THE IAIDO NEWSLETTER

Volume 3 number 1 absolute #10 JAN 1991

Send your stories, comments or announcements to Kim Taylor, Dept. of Animal and Poultry Science, U. of Guelph, Ontario Canada N1G 2W1. (519)824-4120 ext 6225 FAX (519)836-9873

PHOTOCOPY AND SHARE THIS NEWSLETTER!

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SEMINARS AND ANNOUNCEMENTS

NEW FORMAT FOR IAIDO NEWSLETTER

Mr. Bill Mears of the Yugenkan is the big winner of the "design a less geeky logo" contest. He has already received his prize of a hearty handshake and a well done Jack! The surprise prize was a burger with the works at the world famous "Gryphs". (A fate that perhaps Don and Mark can sympathize with.) What can I say, we got no budget.

SEI DO KAI SUMMER SEMINAR

See the last page for details of the Sei Do Kai Summer Seminar with Matsuo Haruna Sensei. The Gryphon, symbol of the University of Guelph was drawn by my Mother so no comments!

Send all information on seminars etc. to the editor as soon as possible. It's incentive to publish the next issue.

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QUESTIONS AND COMMENTS

If you have any questions about Iaido or the sword in general, send them along and we will try to find an answer for you. Readers are also urged to answer the questions presented. Even if you think that you are "wrong" you may cause someone else to remember a more correct answer.

Don Harvey Sensei brings up a point about ZNKR Seitei Gata number 5, Kesa Giri. In England there is some discussion about the initial draw.

The Muso Shinden teaching (Ishido Sensei in England) advocates a turn of the saya 180 degrees as soon as the hands come onto the sword. The draw is then done from this position. This agrees with the teachings that we have received in Canada from such Muso Shinden instructors as Haga Sensei who suggests sliding the thumb further down the ura side of the saya to allow the turn without undue stress on the wrist.

The Muso Jikiden Eishin Ryu teaching (Haruna Sensei in England) is to turn the saya as the blade is being drawn to a point that is past 90 degrees but not quite 180 degrees. This does not require the left hand to be in a different position on the saya.

This may seem a small point to some readers and it may appear to be a matter of timing rather than a genuine difference in technique. I can only say that I have tried both and I find a vast difference in the methods both from a philosophic (strategic?) point of view and from the physical viewpoint of getting a good kiri age at the correct angle. The matter is being discussed in the British Kendo News and I will convey any comments here along with your own.

A final note on the Seitei Gata as it is practiced in England, this is one of the FEW differences between the two styles, another being the allowed difference in the noto (presumably for safety reasons). Seitei is not a hyphanated school, (Shinden Ryu- Seitei or Eishin Ryu-Seitei) it is a school on its own and must be practiced as such.

-lets hear your views and learnings ..Kim.

Editorial point, some of you may be reluctant to speak out in public on these points, preferring to wait until you have learned more. Although this is fine from a humility point of view, please don't hold back from a fear of being wrong since this is not good for your ego (it protects it). We are all students and as such "understand misunderstanding" and we will all help each other advance I hope. Listen, if I can stick my pride out here every issue for you to laugh at, you can at least do the same.

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Swordsmanship

As you eat your dinner

a fly comes to your plate

you brush it away

Do you remember?

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CLUB O' THE MONTH

by John Ray

The club o' the month is not actually a club but an individual. John Ray is an Iaidoist who got in touch with us through the J.S.S. in New York who sent him a newsletter (thanx guys). Since then Ray Sensei has taken time out from a very busy study workload to answer many questions about Iaido for us. Ray Sensei has written a short introduction to himself and his ryu-ha which is presented here. He has just left for Bolivia on a teaching internship for 6 weeks but will be back in March. If anyone would like to write to him his address is in the contact list and I am sure he would enjoy hearing from other Iaidoists. Here then is Sensei John Ray.

I am a swordsman of the Muso Jikiden Eishin Ryu school of Iaido. I began my training under Hachi dan, Yamashita, head of the Chiba group, in 1981. Previous to that I had trained, and taught, Okinawan Uechi Ryu Karate, and Takeda Aikido. I had lived in Japan for three years prior to beginning Iai.

Yamashita Sensei had three active dojos, and one of his top ranking students ran another. Martial arts training being one of the reasons for my being in Japan, I practiced at all four during the week. The Chiba group is one of the largest in the Eishin Ryu style. Total membership is around fifty swordsmen, at various levels of skill and activity. Training sessions are usually two hours, but the main practice of the week, Sunday, is for three hours. The Sunday practice would have between ten and twenty members.

