid to underlying structure.

In his book, The Spirit and the Sword, the sword master Nakamura Taizaburo relates an epiphany he experienced while teaching in Northern China during the Great Pacific War. In his epiphany Nakamura sensei correlated sword study with the Eiji Happo of Japanese calligraphy (Shodo).