Volume 3 number 5 absolute #14 Aug 1991
Send your stories, comments or announcements to Kim Taylor, Dept. of Animal and Poultry Science, University 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
SCANDINAVIAN IAIDO/KENDO KATA/KENDO SEMINAR, with S. Komaki 7dan Kyoshi, T.
Ohboki 7dan Kyoshi, K Komaki 6dan Renshi, and T. Holt 5dan. Training from July 29 to August 2
and a grading to 2dan Iai, 3dan Kendo on Aug. 3. Place, F 2 Hall Hagernas, outside Stockholm
Sweden. For further details contact K. Komaki (on contact list).
SEMINAR WITH Y. NAKANISHI, 8dan Hanshi in Kendo, Iaido and Jodo. Aug. 10 to 14. This seminar will be held in various sites around the New York area so call for details and times. As this event is sponsored by the EUSKF (hosts, the Doshikan Kendo club), participants must be members of the US or Canadian Kendo
Federations. Details from Shozo Kato, (212)691-6835 or (212)691- 7516.
IAIDO SUMMER SEMINAR, 1991, Chester, Nova Scotia Aug. 9,7-9 PM; Aug 10 and 11, 10:00
AM to 4:00 PM with Kim Taylor. This seminar will be aimed at introducing students to the Sei
Tei Gata of the ZNKR. For further information contact Gary Hall, 23 Cockburn Court, Lower
Sackville NS. (902)865-9478.
The SAN SHIN KAI FEDERATION OF NORTH AMERICA IAIDO MINI-CAMP will be held
Aug 23 to 25 in Lackawaxen Pennsylvania. Shihan Paul Sylvain, 6dan will be instructing,
emphasis will be on Muso Shinden Ryu, Shindo Munen Ryu and Keshi Ryu. Price is $100
advance and $110 "at the door". Further information can be obtained from Roger Wehrhahn,
Olympic Karate Institute, 122 Park Ave. East Rutherford, NJ 07073.
UWAGI MADE by Brenda Duyf. These are cotton, designed for Iaido with the slit up the back and
long enough to cover the legs so that you are showing no skin under the hakama. Those who did
not get measured at the seminar, here is the method. Take a measure across the back of the
shoulders from "point to point" where the collar bone attaches (WIDTH). Next take a measure
from this line down to whatever length you need (LENGTH). Take a measure from your tailbone
to the bottom of your uwagi (SLIT LENGTH). Price is $40.00 plus $7 mailing. Brenda will also
make Obi ($20.00 +$7 mailing), send your hip measurement and specify the width required (3" is
maximum recommended width for these Obi). Don't forget to specify colour (black or white, other
colours may cost more depending of fabric price). Send orders to Iaido News and we'll pass
them on.
SEMINAR REPORTS
The EUSKF IAIDO SEMINAR was held in New York City on the weekend of May 11th and 12th, 1991. Mr. Pat Y. Murosako, senior Iaido instructor in KFUSA, conducted the training, which was sponsored by the Japanese Swordsmanship Society. The seminar covered the curriculum of the All Japan Kendo Federation Seitei-gata. A total of 19 people participated in the training on one of both days: 17 the first day and 15 the second. There were four observers the first day and six on the second.
During the second day, Dan examinations were conducted. Two people were promoted to Shodan and four to Nidan. Discussions on Iaido coordination and training in the U.S. were held with Mr. Murosako on Friday, Saturday nad Sunday.
We look forward to further interchange, discussion and planning and to future inter-dojo Iaido
activities, training and seminars. from Marty Eisenberg
A ZNKR IAIDO GRADING was held in Toronto in association with the World Kendo Championships on July 1. There was a seminar in the morning conducted between one for Kendo Kata, and one for Kendo. An educational experience for those not used to that level of noise during their practice. The grading was held during the afternoon, with Canadian Iaido students making up a considerable proportion of the Shodan tests. In all, 22 students from this country attempted shodan and one challenged nidan. Of these, 74% or 17 passed. At shodan, Mark Beghetto, Jim Callfas, Carole Galligan, Dave Green, Xavier Guenette, Santoso Hanitijo, Linda Hayward, Fred Kay, Mike McLaren, Bob MacMaster, Robert Miller, Hoang-Thai Nhan, Chris Nunan, Chris Sora, Eric Tribe, and Peter Verra. Congratulations to all.