Eishin Ryu traditionally wears a dark hakama, but the montsuki is white in the summer and dark in the winter. For tournament play, or six dan and above testing, the "mon" or family crest must be on the shirt. I sued my own family's crest, from Europe; quite different from the usual circular Japanese mon.

There was little talking in the practice. Sensei would announce the name of the technique, then demonstrate it. The group would then perform the technique twice. Sensei would correct any gross errors, but we would generally get the subtleties from senior students, or just figure them out ourselves. As there is no artificial heating or cooling, the temperature was always a factor in practice. In summer we had to be very careful that perspiration didn't loosen our grip on the sword, or cause us to slip. In winter, we were allowed to wear tabi, a kind of thick sock, to keep warm.

Muso Jikiden Eishin Ryu, founded by Hayashizaki Jinsuke Minamoto Shigenobu, around 450 years ago, is headed by the 21st Soke, Fukui Torao. Tremendously skilled, and kind, he takes an active interest in the internationalization of Iai.

There are five clusters of techniques in Eishin Ryu: basic Seiza, basic standing, called Batto Ho, basic Iai Hiza, advanced Iai Hiza, called Oku Iai Iwaza no Bu, and advanced standing, called Tachi Waza Oku Iai. Each cluster is taught to members only on reaching certain dan ranks.

Eishin Ryu does not promote tamashigiri, or practice cutting. Soke Fukui told me that in Iaido there is only one opponent, only one point to focus ones strength at, and that is oneself. This is not a way of war. Does this mean that we shouldn't use a live sword? No. We were encouraged to obtain a shinto as soon as possible. There are several levels of reasons for using a sharpened blade. Many people did take the edge off of the fukura, or blade at the tip when using a live sword.

I am also a member of the Zen Nihon Iaido Renmei, or All Japan Iaido Federation, an organization of thirteen ryuha, or schools, of traditional Iaido. Soke Fukui is the present head of this organization. For six dan and above, members of the associated ryuha must test, both in active demonstration of technique and on a written test of knowledge. There is a cluster of five techniques taken from five of the participating ryuha that are shared by all of the members. This is called the Iaido Toho, and is used in ZNIR tournaments and tests. A leading member of the ZNIR is Sensei Joseph Cummins, eight dan, Jun Hanshi, an American who has been practicing Iaido in Japan for many years, and served as an inspiration to me.

Finally, I would like to touch on what is considered the most important concept of Eishin Ryu technique...That is the idea of "Saya no Uchi", inside the sheath. This is the essence of Iaido, and implies that with "overpowering power in the mine, you defeat your opponent at the instant of drawing your sword." This is a quote from the answer to the ZNIR test questions. The concentration, speed, power and precision of the draw is what we as Iaido swordsmen work toward.

John Ray Sensei is a 6th dan who took his last test in Kyoto. One of his judges was Yamaguchi Sensei who may be familiar to some North American Iaidoists.

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THE NAMES OF MUSO JIKIDEN EISHIN RYU

By Kim Taylor

Here are the names of the techniques of the Muso Jikiden Eishin Ryu, there are some confusions with Muso Shinden Ryu as to the commonly used names and this list is given to clear this up. Although the names and usages are from Ohmi Sensei, any mistakes are the fault of your editor who also added the extra information. These are the usages as per Oe Masamichi who organized the school into its present form.

Muso Jikiden Eishin Ryu

Seiza no Bu or Omori Ryu

(not Shoden)

1-11

1. Mae: front

2. Migi: right

3. Hidari: left

4. Ushiro: rear

5. Yaegaki: many defences

6. Uke Nagashi: deflect

7. Kaishaku

8. Tsuke Komi: draw in / create opening

9. Tsuki Kage: moon shadow

10. Oi Kaze: chasing the wind

11. Nuki Uchi: raw / strike

Although Muso Jikiden Eishin Ryu does not include the technique known as Inyo Shintai in the Muso Shinden Ryu; the technique does exist in the ryu, as evidenced by an old video of Yamamoto Harusuke (student of Oe) where he seems to be performing it as a variation of Yaegaki.

