THE IAIDO NEWSLETTER

Volume 3 number 6 absolute #15 Sept 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!

VOLUNTARY SUBSCRIPTIONS: $1.25 CDN in Canada, for other countries contact your distributor. NATIONAL DISTRIBUTORS:

ENGLAND Trevor Jones, 36 Holmleigh Ave. Dartford, Kent. DA1 5AS.

CANADA EAST Gary Hall, 23 Cockburn Court, Lower Sackville, Nova Scotia. B4C 1K4.

NEW ZEALAND Alexander Bennett, PO Box 13545, Onehunga, Auckland 6, New Zealand. ===========================================================================================================

SEMINARS AND ANNOUNCEMENTS

MUSO JIKIDEN EISHIN RYU VIDEOS from Don Harvey (5 dan ZNKR, Musashi Dojo England) has done it again, he has produced two videotapes outlining Omori Ryu and Eishin Ryu. These are not simply views of Harvey Sensei performing the katas, they are instructional tapes. Each kata is demonstrated and then explained in detail (and if you want to know how much detail, read the technical notebook section this issue). You can obtain copies of the tapes from Don Harvey (see address in technical notebook section). Costs for North American orders will be 25 pounds each tape to cover professional copying (no more fuzzy faces!), postage and handling. Please note that this is the production cost price. Specify Omori or Eishin Ryu tape when ordering. Suppose we could talk Don into doing a Seitei tape to accompany his book?

SEMINARS

The Sei Do Kai will be hosting an Iaido workshop September 21 from 9AM to Noon (informal Q and A) and 1PM to 5PM (formal) cost will be $10 at the door of room 210 Athletics Centre and the curriculum will be the Sei Tei Gata. On Sunday the 22nd the U. of Guelph Bonsai show will be held in the Arboretum Centre. Last year this show featured Sword Polishing; Japanese drum and dance groups; an Iai demonstration; and displays of Bonsai.

The First Winter Seminar for Muso Jikiden Eishin Ryu featuring Haruna Matsuo, 7th Dan will be held November 23 and 24 through to November 30 and Dec 1 in Leeds and Lancashire England. (Yes I know it's complicated!) There will also be weekday sessions between these two weekends. Curriculum: Nov. 23 Seitei and BKA grading to 3 Dan. Nov. 24 Intro to Tachi Uchi no Kurai (Muso Jikiden Ryu partner practice) and Niten Ryu (the Musashi two sword school). Nov. 30 and Dec. 1 Muso Jikiden Eishin Ryu. Prices are from 25 (1 day) to 70 pounds (4 days). Details can be obtained from Mark Sykes of Shiroi Bara, 57 Seaforth Ave. Leeds, Yorkshire, England. LS9 6AS phone:(0532)497209 or contact the Iaido Newsletter.

Your Editor didn't get this announcement into the newsletter early enough, the reservation date was the end of June so if you wish to attend get in touch with Mark very quickly and BLAME IT ON ME!

SEMINAR REPORTS

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

Say hello to your latest "friends of the sword".

Alexander Bennett, PO Box 13545, Onehunga, Auckland 6, New Zealand. (09)640-120.

Dianne Jones, 5054 Valley Way, Niagara Falls, Ontario Canada. L2E 1W7. (416)356-2825.

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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PRODUCT REVIEWS

THE FRED LOMAN COMPANY

by Malcolm Copp-Taylor

The details of the above mentioned company were passed to me by a friend who collects Bijitsu Token (art swords). I have not dealt with them, the details are as supplied.

The company manufacture and supply Menuki, Fuchi Kashira, and Tsuba in a variety of materials. They can also supply Same and Shirasaya wood as well as a variety of Ito Maki, including leather and Jabara Ito. They state that aside of that which is purchased in Japan, all else is manufactured by hand. They have a catalogue priced at $15 US plus $3.50 if you require samples of Tsuka Ito. Orders should be sent to:

Fred Loman Co. 3405 N.E. Broadway, Portland, Or. 97232 USA. Tel. (503)282-4567 FAX (503)288-3533.

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QUESTIONS AND COMMENTS

The meaning of "I Ai"

The phrase Tsune Ni Itte Kyu Ni Awasu means "Always; whatever you are doing, whether sleeping, walking, running, or sitting (Tsune Ni)" and "Wherever you are (Itte, Iru)" you must "Be ready or be prepared (Awasu)". I Ai comes from Itte and Awasu and is a short way of remembering this phrase. from Trevor Jones

Some answers to last month's questions from Bill Mears of Yugen Kan Canada.