Special mention should be made of Donna Winslow, who challenged and took Nidan. About 5
minutes before the tests began, the saya of her sword broke in two. After a bit of a frantic search
another blade was located and Donna went on to turn in an excellent (to these eyes) performance.
Not bad for a borrowed blade, I'm looking forward to her sandan test to see what happens next.
The 1991 SEI DO KAI SUMMER SEMINAR 1991 at the University of Guelph is now over. After a year of planning we finally pulled it off. Instruction was provided by M. Haruna Sensei 7dan Kyoshi and N. Mano Sensei 7dan Kyoshi, both of Okayama-ken Japan, as well as Trevor Jones Sensei, 5dan of England. Trevor Jones provided some wonderful translation work while Haruna Sensei was here, and then stepped into the leading role for the last three days instruction. Special thanks to these three sensei is extended by all the participants. Also to be thanked for some able assistance, especially toward the beginners, are our surprise guest, K. Komaki Sensei 6dan Renshi of Sweden, our other delightful helper, Mr. Brian Bettison of England, and finally, Mr. Bill Mears of Fort Erie, (formerly of England and the man who hooked us up with all the people mentioned above).
45 people participated from June 26 to 29 and from July 2 to 6. The first section of the seminar was devoted to Sei Tei Gata, the instruction being put to good use on July 1 at the gradings. The diversity of practice in Seitei gata in North America was highlighted during the first day as we all struggled to catch up to current Japanese practice. I'm sure our guests from England were laughing at our frustration, having gone through this 7 years ago. In that country the Shinden and Jikiden students now hold regular seminars to ensure that everyone is practicing on the same level. Yearly visits from Ishido Sensei and Haruna Sensei have helped I'm sure. The second section of the seminar was devoted to Muso Jikiden Eishin Ryu, with emphasis on Omori and Tate Hiza practice. Since this was Koryu practice the variation in techniques was discussed. Haruna Sensei was able to identify areas of Japan and even the lineage of instruction as students demonstrated their kata. These comments cleared up a lot of the confusion over what was "correct" and what was simply a regional characteristic.
In the hope that someone else will write a full report on the seminar, hint, hint, we will leave this
topic here. Once again, thanks are extended to Haruna Sensei and the other instructors for a highly
successful seminar. (For those wondering, yes we will be doing it again next year.)
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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CONTACT LIST ADDITIONS
John A. Czekala, 128 Raleigh Dr. Winston Or. USA 97496-9544. (503)679-5500.
John Drouin, 6173 Oakridge Rd. Auburn NY. 13021. (315)253-7038 home, (315)252-8875 dojo.
K. Komaki, Haggviksv 35, 191-50 Sollentuna Sweden. Tel. 08/960523.
Robert Miller, 45 Cedar Cr. Beaconsfield Quebec. Canada H9W 4S9 (514)630-4331 work (514)843-4907.
The contact list will be printed once every 6 months from now on, we will simply include new entries each issue.
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CLUB O' THE MONTH
Ken Zen Dojo Japanese Culture and Martial Arts Academy
by Tom Hooper
152-58 West 26th St. New York, NY 10001
Tel (212)741-2281
Hours: Iaido Thurs 5:00-6:00 and Sat 4:00-5:30
Kendo Tues and Thurs 6:30-8:30
Fri 7:00-8:00 AM
Sat 6:00-8:00
Sun 10:30 - 12:00 noon
Visitors are of course welcome any time to practice or watch.
The Ken Zen Institute was founded in 1960 by the late Reverend Shunshin Kan, and is the oldest school of Kendo and Iaido in the Eastern United States. Our first home was at the New York Buddhist Church on New York City's Upper West Side, where Rev. Kan became resident minister upon his arrival from Japan. Initially known as the New York Buddhist Academy Kendo Club, we adopted the name Ken Zen Dojo in 1977, combining "sword" (Ken), with "Zen". The word Zen in this sense refers not to a specific religious or philosophic application but rather to a more personalized "self-study"; thus Ken Zen implies the life-long pursuit of self-understanding and development through the practice of swordsmanship.
