KENDO IAIDO

Promotional Exam Study Guide

Note: This study guide reflects general concepts agreed upon by many Kendoists, however, there will always be those who have their own viewpoints and ideas. To fully learn about the philosophy and concepts of Kendo, one must continue their own education by studying all aspects of Kendo and not only limiting their study to this "guide".

Contributors & Sources

D. Ebihara I. Murakami R. Omoto J. Marsten

Points to be aware of in a Kendo Examination - M. Tanigami & M. Asaoka Kendo Examination - S. Nakamura, T. Haga, N. Sato The Path to Higher Degrees - T. Haga, K. Iho, N. Sato Instructional Manual for Youth & Children - AJKF Japanese-English Kendo Dictionary -AJKF

REI-GI (Etiquette)
It is said that Kendo begins and ends with rei-gi, so a natural place for this guide to start is with a discussion of rei-gi. The physical aspect of rei-gi is represented by the rei as one enters the dojo or shiai-jo, thus starting each practice by the display of respect for

the place of practice and its members. The end is by repeating the process thanking everyone for the practice as one leaves the dojo. The natural outgrowth of this is that same manners carry over into all aspects the Kenshis daily life. The rei-gi of Kendo is correct behavior in all dealings with other people as you work through your daily activities. In Kendo, a failure in this behavior is a moral failure in the Kenshis character and training. At the practice level, Kendo is an art form the purpose of which is to defeat one's opponent in a combat of mind against mind and strength against strength. Without the rules of etiquette from beginning to end, the Kendo becomes merely a bashing of the opponent with the only goal to win with any means possible. Kendo with rei-gi remains an art and the opponent is yourself to overcome. With this in mind one is thankful to your partner for having struck you, this exposes your weakness and allows you to improve. Thus practice is an exchange of technique and the Kenshi must always be polite to the person giving you such a gift.

Appearance
Before the first hajime of the exam, the examiners have started to grade the candidate. At each progressive level the Kenshi must have a dignity and presence the exudes that rank for which they are testing. At the lower ranks this may only be the proper wearing of the uniform and equipment. All of us have seen Kenshi who don't wear their uniform and equipment properly. Here are some areas of observation: The keiko-gi should not be worn in the fashion of a geisha with the nape of the neck exposed or bulging out in the back. After the hakama obi are tied the person needs to reach inside and pull the ends of the keiko-gi across the front to remove all bulges and wrinkles from the back. The hakama should be the right length with the hem lower in the front and a little higher in the back and crossing at the ankle bone. The koshi-ita should not be hanging loosely, but fit tightly and flatly against the small of the back. The obi should be tied in a square knot and the ends tucked into the obi along the waist at the hips. The hakama pleats should be straight as they represent the samurai code of ethics. Jin (humanity), Gi (justice), Rei (courtesy), Chi (knowledge) and Shin (trust). The tenugui should be tied on the head so that there is no part flapping out of the back of the men like a chicken tail. Neither should the tenugui be so low on the forehead that it is visible through the men-gane. There should not be an extra tenugui folded up inside the men in the chin area, a special pad is made to be placed inside the men to take up space on a men that is too large. Often children have a men that is too large for the size of their head and should use a pad. The special pad not only provides extra protection for the child on the top of the head but eliminates the unsightly situation of the tenugui in the chin area which often falls out during keiko. The men should have the himo tied in the proper bow knot (cho-musubi) and be in straight lines as if one cord rather than look as though a fishnet has been cast upon the

persons head. The length of the ends and the loops of the bow knots should all be the same and not exceed 40 centimeters. The upper doh himo should be tied with the ends tucked inside and not hanging down the front of the mune. The lower doh himo should be horizontal and tied in a bow knot (cho-musubi). The tare obi should be flat, run across the koshi-ita in the back and not bulging under the odare in the front. The kote should not have frayed himo. Lastly the Kenshi should stand tall, straight and walk with dignity. These are the basics before the match even starts.

JI-KEIKO
During the ji-geiko phase of the examination the following points are observed by the examiners: Is the beginning rei to the opponent done properly, is the shinai at sage-to during the rei and at tai-to with thumb on the tsuba as each Kenshi advances onto the court. The footwork as they advance onto the court should be smooth sliding steps with the toes down. The draw of the sword should be in the kesa-giri manner as each Kenshi starts their third step. The sonkyo position should be assumed with the back straight and the elbows not touching the thighs. The ken-sen should be pointed at the opponents nodo. The shinai will have the naka-yui in the proper place 1/3 from the ken-sen and the grip on the tsuka should be with the left hand on the end and the right hand near the tsuba. At all levels of the examination, the manner of keiko should not be as if one were fighting for shiai points but be proper basic Kendo. During the match, proper footwork, striking and posture must be maintained rather than avoiding being struck by excessive blocking, dodging by bending the waist and bobbing the head. Hanging at tsuba-zeri-ai is not proper but instead maintaining the correct ma-ai of isoku-itto is what the judges are looking for. At each successive level, the ability to know when to attack and recognize the opportunity (chance) of attack will determine your success in the examination. Just hitting indiscriminately, when you want, rather than when an opening exists, results in poor strikes. This is not to say that you should not be offensive, it is said Kendo is 50% offense and 50% defense, but offense is the bigger half. Defensive hitting is downgraded while even unsuccessful offensive attacks with good spirit that result in ai-uchi (simultaneous strikes by both opponents) will help you pass. Opportunity is created in a number of ways and this study guide will address those methods after finishing this section. Other factors in ji-geiko are good ki-ai and ki-ken-tai-ichi, seme, sutemi and zanshin which will all be covered in later sections.

KATA
The failure of most candidates kata at lower dan is the lack of practice, the mechanics should be just rote memory. It is very obvious which candidates have neglected kata for long periods of time, hurriedly preparing by practicing only a few times before their test. Logically one would expect that if kata is 50% of the test the candidate would put more effort in to the practice and the learning of kata. The uchidachi must demonstrate a strong leading of the shitachi, while the shitachi must be able to read the uchidachis intention. A kodansha performing kata must express a strong and true spirit, reasonable mind and balanced zanshin. The performance shows stroke with drive and spirit, ri-ai, ma-ai, and understands the rhythm of each of the 10 forms. Starting at 1st-Kyu where just the basic mechanics are needed to Sandan where all the mechanics and the basic fundamentals previously discussed are required, the kata of the candidate should improve at each dan level. At Yondan the kata must demonstrate a better understanding of the hei-ho of Kendo, the rhythm, seme and zanshin. All these things must steadily improve at each succeeding level. Points that are observed when grading by the examiners:
o o o o o o o o o o o

Manner before and after the tachi-ai. Does the candidate understand all five kamae in 1 through 7 and han-mi and iri-mi in the kodachi kata? Does the candidate demonstrate an understanding of me-tsuke and breath control matching with the partner? Does the candidate demonstrate an attitude of reality and dignity for the rank requested? Does the candidate demonstrate the relationship between uchidachi and shitachi in movement and rhythm? Is the timing of the strikes correct, is the shitachi receiving correctly? Is the ma-ai correct? Is the strike with mono-uchi? Are the basic mechanics of the strikes correct? Not too big or too small. Is the footwork sliding or just walking? Are the heels touching the ground, flatfooted? Does the shitachi demonstrate ki-gurai and does the uchidachi respond to the shitachi's zanshin?