Leg-changing [at chiburi in Mae]: I wanted to know this myself and asked around. It's important to maintain strong zanshin during this move and have full control of metsuke so I've always gone with this explanation which is the only one I've ever been given; he's lying there dead so before putting the sword away you move close enough to check him out. Also, to be doubly safe ("to be sure, to be sure" as the Irish swordsman said) you kneel while performing noto to get a really good look at him. On a more practical level, it helps strengthen your leg muscles and learn proper balance (if you do it properly).

Facing kami-za or not: I've been taught to believe that as the kami dwell in the kamiza, the last thing you should do is perform nukitsuke (or nukiuchi) toward them. From what I've seen, most karate dojo kamiza tend to be portraits of past (and sometimes present) sensei and have little obvious shinto or buddhist significance, perhaps that explains the difference(?). As an aside, when the 'rei' toward kamiza is called in our dojo, it is louder than the others, the reason being to wake up the spirits (and make sure that no-one else is dropping off) and even though I'm not shinto it's a good tradition I've always followed.

Iai-hiza: as someone who has a trick knee I can sympathize with this! When I first started Iai, I suffered bleeding feet for 3 months and had to restrap them before each lesson. That was from lazy technique in seiza no bu and my advice to anyone who either rips his feet or suffers discomfort in seiza or iai-hiza is to practise as often as possible. By that I mean several times a day: not the whole form, just the relevant bits of it. For seiza no bu and iai-hiza, practise sitting still for 5 minutes morning and evening; initially on a carpet, progressing to vinyl flooring when the carpet becomes tolerable (notice I did not say comfortable). Similarly, move on to a wooden surface once the vinyl no longer makes your body scream. After that it's just a matter of extending the time. For ripped feet, the same principles apply except that you should practise the moves that are causing the problem, again starting on a carpet. There's nothing macho about blood-poisoning and being unable to train so look after yourself.

In answer to the actual question by Gary Hall, when you sit in kiza, keep the toes of the right foot level with or just behind the left knee. Keep the right foot pointing forward and as flat to the floor as possible. If it tilts over, this is a weakness as before you can do anything else, you are going to have to tip it over so the sole touches the floor. You ask if there are any swordsmen out there who experience the same problem; better to ask if they didn't! Haruna Sensei was asked this question at last year's seminar in England. After explaining the principles I've outlined above, he was asked how to rise up properly. His one word answer:-"Keiko"; practise. Like everything else in Iai, it will take time but it will happen eventually if you don't give up.

A further hint from Jacques Forget of Zanshin, Montreal.

Bring the right foot back so that the heel is actually resting on the shin of the left leg. When you rise, bring the right knee up which will transfer the pressure through the legs in a more biomechanically sound way.

And from Don Harvey of Musashi Dojo, England

"Advice on making Tate Hiza or Iai Hiza a comfortable posture for westerners." ... Gary asks if there are any swordsmen out there who experience problems with this posture. Perhaps he should have asked if here are any who don't. I remember wondering if I would ever feel comfortable in this position which seems to be designed to cause the maximum pain to a variety of tender spots. The short answer is that it does get better with persistance and patience. There are things that you can do to help it along. Like everything else they need to be done regularly if they are to have any effect. I believe that apart from balance which stems from getting the shape of the posture right, the most important pre-requisite for this posture is looseness in the groin. I used the method of sitting on the floor with both legs outstretched. Then pull the right leg up onto the top of the left thigh starting at about the left knee. Place the right hand on top of the now bent right knee. Keep the back straight and gently push the knee down and release, down and release several times trying to ever so slightly stretch the muscles. Change legs and repeat. As the looseness comes the knee will go lower and you will be able to pull the foot further up the extended leg above the knee onto the thigh and ultimately up to the groin. The emphasis must be on gentle stretching and patience. Try taking a soak in a hot tub then use a cushion under the buttocks to assist the posture, sit in the posture for a while gradually getting your body used to it so that it regards it as just another position. There is no miracle cure just persistance. Good luck, it can be done.

Explanation of 'Each "kata" should be performed within a single breath cycle' (Don Harvey)