In 1977 we acquired our own building (our current address) where, in addition to our expanded facilities for the study of swordsmanship, we provide space under one roof for the instruction of many other Japanese martial and cultural arts.
When Kan-sensei (who was Kendo 8th Dan, Hanshi and Iaido 6th Dan Renshi) passed away in 1987, Danial Tomoji Ebihara (Kendo 6th Dan, Renshi) bacame headmaster. I, as Kan-sensei's senior Iai student, found my size 8 feet clumsily attempting to fill some very large shoes (or perhaps I should say leaving them at the dojo entrance!) as instructor of the Iai class.
Our membership consists of about 60 Kendo-ka and 15 Iaido-ka (half of whom also practice Kendo). Our Iai curricula comprises the Seitei-no-kata and Muso Jikiden Eishin-Ryu.
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Funny
All the books in the Zen section
hundreds of them
They all tell you
on the first two pages
not to read books
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QUESTIONS AND COMMENTS
ADVERTISEMENTS AND ARTICLES
We have been asked about the newsletter policy on articles and the acceptability of self-promotion. Here it is. For a strict advertisement, we will consider running it free if it is of direct value to Iaidoists, and if the advertiser is not making a living from selling the equipment or services. Adverts from "commercial" sources are welcome and will be accepted at $20 for a quarter page. One such ad would pay for about 1/3 of one issue's production costs. We will rely on the submitting parties to define themselves as commercial or not and to pay or not. Our circulation is hard to evaluate but is estimated to be in the range of 100 to 200 copies. About 60 copies are distributed from the Sei Do Kai and these are hopefully further disseminated.
As for articles, it is the information content that we are interested in, not the "purity" of the
writing. Those who are swordmakers or what have you, feel free to give us an article about what
you do and what you charge. This is, in our opinion, valuable information for the readers. As in
the adverts mentioned above, we rely on you to keep the information high and the "promotion"
under control. High information content might include "how" and "why" as well as "what" and
"how much $". By all means, provide reviews of equipment or even of other people's work.
Keep in mind that there are such things as libel laws and we can't afford a law suit, but by all
means give your opinion on what is a good piece of equipment and what is not as good. Make
sure that your opinions are clearly identified as such. ("The opinions expressed herein are those of
the author and do not reflect the views of the Iaido Newsletter or it's editor ... etc.") Unsafe
equipment should definitely be identified, otherwise remember, the worst review you can give is
none at all. When listing suppliers and services, go ahead and list prices and addresses.
SUBSCRIPTIONS
Some inquiries have been received about subscriptions to the newsletter. We have been very loath
to ask for such for several reasons. 1. if we get money from you we would feel obligated to
publish on a regular basis. 2. we would have to keep track of who has and has not paid. 3. we
would have to hound you for a renewal etc. 4. we might be tempted to try and make money from
this. 5. we would not be able to send it out free to groups that haven't expressed any interest in it.
(But might still enjoy it, we do occasionally get hints that there are readers out there that we don't
suspect). 6. We don't want to do all the photocopying etc, we want to send out 3 copies and have
those 3 people do the work of sending it out to all the rest of you.
To be quite honest, the newsletter goes out to promote the interests of the Sei Do Kai. This happens to mean that we promote Iaido in general since more students of the art means more chances of instruction for our members. Without the newsletter the seminar we just hosted with Haruna Sensei would not have been possible (at that price) since we would not have had enough people. Although the Sei Do Kai is a member of the Canadian Kendo Federation, they do not support the Newsletter and we are not an organ of the Federation. In other words, we are motivated by greed (for instruction) and self-interest and have been happily paying for that by absorbing the cost of the newsletter.
That said, we have received money on a voluntary basis from some readers and others have
expressed a willingness to help financially. Here then is the official suggestion on voluntary
subscriptions (and we hope this doesn't mean we have to start paying taxes). It costs about 10
cents a page to photocopy the letter, this means about 70 cents a copy on average. In Canada
postage is 40 cents plus tax, USA and overseas postage is more. From this, calculate what your
copy cost to get it to you. Multiply this by how many copies you want to get or have received.
Give this money TO THE PERSON WHO SENT YOU THE COPY. We don't want to send out all
the copies, we do want to encourage those who are sending the newsletter on, so help them out.
We mail about 60 issues and that is too many as it is, more subscriptions we don't want. Since this
is all voluntary, you keep track of your own subscription renewal etc. Great plan?