Expectations of Rank

6th-kyu through 2nd-kyu can be awarded at the dojo level depending on the regional federation. Other federations formally test for these grades and some have age restrictions for children. 1st-kyu and above are done through the formal examination process. While it is normal to have both adults and children testing for the same level of kyu there can be a great deal of difference in the basic skills between the adults and children. Most often the children have been doing Kendo much longer and have much better basics than the adults. However when the mental maturity of the adults is factored in this should not be a problem. An experienced examiner will understand this kind of situation and grade accordingly. (see attachments for skill guidelines used by some regionals) 1st-kyu requirements: enter and leave the court properly, strike with ki-ken-tai-ichi, good energy and 1 or 2 yuko-datotsu. Shodan: same as above with nidan waza included. Nidan: demonstrate the use of shikake waza, harai waza, debana waza, hiki waza, and oji (oh-ji) waza. Obviously the occasion may not arise to use most of the mentioned waza, but the candidate should show better basics than the Shodan level and be able to use more advanced technique as above. The Kenshi at this level should not be obsessed with the use of waza but start to master the opportunity of attack. Cuts should have good vertical motion with the use of both hands and te-no-uchi. Sandan: Use seme and ken-sen to initiate attacks and have sharp waza. Particularly the use of oji type of waza should be incorporated in the candidates Kendo. Yondan: should display very solid Kendo and kamae, display mastery of a variety of techniques, yuko-datotsu, excellent footwork and posture. An attacking kamae full of spiritual energy should be displayed rather than a waiting kamae that reacts to the opponent. Godan: starting with the Godan examination the candidate must truly exhibit the use of seme and ken-sen to create the moment of attack. Often failure is caused by the candidate doing shiai style of keiko and trying to win points. One must demonstrate the control of the center, the opponents spirit, and mastery of the footwork and shinai. The Kendo must be logical without unnecessary strikes and actions. The strike is followed by zanshin that is true mental alertness. Rokudan: the same as Godan, but even more, the ri-ai must be demonstrated. Strong control of the center, efficient use of waza and footwork, mental control of the opponent and situation. Nanadan: all aspects of the previous ranks must be present and an essence of dignity that speaks to quality Kendo. This dignity shows both on and off the court in the persons life. Kodansha Kendo is not only just winning a strong shiai, strong keiko or beating an opponent in the shinsa. You must express your Kendo with the correct kamae, strong ken-sen, reasonable ma-ai, smooth flowing footwork, body movement and a strong,

smooth stroke in your strikes. This must be performed in one rhythm with sharp te-nouchi.

The Written Exam

The written examination asks the candidate to either discuss or list concepts, principles and even opinions on the various aspects of Kendo. This section will present the material in a discussion and a factual manner. It is up to the candidate to read and absorb the material such that the test questions can be answered. Kirikaeshi is one of the fundamental learning tools used in Kendo. It contains 5 elements which are described by the metropolitan police as the following: 1. sho-men, 2. tai-atari, 3. four yoko-men forward followed by five backwards, sho-men, 4. four yoko-men forward followed by five backward, 5. sho-men followed by zanshin. Conceptually kirikaeshi develops strong ki-ai and breath control, large motion, correct cutting angle (ha-suji), correct grip (te-no-uchi), correct footwork (ashi-sabaki) all with ki-ken-tai-ichi. It also limbers the muscles, promotes harmonious action of the whole body and correct ma-ai, follow through with zanshin. Kirikaeshi is said to provide 10 virtues to the attacker and 8 virtues to the receiver. It makes the waza sharp and swift, strengthens the cut, builds stamina, relaxes the stroke and body, improves the motion of the body, improves dexterity and grip, improves the vision of the partner, improves the ma-ai, teaches mental tranquillity, improves observation of the opponent, makes the grip firm yet flexible.

Ma-ai is the interval between the two opponents or partners when practicing Kendo or kata. It is described as 3 intervals: Issoku-itto-no-ma-ai (one step-one sword interval). This ma-ai allows you to strike the opponent by taking one step forward and to avoid the opponents attacks by taking one step to the rear or to the side. It is also called uchi-ma or the strike interval. At this interval either party can strike. Toii-ma-ai (to-ma) or distant interval is when the opponents are separated such that more than one step is required to strike the opponent. As the opponent moves forward, you have the chance to strike. Chikai-ma-ai (chika-ma) or close interval is that distance less than the one step interval. There are many strategies that can be employed from this distance also.

Metsuke or enzan-no-metsuke is the fixing of the eyes or gaze upon the opponent. Enzan-no-metsuke refers to "gazing as though looking at a far mountain". In this sense it is to see everything without focusing on any one object. Basically you fix your gaze at the opponents eyes and read their intention through these windows to their mind. When

the opponents eyes fix upon an object such as your sword or a target, their mind becomes "fixed or stopped" and you can then attack.

Ki-ken-tai-itchi or "spirit, sword, & body are one", are the essential elements to a yukodatotsu (correct strike). This means that all three elements of the strike happen as one element and make the perfect strike. The ability to do this is the ideal which all practice should strive for as a goal.

Zanshin, what is zanshin? The typical answer given is "remaining spirit". This is correct, but there are more meanings and feeling to zanshin than the simple definition implies. It is very simple. However simple does not necessarily mean easy. It is a concept unique to martial arts and it is to the kanji that we must look for further clarification. The kanji "zan" and "shin" can be read two ways. Kokoro-Wo-Nokosu which means "I consciously do the action of getting my spirit to remain" and Kokoro-Ga-Nokoru which means "My spirit remains unconsciously, spontaneously." The first definition is appropriate to the beginning Kenshi and the latter to the practiced Kenshi. In effect, it means that if you must think about it, it is too late. The action is always slowed by the thought. If you think about zanshin preceding the cut, the cut will not be good. If you think about zanshin after the cut, an unexpected attack can occur in the split second that your are thinking of keeping your pressure. Application of the principle of zanshin is most easily exemplified in the Nihon Kendo Kata. In all ten kata the zanshin begins immediately after the cut and continues until both the uchitachi and shitachi returns to chudan-no-kamae. This is stated specifically on ippon-me and nihon-me in Takano Sasaburo's book on Kendo. " Immediately after the cut, if there's any movements, my zanshin says I am ready to strike at any moment, until we both return to chudan." Therefore, zanshin does not mean only to take the position of jodan-no-kamae after the cut, as in ippon-me, but it is the spirit of zanshin which must be present immediately after such a cut. Then how can zanshin be identified in shinai Kendo? Does anyone in shinai Kendo normally take or display the stance zanshin emphasizes in the Nihon Kendo Kata? Obviously the answer will be no. It is spiritual awareness that is important, not the final stance, Kokoro-Ga-Nokoru, a naturalness. Zanshin thus means that the Kenshi is always prepared, even when exhausted, even when the match is over, the spirit remains.