Combative initiative 'sen' is all about covering your own 'suki' weak points and spotting those of your opponent. The inhalation phase of the breathing cycle is the negative to the positive exhalation phase. Breathing in is regarded as a potential weak point when you (or an opponent) are more likely to be defensive. When initiating a move against an opponent one of the things to watch for is his breathing cycle, waiting for him to breath in before you take the initiative. It follows that the opponent (or opponents, as there may be others not taking action but who are looking for your 'suki') is also watching your breathing cycle. Apart from linking together all the moves within a 'kata' completing the form in one breath cycle eliminates one set of weak points. It is not possible (nor desirable) to dive in and try and achieve this from day one. It should be regarded as a target to aim for in the performance of your 'kata'. Try it now and again to see what it feels like but do not expect it to be easy as obviously the timing of the form has to be spot on for it to work. It is probably best to use a complete breathing cycle for each technique within a form to start with eg. breath out during 'nukitsuke', breath in during the 'ashi sabaki', breath out during the 'kiritsuke' and so on. Then try and link two moves together on a single breath cycle. Eventually, as your skill and timing improve so will your 'kokyu' breath control. Like everything else pace yourself, keep the top of the mountain in sight and don't try and climb it in one step. For the masochistic amongst you consideration might be given to the proportion of breath exhaled during the single breath cycle. A good performance of 'kokyu' would be to exhale 10% on 'nukitsuke', 10% on 'kiritsuke', 15% on 'chiburi', 5% on 'ashi sabaki', and 20% on 'noto'. The mathematicians will realize that this leaves 40% retained at the end of the form. An excellent performance of 'kokyu' would be respective proportions of 20%, 20%, 20%, 5% and 30% retaining 10% at the end of the form. Please note that some forms in 'koryu' have more than one breathing cycle and that there are ways of returning the breathing to normal on completion of a form. Perhaps the best thing is to leave that to another time as I bet you are all wondering how you have managed to breath all these years without this knowledge!

When is the two handed thrust executed with the blade in the horizontal plane? (Don Harvey)

I have not come across any Muso Jikiden Eishin Ryu form so far that has such a thrust. I also would be interested to hear about any. The response to the above question is really an excuse to comment on the first statement in Gary's question regarding: "the two handed thrust in morote tsuki with the blade in the vertical position." I have come across two slight variations. The first is the way I practise it. The driving force behind this thrust is the left hand, the right providing the guidance. As the 'kissaki' pierces the opponent the blade tilts very very slightly to the left with the 'ha' at a very tiny angle to the right. This is almost a natural result of the thrusting action of the left hand. Thrusting with the right will correct the tilt and make the blade stay vertical. The second variation I have seen taught is to stab with the blade vertical and once the forward momentum has ceased then to slightly twist the blade to facilitate withdrawl from the wound. Perhaps if these variations are over done this could give rise to the horizontal stab described by Gary. Maybe?

From Kim Taylor, Sei Do Kai Guelph

There is of course, a one handed thrust in the horizontal plane, performed so that the ha is facing away from the body. This is done in Tsuka Ate and in Gammen Ate. It is fairly obvious that the ha faces away so that any twisting of the blade on contact with the target does not inflict a wound on the one doing the stabbing. It may also be explained in that the blade will more easily slip between ribs (assuming the thrust is slightly high) if it is on a horizontal plane. With the greater power of two hands you can simply spread the ribs as you thrust. The thrust done in Soete Zuki would seem to qualify as a two handed rather than one handed thrust and is vertical, the target is also the abdomen rather than the suigetsu, away from the ribs. In Iaido the hips are square for the thrust of Morote Zuki and so the ha can be held vertical with strong shibori action.

In the Aiki-ken of Aikido there are two handed thrusts which place the ha horizontally. This is, I believe, due to the fact that these thrusts are usually done from a hanmi (half-on or half forward) stance. At the strike the hips are not square to the target but are turned off of the attack line. In this case if the ha were kept vertical the wrists would never be able to survive the shock of contact with the target. The blade is then turned off so that the wrists are efficiently carrying the power from the hips to the kissaki. The blade is turned so that the mune or back is facing the chest, just as it is done in Tsuka Ate. Dave Lowry, in his book on bokken practice performs the morote tsuki with the edge to the right no matter which foot is forward. His hips are square forward for the thrust. The introduction to Lowry's book states his instructor is Ryokichi Kotaro of Nara, a swordsman of the Yagyu Ryu.

I also recall reading that the Katori Shinto school thrusts with the edge in a horizontal position. It is explained that if this is done at the same time that the opponent thrusts with a vertical ha the natural curve of your blade will deflect his tsuki (as the blades run along each other) and allow yours to strike the target. This school also includes a thrust with the edge facing up. As the opponent strikes down you turn the blade over to cut up under his wrists, then slide your left palm over the tsuka kashira and thrust the blade, ha upwards, into teki.

Are there different noto for different schools and what are the combative applications? (Kim Taylor)

There are indeed different noto for different schools. The Muso Shinden Ryu uses a flat or horizontal (Yoko noto?) position of the ha. This allows a very long sword to be used and replaced. The Muso Jikiden Eishin Ryu uses a Tate Noto, one with the ha facing up which somewhat restricts the blade length although, as might have been mentioned before, Oe Masamichi was said to have owned a 3.3 shaku blade which is longer than any I've ever seen. Both of these schools teach that at any time during the noto the sword can be drawn again in one motion with no changes of the hands. Maintaining 'seme' or pressure toward the opponent is very important at all times during the noto.