MORE ???s FROM GARY HALL FOR THE READERSHIP
Q In the technique Mae why do we change legs before the noto?
Q There is a difference in the execution of the Muso Shinden and Muso Jikiden noto. Do other styles have different noto as well and if so why? What is (or was) the combative application behind the different noto?
Q When in shomen, karateka face the kami-za, swordsmen turn to the right, oblique to the kami-za which is on their left (shomen) - why?
Q Don Harvey writes that each technique (seitei) "should be performed as a single unit, within a single breath cycle;" yet there are a number of breath cycles performed during each seitei waza - I don't understand his teaching of "single breath cycle" - can you explain.
Q In seitei number 6 (morote zuki) the forward two handed thrust is executed with the blade in the vertical position from chudan no kamae. When is the two handed thrust executed with the blade in the horizontal plane? Is this koryu?
Q Seitei number 4 (tsuka ate) requires the swordsman to assume an Iai-hiza position. I am a novice swordsman and have difficulty rising up from this position. Are there other swordsmen out there who experience the same problem? I would be interested to hear from the readership - any solutions or advice is welcome.
For me too (Kim).
Q How exactly do I go about affiliating with the CKF? Individual memberships are $12 per year right? What about club affiliation, are there club fees as well, and are there any forms to fill out?
On this last question I can say that there is a club fee, it is $50 per year. As to requirements and
forms, the Iaido section of the CKF is in the process of being formed so such things as
requirements for being an Iaido "dojo" or an "affiliated club" are to be decided. Of course anyone
who has joined a kendo dojo is already a member of the CKF. We will kick this question up to
the CKF for full explanation but any ideas from the readers will be welcome.
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All this concern
Just swing the sword
If you are tired
Swing the bokuto
If you are injured
Swing your tegatana
If you have no arm
Move your legs
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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 "Real Iaido".
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.
SEITEI GATA KESA GIRI
5. 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"...judgment of distance. The form must be "riai"...meaningful and convey the correct interpretation.
5.1 Stand straddling the north-south line with the feet one foot's breadth apart. The posture is relaxed but the bearing is alert. The gaze is to the front and open, "enzen no metsuke". Breath normally in through the nose with the tongue on the roof of the mouth and the chin pulled slightly in. Take the breath into the abdomen rather than the chest. Exhalation is through the mouth. Do not breath in such a way as can be clearly observed by any potential opponent. At the beginning of a breathing cycle commence the form. In a normal walking manner step forward on the right followed by the left. The stride distance is normal walking length and the arms move naturally and are not held tense by the side. As the left step begins bring the hands on to the "tsuka" and "saya". The thumb pushes the "tsuba" releasing the "habaki" from the mouth of the saya. Make sure the thumb comes to the right hand side (your body side) of the tsuba. Once the thumb has completed its releasing function fold it in.
A common fault is to leave it sticking out.
Begin the draw by pushing the tsuka gashira smoothly but strongly towards the centre north-south line. The blade is still edge up. After a few centimetres the left hand begins to turn the saya (and the blade) outward, the tsuka rotates in the right hand. The draw is continuing during this turn. It is not necessary to turn the blade much more than flat edge out ie. side of blade horizontal to the floor. The hips lower slightly but do not lean the posture forward during this drawing action. Do not let the tsuka gashira point downward. By the completion of the second step the sword should be at saya banari. There is no pause and the cutting movement begins as the third step ie. right foot, begins. The kissaki moves in an arc from the mouth of the saya to a point where the monouchi comes into contact with the right side of the opponent at a height equivalent to a position above your own hip bone but below the floating rib. Do not let the kissaki drop below the level of the koiguchi as it leaves the saya, the feeling is of cutting forward and up to the target. At the point of contact tighten the muscles in the thighs and buttocks effecting a tightening of the rim of the anus. The angle of the sword has increased during its trajectory to about 30 degrees to your right off vertical. The right hand grip is kiri-te in that the inside edge of the hand at the base of the thumb is flat with the wrist. Tenouchi will have been applied during the sword arcing to the target, tightening the grip starting with the little linger ending with 100% little finger, 80% next finger, 60% next, index and forefinger at 20%, the palm heel at 100% and the area at the root of the forefinger and thumb at 100%. The right foot is in place at this point the third step completed. The left hand is pulled back in saya biki and the left hip is back. The instant the monouchi comes into contact with the initial target point the left hip drives forward, the resultant squaring of the posture drives the sword in a cutting action diagonally up the opponent's trunk. This action has the effect of making the cut shallower until the tip exits the opponent's trunk at a point just above the breast bone half way between the base of the neck and the edge of the left shoulder (your right). Tenouchi is not maintained after the completion of the cut and the grip is relaxed somewhat as are the muscles that were tensed in the lower part of the body. There has been a steady exhalation of breath during the cut, do not expel all the breath. The angle of the cut is a natural one being from the mouth of the saya on the left side, to the right side at shoulder height.