Kiza no Bu or Hasagawa Eishin Ryu

(not Chuden)

1-10

1. Yoko Gumo: horizontal clouds

2. Tora no Issoku: tiger's step

3. Ina Zuma: lightning (thunderflash)

4. Uki Gumo: floating clouds

5. Oroshi: wind off the mountain (yama)

6. Iwa Nami: waves on the rocks

7. Uroko Gaeshi: scaling fish

8. Nami Gaeshi: rolling waves

10. Taki Otoshi: waterfall

11. Makko: direct cut, directly in front

Oku Iai

(Not Joden or Okuden)

Zawaza no Bu

1-8

1. Kasumi: mist

2. Sune Gakoi: shin guard

3. To Zume: close to the door

4. To Waki: beside the door

5. Shiho Giri: 4 sided cut

6. Tana Shita: under the veranda

7. Ryo Zume: both sides close

8. Tora Bashiri: tiger's run

Tachi Waza no Bu

(Not Tachi-ai no Bu)

1-10

1. Yuki Zure: walking together

2. Tsure Dachi: walking together

3. So Makuri: many cuts

4. So Dome: many opponents stopped

5. Shinobu: stealthy

6. Yuki Chigai: coming together

7. Sode Suri Gaeshi: pushing aside the sleeves

8. Mon Iri: enter the gate

9. Kabe Zoi: close to the wall

10. Uke Nagashi: deflect

There is also a variation of number 8 called Sode Suri Komi.

Itomagoi no Bu

1, 2, 3

All called Itomagoi: goodbye

These are the core techniques of Muso Jikiden Eishin Ryu. Another technique sometimes encountered is Shiho Barai, sweeping the four sides. Three practice techniques named Haya Nami, Raiden and Jinrai practiced by Oe Masamichi are also practiced in some schools.

The 20th headmaster, Kono Minoru has introduced a set of tachi waza called Batto-ho. These are taught in some schools after Omori Ryu. See article by John Ray Sensei.

Batto Ho

1. Junto

Junto Kaewaza

2. Tsuigeki To: chasing

3. Sya To: diagonal cut

4. Shiho To: four sides

Shiho To Kaewaza

5. Zantotsu To: cut/thrust (Kiri tsuki To)

6. Zenteki To: front opponent

7. Tateki To: many opponents

8. Koteki Gyaku To: front and back reverse

9. Koteki Batto: front and back

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TECHNICAL NOTEBOOK

SEI TEI GATA OF THE JAPAN KENDO FEDERATION

by Don Harvey 5 Dan ZNKR Muso Jikiden Eishin Ryu, Kenseikai, England.

The following is an excerpt from a book being written by the author.

Copyright c Don Harvey all rights reserved. No copying of this material in any form whatsoever, electronic or mechanical, except as part of this newsletter in its normal distribution is permitted without permission in writing from the author.

#2. USHIRO

The entire form should be performed as a single unit. The best way is within a single breath cycle. Every action both physical and 'of the spirit' is done smoothly and continuously. Clear definition between 'hard' and 'soft' actions should be demonstrated. The integrity of individual actions should not be compromised by going too fast. The form should be "gokai"...robust, each cut must be sharp and correctly focused. Correct "ma"...timing and precision must be demonstrated as should "ma-ai" judgement of distance. The form must be "riai" meaningful and convey the correct interpretation.

The performance of the form follows closely the same requirements as for Mae. To turn, place the ball of the left foot in front and across the north-south line almost forming a 'T' shape. The left foot is close to the right. The eyes followed by the head begin to turn to the right. Pivot on the balls of both feet. When the body is facing the rear (south), both feet are flat on the floor. A small slide back with the right foot should align the feet on both sides of the centre line at a foot's width apart. Take the "seiza" posture just as for Mae.

You sense the intent of the opponent at your rear. the breath control and initial movements are identical to Mae. Do not immediately turn your gaze toward the opponent at your rear. To do so would open "suki" to other potential opponents. Begin to draw the sword in the direction you are facing. It is comparatively easy to understand the pushing effect "semeru" of the "tsuka gashira" during the whole of the drawing process particularly at the beginning. The same "semeru" feeling should be focused at the "kojiri"as well.

After a centimeter or two slide the right knee across to your left close to the left knee. Using the muscles in the thighs and buttocks begin to rise up. Spread your feet so that the left foot is just to the left of the centre line but with the right foot pivoting out to nearly 90 degrees to the centre line. The toes are curled under using the same technique as in Mae. The eyes, Followed by the head begin to turn rotating to the left. You do not have to turn flat faced to the opponent at the rear, use your peripheral vision. Do not lean the head forward, keep it upright on your shoulders. The draw meanwhile is continuing smoothly. Using the right hip, slide the right knee in front and close to the left knee. Lift the left knee and the right foot simultaneously. If your weight distribution is correct, particularly in regard to the position of your head, you should now be able to turn easily pivoting on the right knee. A common fault is to turn the head to look at the opponent at the rear by bending the head forward, the head is comparatively heavy and consequently when you come to turn, the body's centre of gravity is out of place to effect a smooth natural rotation.