The Katori Shinto Ryu and the schools derived from it (including the Shindo Munen Ryu as taught by Mitsuzuka Sensei in North America) use a noto that is very similar to the reversed grip noto of Uke Nagashi. The "emergency draw" from this noto may seem somewhat obscure but some have been devised. It is my opinion (for what it's worth) that these schools would say one wouldn't put the blade back without knowing that there is no further danger. The chiburi of these two schools would seem to support this interpretation since they seem to leave a fairly large suki. On the other hand one technique of the Shindo Munen Ryu (Utsu Semi) does show how one might well draw from this reversed right hand grip. A technique of the Katori Shinto Iai also shows the possibility of using this grip to draw to a blocking position with the tip down and the mune forward. There are people better qualified than I out there who could discuss the combative implications of these noto and perhaps they will.

The Tatsumi Ryu, of which I have seen one demonstration on video, also uses a reversed right hand grip for the noto. In this case, as it was explained to me, the left thumb and index fingers act as a "squeegie" to remove the blood as the mune is pulled across the koiguchi. There is no separate chiburi action. Again, the combative implication of this noto is beyond my abilities to explain.

I also seem to recall hearing (???) that one of the Yagyu Ryu noto consists of placing the kissaki directly into the saya with no motion of the mune across the koiguchi. If this is not a figment of my imagination, I would imagine that the combative applications of this noto would consist of not cutting your thumb off and thus ruining your chances of fighting again.

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From the mask

to the mind

from the mind

to the body

from the body

to the sword

from the sword

to kasso teki

from Iaido

to the void

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DECORATIVE FINISHES ON SAYA

collated by Malcolm Copp-Taylor, Yugenkan, England.

TERMS USED IN DECORATIVE FINISHES ASSOCIATED WITH SAYA

Aka Kin -red gold (Kimpun)

Akarui Shu -bright red

Akebono -red streaks polished through a black ground (like dawn clouds)

Ame Iro -yellow red

Aogai -shavings of mother of pearl

Aogai Kirikane -mother of pearl cut into squares and triangles

Ao Kin -green gold (Koban)

Arai Shu -orange vermillion

Asari -transparent ground added over a design

Atsugi Raden -thick pearlshell inlay

Awabi -shell

Bekko -tortoise shell

Benigara -raw lacquer coloured with iron rust

Black Lacquer -Roiro, Tsuikoku, Yamimaki E

Brown Lacquer -Tsuio, Cha Iro

Cane -To

Charcoal -Sumiko

Chinkin Bori -etching and powdering

Clay -Nendo (used as a base ground)