A common fault is to force a diagonal cut causing the blade to exit too far to the right, this is commonly accompanied by allowing the tip to continue much higher than the height of your own shoulder.
As the tip exits, the ha is still pointing in the direction of the angle of cut.
A common fault is to alter this angle during the cut in anticipation of the next movement which involves rotating the wrist, to do this would not allow the blade to exit the opponent's body.
As soon as the tip exits, the right wrist rotates so that the blade comes to a vertical position perpendicular to the floor when viewed from either the front or side. The height of the right hand in this position is one fist distance up from shoulder height and one fist distance out to the right from the shoulder edge.
Common faults here are to allow the tip to point out to the right or to the back or both.
As the right hand rotates the sword the left hand smoothly brings the saya back to the centre rest position. Providing the left hand has not re-gripped the saya this action should leave the saya correctly oriented ie. kurigata to the outside. The left hand does not pause at the centre position but continues up to grip the tsuka. The timing here is very important as the sword does not stop in this hasso position. As the right hand finishes the rotation the left should just be in a position to grip the tsuka.
A common fault, particularly if the tip of the sword is allowed to point back, is to bend the right arm to facilitate the left hand gripping the tsuka.
If the sword is vertical and the left hip is turned in correctly the left hand will reach the tsuka easily. The right arm is kept straight but not locked at the elbow. This position is very much like that prior to the cut in Uke Nagashi. The right hip is under tension like a coiled spring and the kiritsuke begins straight away.
5.2 The cutting movement begins with the "kissaki". The right hip under tension from the previous cut drives the movement. The "kissaki" moves in the maximum arc possible, the cut begins as the "monouchi" comes into contact with the base of the left side of the opponent's neck.
A common fault is to make the angle of the second cut identical to the first instead of more acute in relation to the vertical.
As the cut begins apply "tenouchi" with both hands gripping with the fingers to the percentages previously prescribed. Tighten the lower body muscles as before, with the feeling of squeezing the knees and thighs together without actually physically moving them. The effect is to lower the centre of gravity somewhat for the duration of the cut. The cut becomes shallower as it progresses diagonally down the opponent's trunk exiting just to the side of the right hip (your left). The sword is focused at the point ("kime"). There has been a steady exhalation of breath during the cut. The "kissaki" is slightly down and the "ha" is also angled in the direction of the cut. If a line were drawn back from the tip parallel to the north south line, it would touch the left hip. The outside knuckle of the thumb of the left hand is in line with the centre of the body.
A common fault is to have the "tsuka gashira" in the centre thus making the angle of the sword too great.
Do not maintain "tenouchi" once the cut is complete, however, do not relax the grip too much lest the "kissaki" dips. The sword should be one fist's distance out from the body.
5.3 After a short pause with strong "zanshin" the right foot begins to move rearward. At the same time, the "kissaki" moves upward and to the right so that the tip comes on to the centre line from it's left of centre position. The action of both sword and leg upward is done slowly with a feeling of 'stickiness'. The sword continues upward, this is not achieved by decreasing the angle between the hands gripping the "tsuka" and the back of the blade, but rather raising the sword and the hands together. During this movement "kensen" is most important. "Semeru" is concentrated on the "monouchi". As the sword tip passes above the height of the opponent's head, the movement becomes less 'sticky' and more fluid although "zanshin" is still maintained. The pressure now comes from the "tanden" in the stomach and head using "ki". The right foot completes it's step back leaving the posture in a higher stance than the cutting posture. Upon completion of the step, the sword movement also finishes. The sword has been brought back to a position at the right shoulder with the blade sloping rearwards at about 30 degrees off
vertical. The forearms are close to the body and each slope down from the centre towards the elbows at 45 degrees. The "tsuba" is at the right side at mouth height. The "tsuka gashira" is just slightly right of centre thus, looking from the front, the tip is off to the left (your right). The hips are square on to the front and the "ha" is facing the front.