Seme as defined in the dictionary is "an attack, the offensive, assault, or siege". In Kendo, it can also be defined as pressure; that is, to pressure the opponent before the attack. There are two kinds of seme: visible and the invisible, or physical and mental, outer or inner. Although it is sometimes difficult to see because even the overt actions occur in split second speed, the visible pressure is easiest to understand. Visible seme

occurs when one person pressures an opponent by actual movements with the shinai, feet or the whole body. Techniques vary. For example in the chudan stance, you pressure your opponent by movement of the shinai as though you are pressuring to strike kote. Instead you strike men because now the men is open because the opponents mind has gone to their kote. Seme occurs during actual shinai contact by the use of harai, uchiotoshi, makiotoshi or some such waza that moves the opponents shinai off center and creates an opening. Thus if I can see with my eyes or feel the shinai putting pressure on my kote or men the intention is already given; the seme is visible. However if the shinai doesn't move, but I can still feel the pressure, then it is invisible seme. The tip of the sword, ken-sen, becomes alive and communicates the seme without any shinai or body movements. Invisible seme is the most powerful, the seme with the whole body and soul. Invisible seme, kurai-zume, is the ultimate aim of the Kenshi. By gazing (metsuke) into the opponents hara, intentions are detected before any movement and thus the opponent's first move is forced. As in kata, the shitachi always applies the pressure and is never on the defense. The spirit is always ready and a milli-second ahead of the opponent, the opponent moves and is defeated. Because seme is pressure which creates relationship, especially strong invisible seme, it is related to both sen and zanshin. It is not really separate from sen, but precedes it as sen precedes zanshin. Focused to waza it is reflected in sen. After the attack it is focused in the zanshin.

Mittsu-no-sen or the three attacks. According to Miyamoto Musashi there are three sen:
o o o

Ken-no-Sen, you attack just before the opponent. Tai-no-Sen, the opponent attacks first but you strike first and win. Tai-Tai-no-Sen, both attack at the same time but your cut is first and wins.

Takano Sasaburo explained the mittsu-no-sen as: Sensen-no-sen or kakari-no-sen: to use seme and then strike the opponent just before he moves when their mind has committed to attack. Go-no-Sen or Sengo-no-sen or Tai-no-sen: when the opponent has started their technique but the action is not completed. Move effectively avoiding their cut and strike yourself. Sen or Senzen-no-Sen: when the opponent is in mid-attack deflect it and counter attack. If you study the strategy of the kata you gain an understanding of mittsu-no-sen. Related to mittsu-no-sen is San-satsu-no-ho or San-sappo, the 3 methods of killing.
o

Kill the sword or ken-o-korosu To kill the sword is to attack the sword with any number of waza such as

uchi-otoshi or harai, in other words sweep it away, shove it aside, hit it down, twist it around, anything to move it out of center. kill the waza or waza-o-korosu Kill the waza using sen-no-ki to attack the opponent before they can attack you, if they are busy fighting off your attack it is hard to counter attack. It is also to move in and spoil their attack before it even happens by looking inside and seeing their intention. It is also detecting their waza and using the counter waza to it such as men, suriage-men. kill the spirit or ki-o-korosu Kill the ki or mental balance by such forceful seme that they become frightened. Use your strong ki to kill their ki, invisible seme, mentally cut the opponent's mind with your mind.

All these methods lead to the four sicknesses; fear, doubt, surprise and confusion. Fear by weakening the opponents mind by your strong ki. Doubt causes the opponent to become tight and hesitant. If you kill their waza they will begin to doubt their ability to succeed. Weaken their mind by doing the unexpected. Confuse them by changing the rhythm and timing of the match, this will throw off their comfort zone, their natural mind (hei-jo-shin). Hei-jo-shin is the normal calm state of mind that allows one to make accurate decisions. To accomplish these things one must have excellent footwork. Ashi-sabaki or footwork is broken down into four types:
o o

o o

Ayumi-ashi, which is essentially normal walking used to cover a lot of ground quickly. Okuri-ashi or the basic Kendo footwork of pushing off with the left foot positioned in the rear and sliding the right foot forward simultaneously, followed by snapping the left foot forward to achieve the original spacing of the feet. Hiraki-ashi or diagonal footwork is moving in any direction but forward or backward with basic Kendo footwork. Tsugi-ashi or de-ashi is to bring the left foot up parallel to the right foot and then step forward in an attack.

All of the footwork is performed with suri-ashi, sliding motion. Waza are categorized as either oji (oh-ji) waza or shikake waza. The actual techniques such as suriage, harai, nuki etc. fall into one of these two categories.
o

Shikake waza is further defined by whether there is blade contact or no blade contact. In shikake waza you take the initiative through your seme and create an opening and attack.

In oji waza the opponent initiates the attack and you counter see the section on mittsu-no- sen.

When you attack it must be with the mind set of sute-mi or to have no care for your life. To throw away your life so that you have no fear of losing but total commitment to the attack. These discussions cover most but not all of the material of the written test.

Requerimientos para principiantes :

El Kendo empieza y termina con cortesa. Uniforme: Al principio puede usar calentador, uniforme de artes marciales o ropa holgada. Cuando sea ms avanzado podr usar Keikogui y Hakama. Un Shinai (sable de bamb). Existen diferentes tamaos. Consulte al instructor el que conviene para Ud. Asistir a cada clase con mucho entusiasmo y ganas de aprender. Debe llegar al dojo 15 minutos antes que empiece la clase Recuerde siempre: No importa ganar o perder; lo que importa es vencerse a s mismo. No se contente con practicar en la clase; practique tambin por su cuenta.

Practicar Kendo significa:

Moldear la mente y el cuerpo, Cultivar un espritu vigoroso. Y a travs de un entrenamiento correcto y rgido, esforzarse en mejorar en el arte del Kendo, estimar en alto grado la cortesa y el honor, asociarse a otros con sinceridad, y tratar de cultivarse a s mismo para siempre. As conseguir amar a su pas y su sociedad, contribuir al desarrollo de la cultura, y promover la paz y prosperidad entre todos los pueblos.

Algunas normas de Etiqueta:

Al entrar o salir del Dojo haga un saludo al Kamiza o Shomen (sitio de honor). Debe saludar a su compaero al inicio (Onegai shimasu) y trmino (ArigatGozai-mashita) de cada prctica. Muestre respeto por su shinai y los de los dems. Si una pieza del equipo se desajustase, deber detener su prctica, y arreglar el problema; mientras tanto su compaero esperar o le ayudar. Trate de llegar a las prcticas 15 minutos antes. Si por alguna razn se retrasa y llega tarde, no d explicaciones al Sensei si l no se las pide. Si por algn motivo no va a asistir a alguna clase, comunquelo con anticipacin al Sensei.

Muestre respeto y cortesa siempre a sus compaeros de cualquier grado, y no converse durante las clases. Recuerde que Ud. viene a aprender, no a imponer sus ideas. Mantenga siempre sus implementos de kendo en forma adecuada. Apague su celular antes de entrar al dojo. No pise el rea de prcticas (Keiko-jo) con zapatos. Use sandalias para salir del rea de prcticas. Alinee estticamente sus sandalias apuntando hacia afuera del rea de prcticas. De ejemplo a los dems al momento de barrer y trapear el piso del dojo. Sus movimientos y Seiza debern mostrar respeto hacia el Sho-Men; por ejemplo no le d la espalda innecesariamente.