Coloured Lacquer -Iro Urushi

Direct Lacquer -Kiji Nuri

Foil -Kanagai

Fundame -dull finish in silver or gold

Ga -painted lacquer

Gimpun -silver powder

Gingeshifun -flat silver powder

Ginji -brilliant silver ground

Gin Nashiji -silver pearskin

Gofun -pulverised oyster shell

Gold Foil -Kannagai

Gold Lacquer -Maki E

Guri -multicoloured layers of lacquer or metal, carved through to form a pattern

Gyobu Nashiji -large Nashiji flakes

Hakushita Urushi -thick lacquer for elevating design

Haritsuke -inlay on a surface

Hidori Urushi -base lacquer

Hiramaki E -flat design

Hirame -flakes of gold or silver

Inden -impressed

Irizeshime -thinned out lacquer

Ishime -stone grain

Itame -coarse grain

Jinoko -pulverised clay

Jogahana -coloured design flush with ground

Kabon Urushi -dull black

Kamakura Bori -carved red and black lacquer

Kanagai -strips of silver and gold

Kanoko -large flakes of silver or gold

Kanshitsu -pulverised dry lacquer

Katakiri bori -carving like brushstrokes

Kebori -hairline engraving

Keshifun -fine grade gold powder

Keuchi -thin lacquerlines

Kiji Nuri -direct lacquer

Kijiro Urushi -transparent lacquer

Kijomi -filtered raw lacquer

Kimma -Thai style lacquer

Kimpaku -thin gold foil

Kumpun -gold powder

Kindame -gold dust ground

Kinji -bright gold detail

Kin Nashiji -gold pearskin

Kirikane -small geometric pieces

Ki Urushi -filtered raw lacquer

Kobampun -gold powder

Koban -3 parts silver to 1 part gold powder

Koban Kanagai -Koban in foil form

Koban Nashiji -Koban in flakes

Maki E -gold lacquer

Mugi Urushi -glue used to fix koiguchi and kojiri

Mura Nashiji -patchy Nashiji

Nashiji -pearskin ground

Nashiji Urushi -yellowish lacquer

Negoro -red over black, polished out to give a blotched effect

Nendo -clay

Nunome -imitating cloth finish

Raden -pearlshell inlay

Red Lacquer -Aka Urushi, Shurai Urushi, Kinchirashi

Reiki -zinc white lacquer

Roiro -shiny black

Seshime -raw lacquer

Shari Nashiji -tin Nashiji

Shibo Urushi -streaked lacquer

Shio -yellow dye used in Nashiji

Shiro Chogai -thick white shell

Shirome -pewter

Shitan Urushi -lacquer like red sandlewood

Shuai Urushi -crimson lacquer

Shukinji -red gold ground

Shunkei Nuri -deep yellow lacquer

Shu Urushi -red lacquer

Suki Urushi -deep carmine lacquer

Sumi E Togidashi -gold or silver Togidashi

Sumiko Maki E -black Takamaki E

Takamaki E -raised design

Taka Urushi -thick lacquer

Teppun -powder of iron filings

Togidashi -design flush with ground

Tsuikoku -carved black lacquer

Tsuio -carved yellow lacquer

Tsuishu -carved red lacquer

Uchikomi -knot holes in lacquer resembling aged

and decayed wood

Umekoshi -hollowed out inlay

Urushi -raw lacquer

Usugai Raden -thick pearlshell inlay

Yami Maki E -black on black, as with a mon on a saya

--------------------------

Any imperfections, mistakes and inaccuracies are totally my own, and in no way have any bearing upon the comprehensive source material used in collating this list, which is by no means complete.

-Malcolm Copp-Taylor.

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Going forth and coming back

It is here all along

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The true testing comes

when you practice alone

Did you perform Saho

or just start swinging

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CLUB O' THE MONTH

The Shiroi Bara (White Rose) Iaido Club.

by Mark Sykes

The Shiroi Bara Iaido Club (formerly known as the Leeds Iaido Club) has been training in Leeds for approximately 8 years. We have been at St. Martins Institute for the last 2 years where we train regularly on a Monday evening. Since we have been at the Institute we have expanded to 14 members (large by Iaido

standards) but we always welcome new people. Instruction is given by Steve Watering (3rd Dan) and Mark Sykes (4th Dan) and we have successfully taught beginners up to 3rd Dan level. Within our club there are now 1*4th Dan, 2*3rd Dans 1*2nd Dan and 3*1st Dans. It is worth noting that most of our members have either done other martial arts before or are still active in other martial arts which means that within the club there are quite a number of Dan grades in other disciplines.

Last year we were successful in bringing a Japanese Iaido delegation to Yorkshire which included some of their leading exponents of Iaido, the delegation consisted of: Haruna Sensei 7th Dan, Oshita Sensei 6th Dan, Fujii Sensei 4th Dan and Trevor Jones 5th Dan. (Trevor had at that time spent 2 years in Japan studying under Haruna Sensei who is the chief instructor at the famous Musashi dojo.)

During their visit in addition to showing them some of the sights of Yorkshire we also arranged an Iaido seminar which was well attended by other clubs in the region (and was in fact reported on by Yorkshire Television) and proved to be very successful. Whilst they were with us we presented the delegation to the Lord Mayor (as reported in the Yorkshire Evening Post) and to commemorate this event inscribed glass tankards were presented to the delegation and to the City of Leeds. This tankard is currently on display in the Leeds Civic Hall. It is worth noting that this was the first time a delegation of this kind has been brought to the North of England. It is planned to bring the Sensei back to Yorkshire in 1991.

A delegation from the Shiroi Bara Iaido Club, led by Mark Sykes made a return visit to Japan in January 1990 where we continued to build upon the good relationships which we have with Japan. The club benefitted greatly from the knowledge gained during the visit.

If you want any more information on Iaido please ring either Mark on Leeds 497209 or Keith on Leeds 622862 or why not pop in and have a look.

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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" available for 15 pounds plus postage from the address below. 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.

Don Harvey, 81 Sandcliffe Road, Midway, Swadlincote, Derbyshire, England DE11 7PH. phone:(01144)283-218958.

SEITEI IAI MOROTE TSUKI

6 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 'smooth' 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.