A common fault is to let the right hip drop too far back and to let the "ha" angle face the front left side. (Note that both these positions were at one time specified but have since changed).
During the movement back into this "hasso kamae" the left hand slides the short distance down the "tsuka" so that when the sword comes to rest the "tsuka gashira" is not exposed thus closing a "suki". Do not change the left hand "kiri te" in the left, although the hand is relaxed it does not rotate around the "tsuka". During the final arcing movement of the sword back to "hasso kamae", the sword is slightly higher than the final rest position with the "tsuba" at about brow height. The very last part of the movement is a lowering of the sword to the rest position accompanied by an exhalation of breath coming to an end and a strong feeling of "zanshin". In "hasso kamae" the hips are square to the front and the "metsuke" is still towards the fallen opponent.
5.4 After a slight pause the "o-chiburi" begins. The movement of the hands is coordinated with that of the left foot stepping rearward. Push the right arm forward with the sword at the same time as moving the body back with the step. The effect is to leave the sword in the same relative position to the opponent as before the move commenced. Begin to apply "tenouchi" in the right hand completing it during the trajectory of the "chiburi". Try to straighten the arm at about or just slightly below shoulder height, The effect of this is to make the "chiburi" a big movement. It is as if you were cutting someone standing to your left front. The "chiburi" ends with "kime". The downward movement of the "chiburi" is done briskly at a constant speed. The left hand leaves the "tsuka" and is coordinated with the movement of the right. The left comes directly to the "koiguchi" at its rest position at the centre of the body. The left grips the "saya" and pulls it down and around in the "obi" finishing this action just as the "chiburi" reaches the "kime".
A common fault is to take the left hand from the "tsuka" first, before starting the "chiburi" action with the right.
Avoid making a movement with the "saya" that is too big, as in say, the "saya biki" accompanying the "nukitsuke" in Mae. There is a steady exhalation of breath during the "chiburi". It is most important that the "metsuke" remains on the fallen opponent. The "kissaki" should finish at knee height, this is lower than you think, get someone to check this for you until you get the feel for it. The sword curves inward so that if you extend it forward the tip travels toward the fallen opponent.
5.5 Once in this position, prepare for "noto". The left hand is already on the "saya" to completely smother the "koiguchi". The movement should begin with the feeling of moving the "kissaki" first in an arc to bring the "mune" just above the "hibaki" up to the "koiguchi". As the sword is brought to the centre of the body so the left hand brings the "saya" to the centre. As the "mune" and "koiguchi" come together in the centre the feeling is of very slightly over shooting the "koiguchi" so that when the "mune" makes contact with the web of the skin between the thumb and forefinger of the left hand the sword is travelling away from you. If contact is make while the sword is travelling towards you, you will trap the web of skin between the "mune" and the "koiguchi" and will be unable to make a smooth transition from inward to outward movement. It can also be quite painful. The speed of the "noto", whilst needing to be done briskly, is not of prime importance. The "noto" movement has three main elements, the movement up to the "koiguchi", the movement along the "mune" so that the "kissaki" slips into the "koiguchi" and the final sheathing of the sword. The first two elements are performed at the same speed and the final sheathing action is somewhat slower. The three elements can be thought of as a sentence with a comma separating the first two from the last. This is to say that the second movement should not be slurred into the third.
A common fault is to slow down the third movement only after a portion of the blade has been
sheathed.
At the end of the second movement, The "kissaki" will have slipped into the "koiguchi". This will have been achieved by a combined movement of the sword in the right hand travelling away from the centre meeting point and a movement of the "saya" in the left hand pulling down and round to the left (similar to the "saya biki" action). Once the "kissaki" enters the "koiguchi" the left hand aligns the "saya" with the blade to effect a smooth sheathing action. During the "noto" as the sword is pushed away from the body in the second movement the direction of travel is a natural one towards the front right side. The movement itself is a strong one with a feeling of almost striking someone, who is standing to the right front side, with the "tsuka gashira".