IAIDO

Study Questions for Iaido Shinsa

These questions are sample questions which have been used in the past. Future tests may use different questions. Please use these as study guides for answering future questions. Each applicant testing for 1st kyu and above will be required to answer any two of the three test questions given for the rank they are testing for. 1st Kyu: 1. Name and briefly describe the five basic on-guard postures (kamae) in swordsmanship. 2. Discuss Metsuke. 3. What is zanshin? Shodan 1. List the names of all 12 All Japan Kendo Federation Iaido kata. 2. Define Mono-uchi and describe its function. 3. What is Jo-Ha-Kyu? Nidan 1. What is the purpose of chiburi? 2. Draw a simple diagram of a katana and identify the following: a. habaki b. kisaki c. tsuba d. fuchi (fuchi-gane) e. tsuka

f. mune g. mono-uchi h. kashira (tsuka-gashira) i. shinogi 3. Explain ki-ken-tai-ichi and give two examples of its application in the All Japan Kendo Federation Iaido kata. Sandan 1. What do you hope to gain through the study of Iaido? 2. What is suki and why should you avoid its occurrence in your practice of iaido? 3. What is kirioroshi? Describe its use in one All Japan Kendo Federation Iaido kata. Yondan 1. Is it important, or is it not important to participate in Iaido Competitions? Explain your rationale. 2. Write what you know about kokyu (breath control) in Iaido. 3. Describe the three kinds of sen. Godan 1. Discuss the concept of fudo-shin. 2. Tsuki (thrusts) occur in five of the All Japan Kendo Federation Iaido kata. Name the five kata and identify the target area of the tsuki. 3. Discuss the importance of rei-ho in the practice of Iaido. Rokudan 1. Explain the philosophy of shu-ha-ri. 2. What are ma and maai? Describe their application in one or two All Japan Kendo Federation Iaido kata. 3. There are key points to watch for when judging iaido. List the key points for two of the All Japan Kendo Federation Iaido kata. 5 Kamae Gedan-no-kamae: The posture in which the tip of the sword is lowered from chudan-nokamae (middle guard position) down to the level of the opponents kneecap. This posture is considered suitable for defense. Chudan-no-kamae: The posture in which the right foot is forward, the sword is held with both hands so that the tsuka-gashira is in front of the tanden and the sword is aimed so that the extension of the sword points to the opponents throat/face. This posture is suitable for both offense and defense. It is sometimes also called seigan-no-kamae. Waki-gamae: Posture in which the right foot is behind, in a hidari-hanmi (left side forward, half turned) position and the sword is held below the right armpit, with the tip of the sword pointing backward and the edge of the blade facing diagonally down to the right. The level of the tip is a little lower than it is in gaedan-no-kamae. Jodan-no-kamae: The posture where the sword is held above the head. The most offensive posture among the kendo postures. The posture where the sword is held

with both hands and the left foot is forward is called morote-hidarijodan-no-kamae. The posture in which the sword is held with both hands and the right foot is forward is called morote-migi-jodan-no-kamae. There are katate (one hand holds the sword) versions of both jodan kamae. Hasso-no-kamae: The posture where the sword is held with both hands near the face. The left hand stays on the bodys center line, and the right hand is about one fist width away from the mouth. The kissaki is pointing upward to the right rear, and the edge faces the opponent. The left foot is forward and the body is in hidari-hanmi (left side forward, half turned) position. Metsuke: Positioning of the eyes. The act of paying attention to the opponents whole body while looking into his/her eyes. Enzan-no-metsuke: A term meaning it is important to look at the figure of the opponent as a whole rather than at a particular point, as if looking at a far away mountain. Kan-ken-no-metsuke: Kan-no-me is the way of seeing with which one sees the essence of things, while ken-no-me is the way of seeing with which one sees only the surface phenomenon. In Gorin no Sho (The Book of Five Rings) swordsman Miyamoto Musashi said, Kan-no-me is strong, ken-no-me is weak. As this teaching implies, the term kan-ken-no-metsuke emphasizes the importance of having a keen eye which can not only see the opponents appearance but which can also perceive the opponents abilities and state of mind through his/her posture and appearance. Zan-shin: The body posture and state of mind in which even after striking, one is alert and ready to respond instantly to any counterattack by the opponent. Zanshin is the state in which, after striking with full power and without hesitation, one faces the opponent with full spirit and with the ability to respond naturally. Mono-uchi: The part of the sword which exerts the most force upon contact. This part of the sword begins from the kissaki and extends for approximately 6-8 inches toward the other (back) end. 12 Sei Tei Kata Names 1. MAE 2. UESHIRO 3. UKE NAGASHI 4. TSUKA ATE 5. KESA GIRI 6. MOROTE TSUKI 7. SANPO GIRI 8. GANMEN ATE 9. SOETE TSUKI 10. SHIHOU GIRI

11. SOU GIRI 12. NUKI UCHI

Jo-Ha-Kyu: Jo-ha-kyu is the continuous acceleration applied to the execution of most sword drawing techniques. Each movement of a kata begins slowly, gradually gets faster and until maximum speed is attained. This increase of speed produces sharp technique. The first technique of the first kata (nukitsuke in Mae) is a good example of the use of jo-ha-kyu. Chiburi: The purpose of chiburi is to clean the end of the blade of anything left on it from cutting. Chiburi also has a spiritual meaning of cleaning ones soul. Ki-ken-tai-itchi: A term which expresses an important element in moving for offense and defense; it is mainly used in teaching striking moves. Ki is spirit, ken refers to the handling of the sword, and tai refers to body movements and posture. When these three elements harmonize and function together with correct timing, they create the conditions for a valid strike. Also called Shin-ki-ryoku itchi. Suki: A weakness of the mind caused by astonishment, fear, doubt or hesitation. Also a weakness in ones action or posture which results from losing control of the center. Suki provide an opening for attack by ones opponent. Kiri-oroshi: The term kiri-oroshi means cutting down. Usually it is a 2-handed cut down from over the head. Many, though not all, of the All Japan Kendo Federation style kata have kiri-oroshi. Kiri-oroshi is contrasted with nukitsuke, the cut made, in one continuous motion, from drawing the sword. Kiri-oroshi requires that the sword already be drawn. Kokyuu: The act of inhaling and exhaling. In kendo this term also means to predict the opponents movement and adjust ones moves accordingly as part of the interaction with the opponent. Kokyuu-hou: There are two ways of breathing. One is chest breathing by the motion of the ribs and the intercostal muscles and the other is abdominal breathing by the elasticity of the diaphragm. One type of abdominal breathing is tanden-kokyuu in which one exhales and expands the abdomen and then maintains this state with exhaling. This tanden-kokyuu breathing is considered very important in kendo and iaido. In Iaido, as a general rule, you begin to move on the third breaths inhalation. It is desirable to complete each technique as you finish a breath. Breathe silently, without raising your shoulders, so as not to alert your opponent. Dont wait too long between techniques, but dont go too

fast either. For beginners, this is difficult, Continued practice using the 3 breath timing will lead to improvement. Mittsu-no-sen: The three sen. In kendo it is of paramount importance to suppress the opponents move at the moment it begins. It may be said that the competition to take sen decides the match. There are said to be thee sen (mittsu-no-sen) in sen. In the book titled Kendo written by Sasaburo Takano, the mittsu-no-sen are explained as sen-sen-no-sen, sen and gono-sen. These three can be summarized as follows: Sen-sen-no-sen: When facing an opponent in a match, having the keen insight to quickly recognize the opponents start, and then attack immediately, thus forestalling the opponents move. This act of attacking faster than the opponents sen is the most important in kendo. Also called kakari-no-sen.

Sen: When the opponent sees a suki (weakness/opening) and initiates an attack, winning by striking in turn before the opponents strike is successful. Also called tai-no-sen.