6.1 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, "enzan 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 tensely by the side. As the second step (left) begins bring the hands onto the "tsuka" and "saya". The thumb pushes the "tsuba" releasing the "hibaki" 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. During the second step continue to smoothly draw the sword. The left hand gripping the "saya" lifts the sword so that the "tsuka gashira" is pointing towards the top right side (your left) of the opponent's head. This is not a sudden lift but a gradual lift coordinated with the draw. During the middle third of the draw the left hand also very slightly angles the "ha" outward away from the body. Pressure is focused on the opponent using "ki" from the "tanden" in the stomach and the head. As the "monouchi" is exposed "kensen" is used as well. As the third step is in progress, just passing the line of the left foot, the draw reaches "saya binari". The next action is a "nukiuchi". The "kissaki" arcs from the "koiguchi" as the right hand applies "tenouchi", the left hand pulls the "saya" down and round in the "obi" in "saya biki".

6.1.1 The cut begins as the "monouchi" comes into contact with the opponent's head just above temple height. At this instant the right foot has just completed the step forward. The step forward has been driven by the hips, consequently the dynamic force of the body moving forward causes the left foot to slightly pull forward for the "okuri ashi" movement.

A common fault is to treat "okuri ashi" as a separate step, in fact "okuri ashi" does not exist without the preceding hip driving step.

As the cut travels diagonally down the opponent's face the "tenouchi" is applied by the right hand, the percentage grip as a guide is the little finger at 100% the next finger at 80% the next finger at 60% and forefinger at 20%, the palm heel at 100% and the area at the root of the thumb and forefinger at 100%. The angle of the cut is a natural one the sword travelling from the left side to the centre. Do not force a diagonal cut as this will create an angle that is too big. At the same time as applying "tenouchi" tighten the muscles of the hamstring, buttocks and in the "saika tanden" this is achieved as a single action by tightening the rim of the anus. The feeling is of squeezing the thighs and knees together. As a simultaneous movement the hips twist slightly in towards the front. The overall effect is to cause the cut to become shallower until the "kissaki" exits just below the left jaw (your right). The line of the hips drops slightly.

A common fault is to make the "okuri ashi" to big causing the hips to rise.

The cut finishes with "kime". The hips are angled at "hamni". Common faults are to allow the right hand with the sword to finish outside the width of your own body, also to finish with the angle between the "mune" and the right forearm too great, usually because the right hand is too high. Use the muscles in the upper side of the chest for the cut rather than the top of the shoulder muscles.

At the end of the cut do not retain "tenouchi". Relax the grip without allowing the "kissaki" to dip. Also relax the lower abdomen muscles. However, the "ki" pressure from the "tanden" in the stomach and head is maintained as is "kensen".

6.2 After a slight pause with strong "zanshin", use the left hip to drive the left foot bringing it up to and along side the right foot, this action is "tsugi ashi". Do not overtake the right foot with the left in "ayumi ashi". This step up brings the body to the sword. The relative position of the "kissaki" does not change vis a vis the opponent. However, the height of the "kissaki" changes as the tip is brought down to the level of the solar plexus maintaining "kensen". There is a feeling of 'girding the loins' prior to continuing the forward momentum by driving the right foot forward with the hips. The whole action of bringing up the left foot, lowering the sword and stepping into the thrust is done smoothly and continuously with strong "zanshin". During the thrust it is important that the "kissaki" remains at the same height throughout. Although there is some arm movement the main power is obtained from the hips.

"Tenouchi" is applied in both hands. There is a feeling of wringing the hands by twisting the wrists inward to the centre as the arms straighten without locking. The main pushing force in the hands comes from the left hand. This action causes the blade to twist very slightly edge out (to your right). The posture moving forward with the right foot is accompanied by "okuri ashi" on the left.

Common faults here are to let the tip of the sword thrust upward thus making a small incision and of thrusting too much with the arms causing the posture to break with the head and shoulders forward.

6.3 The sword remains in this position while the posture begins to turn. The weight is distributed 50/50 on the feet, the hips are kept lowered. The feet turn together but the sequence of movement is thought of as right then left for the turn. Do not turn the left foot to face the south first as this leaves the posture immobile. Do not transfer the weight to the right foot as this causes the "kissaki" to push further to the north ie. into the opponent. Once the right foot and left foot are turned drive the left foot forward with the hip. The turning of the feet and the drive forward is not done as two separate moves but done smoothly and continuously as one movement. The posture also moves and with this action your body movement will pull the sword from the opponent. Do not suddenly turn the head to face south, rather turn slowly and smoothly using full peripheral vision for the duration of the turn. Resist the temptation to bend the head forward, keep the head upright on the shoulders. The sword remains in the same place during the movement, the tip remains on the north-south line. The feeling is of there being a weight on the tip of the sword, a feeling of dynamic tension in the muscles until the sword leaves the opponent's body. A common fault is to use the arms to pull the sword instead of letting the posture movement do the work.