Do not allow the toes of the right foot to drag on the floor as you pivot. After lifting the toes prior to the pivot they are placed down at the completion of the turn. By doing this, not only do you effect a smooth turn, but in the event that the "hakama" is caught under the toes as they are turned under this action will release it. During the turn the draw of the sword continues. The blade is turned to the horizontal (edge outwards) at the same point as for Mae. A common fault is to draw very flat forgetting to raise the sword slightly with the "saya" (in the left hand) as per the draw in Mae. When the turn is complete and you are now facing the opponent, the "tsuka gashira" is along the centre line angled up towards the opponent's face. The left foot is quite close to the centre line and the right foot at the rear is the normal distance from the centre line. The draw of the sword is coordinated with the turn so that at the completion of the turn you should be at "saya banari" ready to cut. The cut is made as for Mae. As the "monouchi"makes contact with the side of the opponent's head, the left foot slides slightly to the left to the normal distance from the centre line.

The remainder of the form is identical to Mae except that the opposite foot is used.

#3 UKE NAGASHI

The entire form should be performed as a single unit. The best way is within a single breath cycle. Every action both physical and 'of the spirit' is done smoothly and continuously. Clear definition between 'hard' and 'soft' actions should be demonstrated. The integrity of individual actions should not be comprised by going too fast.the form should be "gokai" robust, each cut must be sharp and correctly focused. Correct "ma"...timing and precision must be demonstrated as should "ma- ai" judgement of distance. The form must be "riai" meaningful and convey the correct interpretation.

Begin by breathing normally, standing facing the north with the feet stradling the north-south line at one foot's breadth apart. The left hand lightly grips the top of the "saya" with the thumb on the "tsuba". The left foot moves forward 15-20 cm. and out to the left by the same distance. The heel of the left foot is pushed outward forming an inverted "L" shape. During this action the eyes followed by the head turn to the right (east). The right foot is pulled in line with the left still maintaining the original distance apart. The front of the body is now facing the east. Do "hakama sabiki" and take the "seiza" posture facing the east.

As you kneel do not look at the floor, rather keep your gaze to the east. Once in the kneeling position the north-south line should run through the centre of the body. A common fault is to step out too far to the left so that when in "seiza" the posture is behind the north-south line. Ensure that the positioning of the knees and hands is such that once in the posture no further adjustment is necessary. The knees are one fist's distance apart. The hands rest on the top of the thighs with the thumb slightly tucked into the palm. If the hands were extended down the thigh towards the knee the index forefinger of each hand would be just to the inside edge of each knee. The breath is taken in through the nose with the tongue on the roof of the mouth and the chin slightly pulled in but not tense. The breath is taken into the abdomen rather than the chest. Exhalation is through the mouth. Do not breath in such a way as the cycle can be clearly observed by the opponent. Once in posture begin your breathing cycle. Keep an open gaze (enzan no metsuke).

The opponent is seated in "seiza" stradling the north-south line facing south. The opponent begins to move. The movement is caught in the peripheral vision. The eyes followed by the head begin to turn to the left. "Ki" pressure from the "tanden" increases. At the beginning of the exhaling cycle bring the hands smoothly onto the "tsuka" and "saya". The thumb, resting on the body side of the "tsuba", pushes the "tsuba" releasing the "habiki" from the mouth of the "saya". The "metsuke" at this point is directly toward the opponent on an imaginary line parallel to the floor. The opponent continues to draw his sword and rises up into a standing posture prior to stepping in and cutting along the centre line towards the head. The movements are timed slightly behind the opponent's.

The draw continues to the front, i.e. the east. After a couple of centimetres or so begin to rise up onto the knees. The posture movement should look as though it is being pulled up vertically with the hair. The driving force of the movement is the muscles in the thighs and buttocks. Do not shift the weight forward by leaning the the head and shoulders. The "metsuke" begins to rise following the opponent as he rises. During the draw keep the blade edge up. The left hand holding the "saya" lifts the "saya" so that the draw is angled upward. A common fault here is to lift too much or not enough, about 45 degrees is OK. During the first third of the draw turn the toes under as the feet are spread to either side of the east-west line. Do not drag the top of the toes to the curled under position, rather turn them under cleanly by almost balancing on the knees. As the draw continues there must be a strong feeling of "semeru" using the blade of the sword. Although there is no physical movement it is the feeling of curling under the blade.