Go-no-sen: When the opponent sees a suki and initiates an attack, winning by first striking down the opponents sword or parrying, then attacking strongly when the opponent has become discouraged. Also called tai-no-sen. Fudou-shin: A state of mind which is not moved or distracted by anything; a flexible state of mind able to respond to various changing situations. Five All Japan Kendo Federation kata use the technique of thrusting (tsuki). They are: 4. Tsuka ate: thrust (blade is horizontal, edge faces away from your chest) to the rear opponents sui getsu/ mizu ochi/ solar plexus. 6. Morote tsuki: thrust (blade is vertical, edge faces down) to the front opponents sui getsu/ mizu ochi/ solar plexus. 8. Gan men ate: thrust (blade tilts upward from horizontal, edge faces to your right) to the rear opponents sui getsu/ mizu ochi/ solar plexus. 9. Soete tsuki: thrust (blade is vertical, edge down) to the (single, on the left side) opponents abdomen at about waist level. 10. Shihou giri: thrust (blade tilts slightly downward from horizontal, edge faces away from your chest) to the second (to the left rear) opponents sui getsu/ mizu ochi/ solar plexus. Reihou: Reigi sahou is very important. Budo begins and ends in reihou. Reihou is the form we use to express respectfor our teachers, our dojo, for our fellow students, and for our own practice. Shu-ha-ri: A teaching which explains the levels of training in kendo. Shu is

the level where one obeys the principles of ones master and learns them solidly. Ha is the level where one adds ones own ideas to what one learned in the previous level and develops ones technique. Ri is the level where one rises above what one learned in the previous two levels, further develops ones technique and establishes a new personal style. Ma: The space of distance between two objects, events or times. An important and distinctive concept focusing awareness on time and space; the term which expresses this concept. In kendo, ma more or less refers to temporal distance, and ma-ai is used in contrast when referring to spatial distance. The term ma-zumori refers to the proper creation and measurement of ma in time and space. The act of missing the proper distance or a chance to attach is call ma-hazure, while the act of intentionally avoiding the opponents attacking distance or chance is called ma-hazushi. Ma-ai: The spatial distance between ones self and the opponent. The gap between two opponents. The establishment of ma-ai through the relationship with the opponent is a subtle and important matter.

Chika-ma: Generally called chikai-ma-ai (closer distance). A smaller distance than issoku-no-ma-ai. At this distance ones strike can easily reach the opponent, but the same holds for the opponents strike.

Issoku-itto-no-ma-ai: This is the distance which enables a player to strike the opponent by taking one step forward and to evade the opponent by taking one step backward. The fundamental spatial distance in kendo.

Tou-ma: Generally referred to as tou-ma-ai. A distance which is farther than issoku-ittou-no-maiai. A distance from which the opponents strike cannot reach you, and, at the same time, your strike cannot reach the opponent.

Puntos tcnicos del Iaido

En la prctica de los KATA siempre deben existir los elementos que se describen a continuacin.

NUKI TSUKE: Desenvainar, el primer corte. KIRI OROSHI / KIRI TSUKE: Corte definitivo FURI KABUTTE: Acto de elevar el sable por sobre la cabeza , previo al Kiri Oroshi CHIBURI: Acto de limpiar la hoja manchada con sangre ( utilizado en MAE)

YOKO CHIBURI: Acto de limpiar la hoja horizontalmente ( utilizado en GAN MEN ATTE) GYAKU CHIBURI: Acto de limpiar la hoja en forma oblicua (utilizado en UKE NAGASHI) ZANSHIN: Acto de mantener la concentracin hasta el ltimo momento an despus del corte SEME: Acto de penetracin ofensiva NOUTO: Acto de envainar SAYA BIKI / HIKI TE: Acto de tirar la vaina del sable hacia atrs al mismo tiempo que se desenvaina hacia delante, formando un verdadero crculo inyo(yin-yang) de fuerzas. KOKYU: Respiracin KOKORO: Corazn- Espritu IAI GOSHI: Acto de colocar correctamente la cintura en iai do METSUKE: Mirada CUESTIONARIO EXAMEN TERICO DE IAIDO Clique aqui [ Cuestionario para Examen Terico de Iaido ] para hacer el download del archivo. 1.- Diserte respecto a METSUKE. Es el posicionamiento de los ojos. El acto de poner atencin a todo el cuerpo del oponente mientras se mira a sus ojos. En Iaido es importante mantener el METSUKE en el oponente todo el tiempo. 2.- Qu es ZANSHIN? Es la postura y estado mental en el cual incluso antes de ejecutar un ataque uno esta listo y alerta para responder instantneamente a cualquier contraataque por parte del oponente. Zanshin es el estado en el cual despus de un ataque con todo y sin ninguna duda, uno enfrenta al oponente con todo el espritu y con la habilidad de responder en forma natural. 3.- Entregue una lista con los nombres de los 12 Katas de Setei Iai. 1. MAE 7. SANPO GIRI 2. UESHIRO 8. GANMEN ATE 3. UKE NAGASHI 9. SOETE TSUKI 4. TSUKA ATE 10. SHIHOU GIRI 5. KESA GIRI 11. SOU GIRI 6. MOROTE TSUKI 12. NUKI UCHI 4.- Defina qu es MONOUCHI y describa su funcin. Es la parte de la espada que lleva la mayor fuerza en el contacto al momento del ataque. Esta parte empieza en el kissaki y se extiende aproximadamente entre 6 y 8 pulgadas hacia la parte de atrs. 5.- Qu es JO-HA-KYU? Es la aceleracin continua que se aplica en la ejecucin de la mayora de las tcnicas de desenvaine de la espada. Cada movimiento en los kata comienza lentamente, y gradualmente empieza a subir de velocidad hasta que se obtiene la velocidad mxima. Este incremento de velocidad produce una tcnica clara y bien ejecutada. La primera tcnica en el primer kata (nukitsuke en mae) es un buen ejemplo del uso de JO-HA-KYU.

6.- Cul es el objetivo de CHIBURI? El propsito del Chiburi es el de limpiar la hoja de cualquier cosa que haya quedado en ella despus de un corte. Tambin tiene un significado espiritual en el que uno limpia su alma. 7.- Dibuje una espada e indique con el nmero correspondiente las partes citadas a continuacin: 1) habaki; 2) kissaki; 3) tsuba; 4) tsuka; 5) mune (mine); 6) monouchi; 7) tsukagashira; 8 ) shinogui; 9) yakiba (hamon); 10) sori.

8.- Explique qu es KI- KEN- TAI- ITCHI y d ejemplos de su aplicacin en las Katas de Iai. Es un trmino que expresa un elemento importante en el movimiento para defender o atacar. Se utiliza principalmente cuando se ensean movimientos de ataque: KI es el espritu, KEN se refiere a la forma de utilizar la espada, y TAI se refiere al movimiento y postura del cuerpo. Cuando estos tres elementos son

armnicos y funcionan juntos en el momento adecuado, se crean las condiciones para lograr un ataque vlido. Tambin llamado Shin-Ki-Ryoku Itchi.