As the right foot begins to move through bring the sword along side the body. The grip is relaxed during this movement and the arms are kept close to the body thus keeping the "kissaki" on the centre line. The left hand grip controls the lateral movement of the sword with the left elbow towards the new opponent. The area between the root of the thumb and the forefinger pushes up against the "tsuka" controlling the height of the "kissaki". As the sword moves up to above shoulder height the "ha" is angled up and away from the body at 45 degrees or so. The feeling here is of "uke nagashi". During this movement it is most important that the tip is not allowed to drop below "heiko", parallel to the floor position. As the right step continues the sword is pushed up into "kaburi" position. This should be with the sword slightly in front of the head and not above and behind the head.

6.3.1 The sword does not pause in this position but begins the "kiritsuke" movement straight away. The movement begins with the "kissaki" not with the "tsuka". The "kissaki" moves in the maximum arc possible, the cut begins as the "monouchi" comes into contact with the top front of the opponent's head, at this point the arms are fully extended (without being locked at the elbow) at about shoulder height. "Tenouchi" is applied with the percentage finger grip of both hands being little finger 100%, next finger 80%, next finger 60%, forefinger 20%, the heel of the hand and the point at the root of the thumb and forefinger at 100%. For the duration of the cut the same lower body muscles as before are tensed thus tightening the rim of the anus. Do not use the top shoulder muscles to excess during the cut, rather tighten the muscles at the top sides of the chest just in front of the arm pit. The cut finishes at one fist's distance in front of the stomach with "kime". The right foot stepping forward is accompanied by an "okuri ashi" with the left. The "kissaki" is a little higher than on the previous forms with the tip at the same height as the top of the "tsuba" rather than the "hibaki". During the cut there is a constant exhalation of breath, again do not exhale totally, rather stop the outflow of breath at the "kime" of the cut. The feeling in the arms at the end of the cut is one of slightly pushing the elbows outward, do not lock the elbows. Do not maintain "tenouchi" after completing the cut, it should be possible to slide either hand up and down the "tsuka" immediately the cut is finished. Do not relax too much so that the "kissaki" dips, use the little fingers to control "kissaki" height. The muscles relax in both upper and lower body. Do not relax the pressure, keep the "ki" strong pushing towards the opponent. Without any physical movement or tightness of grip there still remains a pushing feeling in the hands called "seme te". The "metsuke" will have changed during this action as the opponent falls under your cut, the "metsuke" lowers accordingly. A common fault is to follow the "kissaki".

6.4 The sword remains in this position while the posture begins to turn. The weight is distributed 50/50 on the feet, the hips are kept lowered. The feet turn together but the sequence of movement is thought of as right then left for the turn. Do not turn the left foot to face the south first as this leaves the posture immobile. Do not transfer the weight to the right foot as this causes the "kissaki" to push further to the south ie. into the opponent. Once the right and left foot are turned drive the left foot forward with the hip. The posture also moves. Do not suddenly turn the head to face north, rather turn slowly and smoothly using peripheral vision for the duration of the turn. Resist the temptation to bend the head forward, keep the head upright on the shoulders. The sword remains in the same place during this movement, the tip remains on the north south line. As the right foot begins to move through, bring the sword up with a diagonal arm movement and the arms kept close to the body thus keeping the "kissaki" on the centre line. The left hand grip controls the lateral movement of the sword with the left elbow pushing towards the new opponent. The area at the root of the thumb and forefinger pushes up on the "tsuka" controlling the height of the "kissaki". There is no feeling of dynamic tension in the muscles for this move as there was in the previous similar movement. As the sword moves up to above shoulder height the "ha" is angled up and away from the body at 45 degrees or so. The feeling here is of "uke nagashi". During this movement it is most important that the tip is not allowed to drop below "heiko", parallel to the floor position. As the right step continues the sword is pushed up into "kaburi" position. This should be with the sword slightly in front of the head and not above and behind the head.