Pressure is focused on the opponent from the tanden in the stomach and head. Bring the left foot up to a position just in front and to the left of the right knee. A common fault is to step too far forward with the left foot, the effect being to put the body too far from the opponent to make a cut with the correct "ma-ai". The draw has been smooth, continuous and with strong pressure. the "nagashi"movement begins before the the sword is completely clear of the "saya", at "saya banari". "Saya biki" begins at this time also.

The right foot is brought smartly up to join the left in a standing posture. The toes of the right foot are close to those of the left and at an angle of about 15 degrees to the north- south line, the shape of the two feet is like an inverted "V".

As the posture rises the sword clears the "saya" and the right hand pushes the sword up and forward slightly inwards towards the opponents sword cutting down the north-south line. The right arm is inclined at about 45 degrees. The "kissaki" is just above shoulder height. The sword slopes in and down towards your body with the "ha" angled slightly back. Looking along the the right arm to the "tsuba" and then back down the blade this is an inverted "V" shape. If the opponent's sword were to strike the side of the blade in this position, the back edge of the blade should hit the very top of the left arm allowing the opponent's blade to to run down the entire length of the blade without coming into contact with any part of the body.

The left hand holding the saya must be pulled well round in the "obi" for "saya biki". This makes sure that the left elbow is not protruding from the body. The front of the body is facing the north-south line at about 15 degrees. A common fault is to turn so that the angle is about 45 degrees, this means that the subsequent cut misses the opponent.

The feeling in this movement is not one of making a collision with the opponent's sword, rather of avoiding his sword altogether ("kaeshi") and that the sword is there purely "in case" his cut swerves in towards the body. During this movement there has been a continuous exhalation of breath. Do not pause in this position. Keep the right hand in the same position and tighten the grip progressively starting with the little finger. As this action begins the left hand starts to return the "saya" to the centre rest position. The "kissaki" moves in an arc rearward above the head continuing until the sword is vertical in the right hand. The hand is approximately one fist distance up from the the shoulder and one fist out to the right. Do not bend the right arm at the elbow. As soon as the sword reaches the vertical position the left hand simultaneously reaches and grips the "tsuka". A common fault is to leave the left hand at the "obi" too long then bringing it up to the "tsuka" too quickly and forgetting to centre the "saya". If the left hand travels too slowly the sword comes to a stop at the vertical position and "zanshin" is lost.

The movement towards the cut begins immediately. The trajectory of the sword is naturally angled in as it comes from the right shoulder position to the centre. A common fault is to think of this as a diagonal cut and forcing an unnatural angle on the cut. The "kissaki" moves first in the maximum arc possible. The power of The sword is focused at the "monouchi". The cut begins as the "monouchi" comes into contact with the left side of the opponent's neck.

At this point the feet are still together. As the cut begins i.e. at the side of the neck, the left foot travels rearward along the 15 degree line. Do not let the left heel turn in thus splaying the foot, nor let the heel touch the floor. Common faults are to step back as soon as the sword moves from the vertical, this causes the cut to miss the target, by stepping back too late the "ma-ai" is also wrong as the opponent would be hit with the "tsuba" rather than the "monouchi". The sword competes the cut with "tenouchi" and "kime", exhaling steadily for the duration of this movement. The cut is accompanied by a tightening of the muscles in the "saika tanden", thighs and buttocks causing the rim of the anus to tighten.

The "metsuke" does not follow the "kissaki" but lowers so that the eyes are looking down at the north-south line along an imaginary line passing from the eyes to the floor bisecting the extended right arm. The sword finishes with the "kissaki" slightly down. The blade is angled about 10 degrees. The outside edge of the left thumb is in the centre of the body about one fist's distance from the "saika tanden". If a line were extended back from the "kissaki" parallel to the north-south line it would touch the body at the left hip. Do not maintain "tenouchi" after completing the cut, it should be possible to slide either hand up and down the "tsuka". Do not relax too much and let the "kissaki" dip. The muscles in the lower portion of the body are also relaxed.