A common fault is to feel that the "tsuka gashira" is to be pushed towards the opponent to maintain "zanshin".
The pressure on the opponent is from the "tanden". During the last element both hands move in this action, the left stopping once it has reached the centre position of the waist line. 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 tightly. The forefinger of the left hand will feel the "habaki" enter the "koiguchi". The "tsuba", driven by the right hand sheathing the sword, will push the left hand slightly down the "saya" thus seating the "habaki" firmly into the "koiguchi". At this point the thumb of the left hand hooks over the "tsuba" checking that the sword is correctly seated and then relaxes resting on the top right side (body side) of the "tsuba".
A common fault is to raise the left hand thumb in anticipation of the sword completing "noto", this is hazardous and untidy.
5.6 The "noto" is complete. After a momentary pause with "zanshin", bring the right foot up to one foot's breadth distance apart from the left. This movement is not rushed and it is performed with the feeling of being pushed in the small of the back. If this movement is done correctly being driven with the hips then the heel of the right foot connects with the floor first.
A common fault is to move by shifting the weight of the head and shoulders forward causing the
toes to make contact with the floor at feet together position.
As soon as the foot is in place begin to move the right hand from the "tsuka". This is not done quickly but with "zanshin" almost a feeling of reluctance. As the right hand touches the right thigh begin to move the left foot rearward. The actions of bringing the right foot up, removing the right hand from the "tsuka" and beginning to step back with the left foot should be not thought of as three separate moves each with it's own start and stop. Rather think of them as continuous, the end of one movement is the start of the next. The very first step back with the left foot is a small one. The left hip drops back ever so slightly giving a very small angle to the hips. The angle is maintained during the next two steps. As the final step is completed the slight angle is removed and the hips run east west. Whilst making the steps backward keep the right hand in light contact with the right thigh all the time. Do not walk back by rolling the foot onto the heel thus exposing the soles of the feet. Each step releases the toes from contact with the floor last.
A common fault is to hold the arm and right hand tense and away from the thigh.
The overall effect of this is to still generate the pushing feeling toward the opponent even though the actual body is moving away. It is a feeling of 'stickiness' or 'reluctance' and one translation of the meaning of "zanshin" as the 'lingering heart' is most apt here. The remaining steps back to the original start position of the form are of normal length. During the return to the start point the "metsuke" is progressively raised from the fallen opponent.
Common faults here are allowing the hips to waddle from side to side and raising the "metsuke" in a sudden way.
5.7 Once in the original start position the breathing returns to normal, the form is complete.
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LETTERS TO THE EDITOR
Dear Mr. Taylor:
Thank you for the copy of the "Iaido Newsletter". I wish to extend my appreciation to Mr. Eisenberg for information about your periodical. Your newsletter is quite informative. I did not realize there are so many who are interested in the art...until they begin their first lesson as your article in the latest issue describes.
I am only sorry to see that the art of Iaido is becoming more and more intellectualized, being exploited similarly to the art of Karate; many funny names are being created for the pure art of Karate.
My question is what path(s) is Iaido taking? To make it clear for you, since no instructor or his teachers have ever experienced an actual life-giving combat, what is left in the art of Iai except techniques and the "hum-drum of intellectual, philosophical 'jibberies'" upon which everyone suddenly becomes an authority. Furthermore, they write book after book; what we need is more books?
My first realization was that all the technique "wazas" studied in Kendo suddenly become meaningless when one faces his opponent without any protective armor. When I raised my shinai to chudan, I could feel every fiber in my body. What more then, can a combatant feel with a live blade?
No, the art of Iaido is not for killing; where does the difference lie between a choreographic dance and Iai?
Rather a radical view?
I do not know if I am practicing a "real Iai" but I love Iaido just for the feel of my sword. My over-worked sword and I are in harmony. That is all I can say.
I hope that you don't lose too much sleep over my nastiness.
Sincerely yours, Pat Murosako
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These swordsmen
sitting in the bar
telling each other stories
We train three hours each morning
Well we train six hours a day
We train so hard the skin peals from our hands
and order another round
Down the street
alone in the dojo
someone kneels again
unhappy
the wrist should have been so
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