9.- Qu es lo que Usted espera obtener de la prctica de Iai? Cada quien tiene su propia respuesta aqu 10.- Qu es SUKI y cmo puede ser evitado en la prctica de Iai? Es una debilidad a nivel mental producida por sorpresa, duda o falta de confianza. Tambin es una debilidad en la accin que uno realice o en la postura, que se puede producir por la prdida de control del centro. Cuando uno sufre de SUKI le provee al rival la oportunidad para que ste pueda atacar. 11.- Qu es KIRIOROSHI? Describa su uso en el Iai. Significa bsicamente cortar hacia abajo. Usualmente es un corte vertical desde sobre la cabeza y realizado con ambas manos mayormente, aunque no todos los katas de la Federacin Japonesa de kendo utilizan dicho tipo de corte. KIRIOROSHI es contrastado con el Nukitsuke, el corte hecho en un movimiento continuo, que se ejecuta al desenvainar la espada. El Kirioroshi requiere que la espada ya haya sido desenvainada. 12.- Describa las cinco posiciones de KAMAE. GEDAN NO KAMAE: La postura en la cual la punta de la espada es bajada desde Chudan no kamae, hasta el nivel de las rodillas del oponente. Esta postura es considerada una postura defensiva. CHUDAN NO KAMAE: La postura en que el pie derecho va adelante, la espada es tomada con ambas manos, la tsuka esta frente al Tanden, y la espada esta apuntando de forma que su extensin apunte hacia la garganta del oponente. Esta postura es util tanto para defensa como para ataque. A veces se le llama tambien Seigan no kamae. WAKI-GAMAE: Postura en la que el pie derecho esta atrs, el cuerpo esta en hidari hanmi (la parte izquierda esta adelante y la mitad del cuerpo rotada al costado) y la espada se sostiene bajo la axila derecha, con la punta de la espada apuntando hacia atrs y el filo de la misma mirando diagonalmente hacia abajo y a la derecha. El nivel de la punta es un poco mas bajo que en Gedan no kamae. JODAN NO KAMAE: En esta postura la espada es sostenida sobre la cabeza. Es la ms ofensiva de las posturas. La postura en la cual la espada es tomada con ambas manos sobre la cabeza y con el pie izquierdo adelante se llama morote hidari jodan no kamae. Si el pie derecho es el que esta adelante se llama Morote migi jodan no kamae. Hay versiones en que la espada se toma solo con una mano en cualquiera de las ya mencionadas posturas. HASSO NO KAMAE: La postura en la que la espada es tomada con ambas manos cerca del rostro. La mano izquierda esta en la lnea central del cuerpo, y la mano derecha esta alrededor de un puo de distancia de la boca. El kissaki esta apuntando hacia arriba y atrs, y finalmente el filo esta apuntando hacia el oponente. El pie izquierdo esta adelante del cuerpo y el cuerpo esta en hidari Hanmi. Las preguntas 1 a 3 y 9 para 1 Dan; 4 a 7 y 9 para 2 Dan y 8 a 12 para 3 Dan.

IAIDO

Iaido Judging Points:

In this listing, the numbered points are more basic, and more important, than the lettered points. (For #11 and 12, only numbered points are given.) MAE a. Is the player imagining a front opponent as s/he sits down? b. Is the nukitsuke executed at the same time the sword leaves the saya? 1. Is sufficient sayabiki shown during nukitsuke? c. Are the positions of the kissaki, right hand, elbow and shoulder correct? 2. Is the furikaburi made with a backwards thrusting movement past the left ear? 3. Does the kissaki drop below the horizontal when the sword is above the head? d. Does the left knee pass the right heel as it is slid forward? 4. Is the cut executed without pause? 5. Does the cut finish a little lower than horizontal? e. When initiating the chiburui action, is the right palm turned upward and is the cutting edge of the sword pointing to the left? 6. Is the posture correct during chiburi? 7. Is the noto executed correctly? UESHIRO a. Is the player imagining a back opponent as s/he sits down? b. Is the head turning with the body? 1. Is the player drawing the sword as s/he is turning and is the left foot being placed a little to the left on the nukitsuke? c. Are the positions of the kissaki, right hand, elbow and shoulder correct? 2. Is the player cutting correctly to the temple of the opponent? d. Does the right knee pass the left heel as is it slid forward? e. When initiating the chuburi action, is the right palm turned upwards and is the cutting edge of the sword pointing to the left? UKENAGASHI a. Is the player imagining a left opponent as s/he sits down? b. Is the ukenagashi movement expressed clearly?

1. Is the upper half of the body covered by the sword in the ukenagashi position? 2. Is the left foot drawn back behind the right and is the cut diagonal? c. Are the ukenagashi action and the cut executed as one continuous movement? d. Is the right hand above the shoulder as the cut begins? e. Is the kissaki upright over the shoulder as the cut begins? 3. Is the left fist in front of the navel and is the kissaki slightly down on completion of the cut? TSUKAATE a. Is the player imagining the opponents as s/he sits down? 1. Is the player aiming the tsuka correctly at the solar plexus of the opponent? b. Is the first opponent still being pressured by the tsukagashira as the sayabiki is performed? c. Is the ridge of the sword near the monouchi touching the left chest and is the edge turned outward? 2. On the thrust to the rear, is the left hand holding the saya turned inward in front of the navel and is the right elbow extended on making the thrust? d. When turning again to the front, is the head turning before the body? 3. As the body is again turned to the front, is there a pulling movement as the sword is raised above the head and is the cut itself vertical? e. When sitting, is zanshin shown as the left knee is placed on the floor to the sonkyo position? KESA GIRI 1. Is the right hand above the shoulder as the sword is turned on the initial cut? a. Is the kissaki pointing upwards and is the blade vertical as the initial cut is completed? b. Does the monouchi reach out of the body side as the downward cut is completed? 2. Is the left hand gripping the saya as the left foot is moved back on the chiburi action? MOROTE TSUKI 1. On the initial diagonal cut, does the cut stop at chin height? a. Does the height of the kissaki in chudan correctly express the intent to thrust at the solar plexus? b. Is the thrust executed with the correct body movement? 2. Is the rear foot tsugiashi as the chudan kamae is adopted and is the thrust made accurately to the opponent's solar plexus? 3. As the sword is drawn out, is there a feeling of ukenagashi as the sword is raised above the head? c. Is the foot on which the body turns pointing forward, and is the heel of the rear foot lifted a little off the floor? SANPOGIRI a. Is the opponent in front intimidated with the spirit? b. Is the right foot placed a little forward of the left pivoting foot on the initial cut?

1. When making the first cut to the right, does the cut stop at chin height? c. Is the player conscious of the opponent in front as s/he turns to the left? 2. After turning to the opponent on the left, is the vertical cut made without pausing? 3. Is the sword raised above the head with the feeling of ukenagashi before the final cut? d. Is the head turning towards the opponent before the rest of the body? e. When making the second cut (to the left) is there sufficient vigor on the left foot? f. Is the head turning towards the front opponent before the rest of the body? g. Is sufficient concentration shown after noto? GANMEN-ATE 1. Is the tsukagashira aimed correctly at the point between the eyes? a. Is there a feeling of pushing with the tsukagashira against the opponent in front as the saya is pulled back to make the turn to the rear? 2. Is the right fist placed correctly on the top of the ilium when facing the opponent to the rear? 3. In this position, does the body turn round perfectly, and is the rear heel held a little off the floor? 4. Is the thrust made with the feet pointing forwards? b. Is the right fist a little lower than the kissaki and in line with the right hip when making the thrust, and is sufficient sayabiki shown during the thrust? c. Is the sword pulled out and raised above the head in an ukenagashi movement? d. Is sufficient concentration shown after noto? SOETETSUKI 1. When making the initial diagonal cut, is the right fist at navel height and is the kissaki slightly higher than the fist? a. Does the monouchi reach out of the body side on the initial cut? 2. Is the blade gripped between the thumb and index finger of the left hand at around the center point, and is the right fist on the right hip? b. Is the kissaki pointing at the abdomen of the opponent when making preparation for the thrust? 3. When making the thrust, does the right fist stop in front of the navel? 4. When showing zanshin, is the right arm straight, and is the right fist no higher than the nipple? c. Does the kissaki remain still when starting the chiburi? d. Is sufficient concentration shown after noto? SHIHOGIRI 1. Is the tsukaate made strongly and with the side of the tsuka? a. Is there the feeling of pushing the first opponent with the tsukagashira as the sayabiki is made on the initial turn? 2. When doing the sayabiki, is the ridge of the sword near the monouchi touching the left chest and is the right hand held away from the body? b. Is the thrust to the solar plexus made without pause? 3. When making the thrust, is the saya pulled in front of the navel and are the left and right hands moved towards each other?