After a slight pause bring the "kissaki" back towards the bent right knee. The line of travel is a straight line. The action is driven by both hands and the feeling is strong. Imagine the "kissaki" to have a weight attached, the feeling is of "stickiness". As the sword nears the knee the right hand grip is broken but not released. A common fault here is to relax the right hand grip suddenly so that the sword travels back in an uncontrolled manner and bounces on the knee instead of coming to rest exactly on the knee. By relaxing the right hand grip progressively a strong, smooth and focused movement is achieved. The back edge of the blade comes into contact with the top of the right knee with about 6 cms. of blade extended past the top of the right knee. The blade is angled very slightly upwards.

The left hand gripping the "tsuka" is at left nipple height. The left elbow is not locked thus the left arm has a gradual curve downward from the top of the shoulder to the wrist. The left hand grip on the "tsuka" should not expose the "tsuka gashira" extend the left hand grip if necessary. The right hand, its original grip broken, re-grips by bringing the hand to the top side of the "tsuka". Once the right hand has re-gripped the sword the left leaves the "tsuka" and travels directly to grip the top of the "saya" completely smothering the "koiguchi" and pushing the "saya" down so that it lies horizontally through the "obi". This action is not rushed and is done with strong "zanshin".

The right hand lifts the sword sufficient enough so that the sword can travel in front of the knee then in an arc passing the inside edge of the right knee. This arc brings the "mune" just above the "habiki" up to the "koiguchi". The feeling is of very slightly overshooting so that when the "mune" makes contact with the web of skin between the thumb and forefinger of the left hand the sword is travelling away from the body. The speed of this action is the same as the speed of the next. The right hand drives the "tsuka" in a natural angle away from the centre of the body. At the same time the left hand pulls down and round with the "saya" so that the "kissaki" slips into the "koiguchi". The action of the right hand is very strong with the feeling of almost striking someone who is standing to the front right side. Keep the sword movement as flat, ie. parallel to the floor, as possible. A common fault is to push the sword upward during this part of the "noto".

As soon as the "kissaki" has slipped into the "koiguchi" the left hand aligns the "saya" to the blade. The sheathing of the sword is slower than the previous parts of the "noto" and is a constant speed for the whole length of the blade. At the beginning of the sheathing action both hands are moving towards the centre, the left stops at the centre position. As the sword gets to the last third of its length the right hand rotates anti-clockwise around the "tsuka" until the thumb is running down the outside (left) of the "tsuka" and the fingers are to the inside (right), in this position the point of the "V" shape between the thumb and forefinger is on the top side of the "tsuka".

The inside of the top of the right arm from the armpit to the elbow should be in contact with the right top part of the chest. The left hand need not continue to grip the "saya" too tight. The forefinger of the left hand will feel the "habaki" enter the "koiguchi". The "tsuba" driven by the left hand will come up against the forefinger and thumb which still surrounds the "koiguchi", the "tsuba" gently pushes the hand down the "saya" seating the "habaki" in the "koiguchi". At this point the thumb comes up to hook over the "tsuba" checking the sword is correctly seated, it then relaxes resting on the top body side of the "tsuba".

During the last action sheathing the sword the posture sinks onto the left knee. During the lowering all the toes of the left foot should be in contact with the floor.

The "noto" is complete. There is a tendency to relax the posture at this point. Avoid this and maintain the muscle tension in the thighs and buttocks thus the pushing feeling towards the opponents is not lost. After a momentary pause with "zanshin", raise the posture bringing the left foot up to one foot's breadth distance apart from the right. This movement is not rushed. If done correctly, being driven with the hips, the heel comes into contact with the floor first not the toes. As soon as the left foot is along side the right at one foot's breadth distance, the right hand leaves the "tsuka". This action is not rushed. As soon as the right hand touches the right thigh the left foot steps to the left crossing the north-south line to its start position. During this movement "metsuke" rises gradually.

Breathing returns to normal and the form is complete.

CONTACT LIST

S* l'Aikido de la Montagne, 3734 Avenue du Parc, Montreal Quebec, Canada. H2X 2J1.

The Aiki News Stanley Pranin ed. Lions Mansion #204, Tamagawa Gakuen 5-11-25, Machida Shi, Tokyo To, Japan 194. Tel. 0427248675 FAX 0427249119.

Roy Asa, c/o Japan Camera Centre, 88 Lesmill Rd. (Don Mills) Toronto Ontario, Canada. M3B 2T5. (FAX (416)445-0519)

J* Mitsuru Asaoka, 2445 Cape Horn Ave. Coquitlam B.C. Canada. V3K 1K1 (604)525-5080 FAX(604)520-5999

Douglas Blue III, 673 Panorama Trail West. Rochester N.Y. 14625.