6.4.1 The sword does not pause in this position but begins the "kiritsuke" movement straight away. The movement begins with the "kissaki" not with the "tsuka". The "kissaki" moves in the maximum arc possible, the cut begins as the "monouchi" comes into contact with the top front of the opponent's head, at this point the arms are fully extended (without being locked at the elbow) at about shoulder height. "Tenouchi" is applied with the percentage finger grip of both hands being little finger 100%, next finger 80%, next finger 60%, forefinger 20%, the heal of the hand and the point at the root of the thumb and forefinger at 100%. For the duration of the cut the same lower body muscles as before are tensed thus tightening the rim of the anus. Do not use the top shoulder muscles to excess during the cut, rather tighten the muscles at the top sides of the chest just in front of the arm pit. The cut finishes at one fists distance in front of the stomach with "kime". The right foot stepping forward is accompanied by an "okuri ashi" with the left. The "kissaki" is a little higher than on the previous forms with the tip at the same height as the top of the "tsuba" rather than the "hibaki". During the cut there is a constant exhalation of breath, again do not exhale totally, rather stop the outflow of breath at the "kime" of the cut. The feeling in the arms at the end of the cut is one of slightly pushing the elbows outward, do not lock the elbows. Do not maintain "tenouchi" after completing the cut, it should be possible to slide either hand up and down the "tsuka" immediately the cut is finished. Do not relax too much so that the "kissaki" dips, use the little fingers to control "kissaki" height. The muscles relax in both upper and lower body. Do not relax the pressure, keep the "ki" strong pushing towards the opponent. Without any physical movement or tightness of grip there still remains a pushing feeling in the hands called "seme te". The "metsuke" will have changed during this action as the opponent fall under your cut, the "metsuke" lowers accordingly. A common fault is to follow the "kissaki".

6.5 After another pause with strong "zanshin" the "yoko chiburi" is performed. The feeling of this movement should be of snapping the blade directly to the right. The "chiburi" movement is made by the feeling of pushing the thumb of the right hand downward and outward to the right. The left hand comes back to position where the "saya" passes behind the straps ("himo") of the "hakama". The fingers should be together, not splayed. The thumb of the left hand should be on the top of the "saya" so that the "saya" is positively located. The best position is where the thumb slightly hooks over the top of the "saya" between the "saya" and the body. The thumb pushes down on the "saya" so that it lies in a horizontal plane through the "obi". For this "chiburi" movement the "kissaki" and the "tsuba" begin to move at the same time.

A common fault is to move the "tsuba" first causing a whiplash effect with the "kissaki".

The "tsuba" travels twice the distance of the "kissaki" thus leaving the sword curved smoothly in towards the opponent with "kensen". The trajectory of the "kissaki" is of a shallow arc moving to the right and slightly away from the centre line. "Tenouchi" is applied during and up to the "kime" of the "chiburi". After "kime" the grip is relaxed without letting the tip drop. The blade should not be flat parallel with the floor, rather sloping down towards the "kissaki" at an angle as if the sword were resting on the floor on "kissaki" and "tsuba". The knuckles of the right hand are slightly turned up.

A common fault is to snap too much and turn the blade up so that the "ha" is pointing up and away from you rather than directly to the side.

The sword is supported by upward pressure from the top of the thumb and by a strong grip with the little finger. If gripped in this way the tip height can be maintained. The right hand gripping the sword should be the same height as the left hand on the "saya". Any adjustment of the height of the "kissaki" should be done with rotation of the wrist not by raising or lowering the arm. The right hand is slightly in front of the waist line so that if a rod were to be extended along the waist line to the right it would be able to sit on the "tsuka" behind the right hand in the position the left hand normally grips the "tsuka".

Common faults include having the right hand too far forward, too far back, too high or too low.

6.6 Once in this position, prepare for "noto" by moving the left hand along the "saya" to completely smother the "koiguchi". It is very easy to lose "zanshin" here so do not release the left hand grip and then re-grip at the "koiguchi". It is better to loosely slide the hand up towards the "koiguchi" with strong "zanshin". 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". The feeling is of very slightly over shooting the "koiguchi" 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 you. If contact is made 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 be also 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 proportion 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).

6.6.1 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 front right 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" will come up against the forefinger and the thumb as they still overlap the "koiguchi". The "tsuba", driven by the right hand sheathing the sword, will push the left hand slightly down the "saya" thus seating the "hibaki" 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.

6.7 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 is performed with the feeling and 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 not be 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 few 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 at all times.

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. Do not walk backwards by rolling the foot onto the heel and exposing the sole. Each step back releases the toes last from contact with the floor. 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.

6.8 Once in the original start position the breathing returns to normal, the form is complete.

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MATSUO HARUNA SENSEI PORTRAIT

Several people have inquired about the possibility of obtaining the portrait of Haruna Sensei done by Mr. Bill Mears. Bill has agreed to run a set on art paper and will have them available in September/October. The portrait is 8"x10" and is as seen here, the calligraphy reads (r to l) "Haruna Matsuo Sensei", "Niten Ichi Ryu", "Chief Instructor Musashi Dojo".

Costs will be $10 (includes postage) and cheques should be made out to W. Mears. His address is: Mr. Bill Mears, 100 Elmwood Ave. Crystal Beach Ontario, Canada. L0S 1B0. All proceeds of this sale are to be directed toward next year's seminar with Haruna Sensei.

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