c. Is there the feeling of pulling the sword out as the sword is raised above the head? 4. Is the sword raised above the head for the final cut as part of the wakigamae action and not after wakigamae? d. Is there the feeling of uke nagashi as the sword is raised above the head when pivoting on the left foot to turn to the right rear? Is the cut made on the right foot? e. Is sufficient concentration shown after noto? SOUGIRI 1. As the sword is begin drawn, does it pass through the overhead block (uke nagashi) as it is swung up? 2. For each cut, is the rear foot moved forward in okuri ashi? 3. When cutting the lower abdomen, is the line of cutting horizontal and is the edge of the sword also horizontal? NUKI UCHI 1. When drawing the sword upward, is the left foot pulled back enough? 2. As the sword is drawn upward, is the right hand kept on the center line?

Katas Iaido
Estos dibujos fueron realizados por R. Habersetzer en 1972 a partir de una grabacin de una manifestacin de iai por Hiroo Mochizuki en Francia. Fueron publicadas en el Budo Magazine, enero 1972. Segn el libro, estos son: ipponme: kusanagi no ken nihonme: nuki tsuke no ken sanbonme: nuki uchi no ken yokonme: uken gohonme: saken roponme: happo ken ? (one missing?) nanahonme: yuki ai gyaku nuki no tachi kyuhonme: zengo chidori no tachi juponme: ? Algunas investigaciones sobre el currculo TSKSR da una lista algo diferente: Iai goshi 1. I-kajo Kusanagi no ken 2. Ni-kajo Nuke tsuke no ken 3. San-kajo Nuki uchi no ken 4. Yon-kajo U-ken 5. Go-kajo Sa-ken 6. Rok-kajo Happo Ken Tachi iai 1. I-kajo Yukiai gyaku nuki no tachi

2. Ni-kajo Zengo chidori no tachi 3. San-kajo Yukia migi chidori no tachi 4. Yon-kajo Gyaku no tachi 5. Go-kajo Nuki uchi no tachi Gokui no iai 1. I-kajo Kumo giri ken 2. Ni-kajo Hangetsu no ken 3. San-kajo Mui ichi no ken 4. Yon-kajo Nu ni no ken 5. Go-kajo Seigan no tachi Algunas investigaciones sobre el currculo TSKSR da una lista algo diferente: el annimo juponme, entonces probablemente lo es Yukia chidori migi no tachi, aunque no veo mucho migi chidori en ello, yo no estara muy sorprendido si se tratara de otro , tal vez Nuki Uchi-tachi no.

http://www.iaido.org/iaido.html

What is iaido?
Iaido is the art of reacting to a surprise attack by counter attacking with a sword. An in-depth reading of the Japanese characters for iaido is: I = being, AI = harmony, DO = way . "The way of harmonising oneself in action. The Iaidoka (a practitioner of iaido) wields a sword: not to control the opponent, but to control himself. Iaido is mostly performed solo as a series of Waza. The Iaidoka executes various techniques against single or multiple imaginary opponents. Each Waza begins and ends with the sword sheathed. In addition to sword technique, practitioners require imagination and concentration in order to maintain the feeling of a real fight and to keep the Kata fresh. In order to properly perform the waza, Iaidoka also learn posture and movement, grip, and swing. Iaido is never practised in a free-sparring manner. Iaidoka practice to prepare for a surprise attack, where an immediate, efficient solution to the problem of aggression is necessary. Therefore, the technique is highly refined. Every unnecessary movement is cut away. Technique is simple and direct. The training method is aimed towards development of the practitioners every mental and physical resources. Iaido is an authentic martial art that proved its martial values in a time of constant battle and warfare, that was preserved and passed on directly from teacher to student over generations in an unbroken lineage for 450 years. Iaidoka developed the mind towards an ultimately peaceful, harmonious, and active state ready to react and deal with any life situation.

Reishiki - the external expression of respect

In an Ia-Do dojo you will practice with a wooden sword (Bokken), or a training sword (Iaito), or even a real Japanese sword with a cutting blade (Shinken). There will be numerous people practicing, all in one room. Following the rules of etiquette ensures that no one gets injured. Also, following the rules of etiquette enhances practice in other ways. The teacher can more quickly determine skill levels when students line up in the order of rank. The ceremonial bowing serves as a concentration and focusing point; when bowing, practitioners shows respect for others. Maintaining observant silence allows students to focus their attention and practice reading body language. Cleaning the dojo after practice leaves it ready for the next group.

Dojo Etiquette: Be on time. Do not make the class wait. Finger and toe nails must be cut short and all jewelry removed. Remove shoes before entering. A sword should be untied and held in the right hand. Step directly in to the dojo. Do not block doorway. Stop and bow to Shinzen. Avoid drawing or pointing a sword toward Shinzen. Before practice, be sure your sword is in proper shape. Check the Mekugi. Place it at Shimoza (opposite side of room from shinzen) with the Ha to the wall. Never touch a sword without the owner's permission. Do not knock or step over any sword.

The floor must be cleared and swept. Leave the Dojo ready for those who practice after you. Eating, drinking, and smoking are not allowed on the Dojo floor. When on the practice floor do not have private conversations other than iaido related subjects. Tell the teacher of any injuries or problems, or of having to leave early. Do not leave without permission. Do not speak when teacher is speaking. Thank the teacher. Show respect to other iaidoka (students) Do not draw directly towards others. Do not do anything that may distract or injure a fellow practitioner or spectator.

Always remember reishiki comes from the heart and without sincere respect it will be only an empty gestures.

Tameshigiri
Tameshigiri is the action of using a sword to cut objects (tamesu in Japanese means "try out", while giri means "cut"). Iaido is the only martial art where one practices with a sword in order to "polish" ones spirit/heart (kokoro). Tameshigiri is forbidden by the Zen Nihon Iaido Renmei, the only specialist iaido organization in Japan. There are several reasons for not doing tameshigiri. Firstly, one has to consider that the Japanese sword is not a tool, irrespective of whether the blade is live or not. In Japan, the Japanese sword has held a very important, and sometimes mystical, position in society. It is still one of the 3 treasures of the Imperial family, along with the mirror and orb. Thus, a sword is thought to have sacred properties. Taking this into consideration, the act of using a sword to cut something is akin to someone using a Catholic cross to bash a tree. Furthermore, swordsmiths put their heart and soul into making Japanese swords great works of art. Therefore, using a sword to cut something is a most disrespectful act towards the swordsmith and the sword, which samurai thought of as their soul. (In fact, etiquette towards the sword requires one to treat it with the greatest respect at all times; for example, one shouldnt step over it, or touch the blade with ones hands.)