J Jim Callfas, 88 East Lynn Ave. Toronto, Ont. Canada. M4C 3X2 698-8688.

Central YMCA Aikikai, c/o Stuart Rae 375 Brunswick Ave. #504, Toronto Ontario, Canada. M5R 2Z3

S* Kazuo Chiba, 3846 Eagle St. San Diago California USA. 92103 J Mike Chinadi, 2-4223 Terrace Ave. Niagara Falls, Ontario Canada. L2E 4E1.

J* Malcolm Copp-Taylor, Yugenkan Dojo, Unit 19, Charlton Trading Estate, Shepton Mallet, Somerset, England, BA6 8ER. S* Stephen Cruise, 10 Glenborough Pk. Willowdale Ontario Canada. M2R 2G5 (416)229-4986

J* Ted Davis, Dept of Biology, University of Victoria. Box 1700 Victoria B.C. V8W 2Y2

J Dr. Gregory DeMarchi Dept of Family and Community Medicine, St. Michael's Hospital, 30 Bond St. Toronto, Ontario M5B 1W8. (416)876-7431.

* Doshikan Kendo Club, c/o Shozo Kato 124 East 79th St. Apt 3A New York NY. USA 10021(212)535-6470

S* M. Flynn, 1059 El Centro Ave. #1, Oakland, CA, USA 94602 (415)530-5714

J* Matsuo Haruna, 247-1 Yoshida, Higashi-Awakura-son, Aida-gun, Okayama-ken, Japan. 707-04. Ph. 08687-8-3567.

J* Don Harvey, 81 Sandcliffe Road, Midway, Burton-on-Trent, Staffs. DE11 7PH. (01144)283-218958.

Sean Hickey, 6218 Ravine Way, Gloucester Ontario, Canada. K1C 2V4.

* International Kendo Federation c/o Nippon-Budokan 2 Kitanomaru-koen Chiyoda-ku Tokyo Japan. 102 (211-5804, 211-5805)

S* Japanese Swordsmanship Society, PO Box 1116 Rockafeller Stn. New York, New York. USA 10185 (212)691-2891

Japanese Canadian Cultural Centre 123 Wynford Dr. Box 191, Don Mills Ontario Canada. M3C 1K1

J* Trevor Jones, 36 Holmleigh Ave. Dartford, Kent, England. DA1 5AS. (01144)322-78598.

JUKADO inc. 540 est Henri-Bourassa, Montreal, PQ Canada. H3L 1C6 1-800-363-2992 FAX 387-7110.

* Ken Zen Institute, c/o Kenjun Kasahara 152-158 West 26th Street New York NY. USA 10001 (212)741-2281

J Fred Kay 54 Ashbury Ave. Toronto Ontario M6E 1V1 (416)652- 7110.

J Roy Kennedy, 124 Glen Springs Dr. Scarborough Ontario, Canada. M1W 1X8

J* Larry Nakamura, 24 Beckwith Road, Etobicoke Ontario, Canada. M9C 3X9. (416)622-2962

S* New England Aikikai, 2000 Massachusetts Ave. Cambridge Mass. USA. 02140 (617)661-1959

J* New York City Kendo Club, c/o Noboru Kataoka 46 West 83rd Street New York NY. USA 10024 (212) 874-6161

J* Goyo Ohmi 43 Milington Cr. Ajax Ontario, Canada. L1T 1R3 (416)683-8346

S* F.Y. Okimura, 7557 de Normanville, Montreal Quebec, Canada. H2R 2V2.

S* Seigan T. Okuyama, 1612 Shadford Road, Ann Arbor, MI, USA, 48104. (313)662-6685

J* Masakazu Oshita, 3-2-5, Kaminae-cho, Nada-ku, Kobe, 657, Japan. Ph. (078)871-7726.

J* John Ray, RR1 Box 341A, Hinsdale, N.H. USA 03451

S* Renbukan Dojo, c/o Mr. Tamio Tateno, 207 Nelson St. Brantford Ontario, Canada. N3S 4C2.

S* Pierre-Paul Rivet, 12 Desmarteau Boucherville Quebec. J4B 1Z9.

Robert Savoie 532 Avenue Duluth E. Montreal Quebec Canada. H2L 1A9 (514)288-8679 or 842-0342

S* Dr. D.W. Schwerdtfeger, 8580 Lakewood Shores Road NW. Rice, MN 56367.