--- Esaka Sensei

Some thoughts about tameshigiri: Sometimes you can find on the tang (nagako) of old Japanese swords an inscription listing what kind of cuts were performed with this blade during tameshigiri. This test-cutting with a new blade was done to test the blade. In order not to ruin the blade by ignorance a person able to wield a sword efficiently would perform the cuts. However, it was the blade that was tested, not the swordsman. The inscription on the tang describing tameshigiri says nothing else than, this is a sword which cuts well. It is nothing more then a quality sign, like made in Japan or special edition. It has nothing to do with the classical training of a Japanese swordsman. Techniques used in tameshigiri would be very useful if you ever got attacked by a non-moving bamboo stick, or a straw mat. In other words, techniques used for tameshigiri would not be useful for combat against a living, moving opponent. If you would like to adapt tameshigiri to combat training, it would be necessary to change the target to a moving one. Maybe a lemon tossed at you would work, but then a lemon is a fruit and is very small, so a chicken then? But a chicken is not big enough, so perhaps a dead pig swinging on a rope? But a dead pig does not move, so maybe a living one? But a living animal does not fight back This line of th ought leads to a violent and despicable end: tameshigiri is bad for personal development. A Japanese sword is made to cut. Proving that you can cut with a sword is like proving that water is wet. If you feel like you have to prove something, you are already displaying insecurity and doubt about your ability. If you doubt yourself, then you will not be able to react immediately. Tameshigiri undermines trust in yourself. If you do not trust in yourself, you will try to prove your ability to yourself and others. If you try to show others that you are better than them, you will create conflict. Tameshigiri creates an aggressive mind which is not in harmony with its environment. Most Japanese swords which still exist today do so because they were never used. Many are 400 or more years old. Every time a sword is used, it must be repolished. Every time a sword is re-polished, it loses a bit of its substance: eventually, the sword will be polished to such a degree that it loses its ability to cut, its characteristic hamon, and so much of its material, that it is ruined. Todays generations are the custodians of the existing blades from long ago; a part of that history is diminished every time a sword is used. Performing tameshigiri with an old blade destroys an irretrievable part of history. These are my personal thoughts about tameshigiri. I do not intend disrespect towards others; however, I deeply believe that there is nothing of value in the performance of tameshigiri. On the contrary, I believe it is harmful for the developing of good technique, a mature and peaceful spirit, and respect for others and ourselves. This is why I do not perform tameshigiri. --- Andrej H. Diamantstein

Terms
Printer friendly pdf version.

Japanese terms:
Domo arigato gozaimashita - Thank you very much (said at the end of class to each other) Dozo - Please go ahead Sumimasen - Excuse me (to attract attention i.e. while trying to get through a crowd of people) Hajime - Start Yame/Owari - Stop Hai - Yes

Ranks and titles:

Soke - Head Master of a style Sensei - Instructor/Teacher Sempai - Senior student (everyone who has started iaido before you) Kohai - Junior student (everyone who has started iaido after you) Dan - Degree (Black belt), from 1 to 10 shodan, nidan, sandan, yondan, godan, rokudan, nanadan, hachidan, kudan, judan Yuudansha - Members with dan grades Iaidoka - Someone who practices iaido

Events:
Embu - Demonstration Keiko - Practice Taikai - An event with competition Shinsa - Dan test

Bowing:
Shinzen ni rei - Bow to shrine. (said by sempai) Sensei ni rei - Bow to teacher(s) Mokuso - Close the eyes, meditation. (said by sensei) To Rei - Bow to sword -Naorei - as you were

Types of cuts:
Kesa giri - diagonal downward cut Katate kesagiri one-handed diagonal cut Morote kesagiri two-handed diagonal cut

Kirioroshi - downward cutting motion straight down Nukitsuke - drawing the sword from its scabbard Furi kaburi - raising the sword above the head Sune gakoi - block to protect the leg (shin) Tsuki - thrust Yoko ichi monji - horizontal cut Tameshigiri - Test cutting (not done in Eishin Ryu iaido)

Iaido terms:
Seiza - kneeling/sitting Batto - standing Metsuke - Gaze Sayabiki - Movement of scabbard Chiburi - Shaking off of blood, cleaning the blade O-chiburi - Large or circular chiburi Yoko chiburi - Horizontal chiburi, move to the side Noto - Replacing the blade in the saya Hayaosame faster version of regular noto; performed during advanced (oku) waza Shimeru - Wringing. Twisting the hands inward over the handle at then end of the cut Tai sabaki - Body movement Ashi sabaki - Foot or leg movement Hara - Abdomen Kiai - Shout, yell Ma - Distance, space, interval (in time) Zanshin - Awareness, watchfulness, "lingering heart"

Waza - Technique Kata - Structured two person practice; form or pattern Shidachi - Completing sword. Finishes partner practice Uchidachi - Entering sword. "Attacker" in partner practice

Sword names:
Bokken/Bokuto - Wooden katana Iaito - Practice sword for Iaido, not sharp or designed for tameshigiri Shinken/Honmi - Sharp or "live" blade Katana - Japanese sword with blade mounted edge up Tachi - Old style sword, with blade mounted edge down

Clothing:
Iai-gi practice clothing for upper body (not referred to just gi in Japan, which means to wear)

Monstuki clothing for upper body that has long sleeves and a mon (family crest) on it Juban undergarment worn below montsuki Hakama A traditional type of pleated pants

Waza in Eishin-Ryu Iaido

Seated forms

Seiza No Bu Mae Migi Hidari Ushiro Yaegaki Ukenagashi Kaishaku Tsukekomi Tsukikage Oikaze Nukiuchi

Tate Hiza No Bu Yokogumo Toraissoku Inazuma Ukigumo Oroshi Iwanami Urokogaeshi Namigaeshi Takiotoshi Makko

Iwaza No Bu Kasumi Sunegakoi Tozume Towaki Shihogiri Tanashita Ryozume Torabashiri

Standing forms

Batto Ho Junto sono ichi Junto sono ni Tsuigekito Shato Shihoto sono ichi Shihoto sono ni Zantotsuto Oku No Kata Zenteki gyakuto Tatekito Koteki gyakuto

Oku Iai Yukitsure Tsuredachi So Makuri So Dome Shinobu Yukichigai Sodesuri Gaeshi Moniri Kabezoe Ukenagashi Itomagoi sono ichi Itomagoi sono ni

Bangai No Bu Hayanami Raiden Jinrai Akumabarai

Koteki nukiuchi

Itomagoi sono san

Z.N.I.R Toho

Kata - Two person forms

Zen Nippon Iaido Toho* Maegiri (Eishin ry) Zengogiri (Mugai ry) Kiriage (Shind Munen ry) Shihgiri (Sui- ry) Kissakigaeshi (Hki ry)

Tachiuchi No Kurai Deai Kobushidori Zetsumyoken Dokumyoken Tsubadome Ukenagashi Makko

For a printer friendly version (pdf) click here. Visit the media page to view some of these waza. * These waza represent the 5 major styles of Iaido in the Zen Nippon Iaid Renmei