J* Sei Do Kai Iaido, c/o Kimberley Taylor, Department of Animal Science, University of Guelph, Guelph Ontario, Canada. N1G 2W1. (519)824-4120 ext 6225 FAX (519)836-9873.

J Chris Sora, 121 Westgate Park Drive, St. Catharines, Ontario, Canada L2N 5X5. (416)935-5287.

J* Mark Sykes, 57 Seaforth Ave. Leeds, Yorkshire, England. LS9 6AS (0532)497209.

J* Allan Tattersall, Samurai Ju Jitsu HQ, Barlow Street Rochdale, England. OL16 1TG. (01144)706-525814.

S Marion M. Taylor, 32 Bedford Court Amherst, MA USA 01002 (413)256-0219

S* Valley Aikido, c/o Paul Sylvain, 131 King St. Northampton Mass. USA. 02140

S Peter Verra, 1452 Paddington Ct. Burlington, Ont. Canada. L7M 1W7. (416)336-7159

J* Katsuo Yamaguchi, 3-24-1 Shinbori Higashiyamato-shi, Tokyo Japan 189. (0425-65-9146)

J* Yasuo Yamashibu, Tonda-cho-1-4-2, Okayama Japan 700. (0862- 25-5471) (FAX 0862-23-9433)

J* Yugenkan Dojo, c/o Mr. Bill Mears, 100 Elmwood Ave. Crystal Beach Ontario, Canada. L0S 1B0. (416)871-7772 ext. 314

* Yoseikan, Academy of Martial Arts, Mr. Patrick Auge, 2485 Lancaster Road Ottawa, Ontario Canada. K1B 4L5.

S* Zanshin, Ecole D'Aikido et Iaido, c/o Donna Winslow, 5425 Bordeaux #503D, Montreal Quebec, Canada. H2H 2P9 (514)521-6786

Look at the sword There

It has cut you Here

The mind stopped thus

the body stopped

SUBSCRIPTION RENEWAL AND MARKET SURVEY

In order to cut down on the workload in the mailing department we are asking the readership to re-enlist on the mailing list. The letter is still free but we don't want to send it out to those who have no use for it. Ideally, we would like to mail to each dojo or practice group and then individuals would obtain a copy from their dojo.

I would like to receive the newsletter in 1991

yes no

Is this a new subscription?

yes no

My name and address:

I will (do) mail copies out to these people (please attach list, specify if the address should not be included in contact list):

========================================================

Some questions for our readers, to find out who is doing what in the Iaido world. Which of these questions you answer is completely voluntary since they will be published in summarized form in the newsletter. They are for the enjoyment and information of our readers. They will also give the newsletter staff an idea of who constitutes our audience and how to make a better newsletter.

Dojo name

Location

Instructor(s) (Rank)

Parent organization

Koryu Style

Senior Teacher(s) followed

# Students in dojo (estimated)

When are practices and how long

Your name and rank (no names will be published)

When did you start practicing

Why

How did you hear about Iaido

Will this be a lifelong practice

Did you practice another Budo prior to Iaido

What information would you like to see in the newsletter

Where is the story you have been promising us

Check one: In the mail

In the word processor

Still researching



















.oc

The Sei Do Kai Presents

an Iaido Seminar

at the University of Guelph

with

Matsuo Haruna Sensei 7 Dan Kyoshi

Chief Instructor, Musashi Dojo Ohara

Okayama Prefecture.

ZNKR Seitei Gata Iai

Muso Jikiden Eishin Ryu

Niten Ichi Ryu

June 27 and 28 1991

(ZNKR Seitei, limited space available)

And

July 2 to 6

(Main Seminar, lots of space)

The seminars coincide with the

World Kendo Championships

Toronto, Ontario June 28-July 1

and the IKF Iaido gradings July 1

Accomodation in University Residences

under $30 per night

Cost: daily $35, 2 days $75, 5 days $125, 7 days $150 (pre registration by 30th April for June 26-28)

======================================================== Send preregistration information and seminar fees to: Kim Taylor, Dept of Animal Science, U of Guelph, Guelph Ontario Canada. N1G 2W1

.OC OFF

NAME(S):

ADDRESS:

PHONE:

SEMINAR DAYS:

FEES SENT:

ACCOMODATION.. SINGLE ROOM

DOUBLE ROOM

Full information packets will be sent on receipt of registration forms or on request.

Other attractions: pool, sauna, walking trails on campus and Bruce Trail nearby, scenic tourist areas, etc.