The Iaido Newsletter

Volume 3 number 7 absolute #16 OCT 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

The CKF gradings will be held in Toronto, at the JCCC on December 1st 1991. More details to follow.

SEMINAR REPORTS

Kenseikai Muso Jikiden Eishin Ryu Summer Seminar 1st to 5th August, 1991 Rochdale, England.

This year's seminar was hosted by the Aka Bara dojo in Rochdale, chief instructor Alan Tattershall, 4th Dan. Record numbers attended the 5 day event. Students came from all parts of the U.K. and from Sweden, Germany and Denmark. The venue was the Middleton Civic Centre, a modern air conditioned building with an excellent wooden floor. The premises contained a large lounge and dining area, including a bar, which was much appreciated by all attendees at the break times.

The Japanese instructors were led by Haruna Matsuo, 7th Dan Kyoshi from Musashi Dojo, Ohara, Japan. He was assisted by Oshita Masakazu, 6th Dan (back for the third time by popular demand) and Ono Kazuo, 6th Dan. Both these sensei come from Kobe and are students of Haruna sensei. Regular attendees of these seminars were struck by the good English being acquired by both Haruna sensei and Oshita sensei. Trevor Jones and Don Harvey, both 5th Dan instructors of the Kenseikai Dojo, also assisted (their English hasn't improved unfortunately!).

The first two days were devoted to Seitei Iai and the next two days to Koryu. The final day was given over to free practise in preparation for the grading in the afternoon. The organizers wish to express their thanks to Mr. J. Howells, Mr. A. Hopson and Mr. A. Leon for driving a very great distance on the day of the Shinza thus making the grading up to Yondan possible.

Apart from the excellent intruction received on the seminar a full selection of social events were arranged to which all students on the seminar were invited. These included a jazz jam session at a lakeside pub, a visit to an Italian restaurant and a disco/buffet. The star event was a civic reception at the Town Hall with the Mayor and Mayoress followed by a Martial Arts demonstration including Karate, Aikido, Ju-Jitsu and Iai-do. The Iai-do was performed by the three sensei in front of a large and appreciative audience. The demonstration was followed by a banquet in the grand dining hall. Over 500 pounds was raised by this event and presented by Haruna sensei to the Heart Unit of the Rochdale Hospital. Commemorative plaques and cut glass goblets were presented to the sensei by the Mayor. For the duration of the seminar the Japanese flag flew over the town hall along side the Union Jack, much to the delight of the sensei.

The majority of the students also stayed at the Aka Bara dojo with the sensei thus enabling them to have many opportunities to talk and get to know them very well. In the training dojo, discipline and formality was strictly adhered to. Outside the dojo an informal atmosphere was encouraged as the sensei expressed their desire to have close contact with all students at break times and in the evenings.

Congratulations to all those who passed their grading examination. For those who did not pass, keep on training...next time! Congratulations also to Don Harvey who was awarded 5th Dan in the art of Foo-do. For those not familiar with this ancient Art if we say that Don did all the cooking for the sensei then this will give you a clue.

Finally, Haruna sensei will be back in November for two weekend seminars being hosted by the Shiroi Bara dojo in Leeds. The first weekend being the 23rd/24th. Seitei Iai on the Saturday (BKA Grading in the evening up to 3rd Dan), Eishin Ryu Tachi Uchi no Kurai on the Sunday (2 man Iai-do with Bokken). The following weekend will be Koryu only (Muso Jikiden Eishin Ryu). For information ring Steve Watering on 0532 606916 or Mark Sykes on 0532 497209. Hurry, the places are filling up!

The summer 1991 Sei Tei gradings held in Northern England included the following points which the examiners felt needed stress. (these are by way of Bill Mears of Yugen Kan).

1. Semeru (pressure) cannot be overstressed.

2. Look at the opponent before you cut and use the correct footwork.

3. The kata should be done with a smooth continuous movement without jerkiness or undue haste.

4. On the movements that involve a tsuki, take a definite deliberate look at the opponent before cutting down.

5. On kamiza rei, the kashira should be slightly off centre and the bow should be 15 degrees.

6. On to-rei the right hand moves back from the sword before the left hand after placing the sword on the ground in front.

7. The metsuke during the bows is to the front at all times except when actually bowing down.

8. Loop the sageo over the kojiri before sliding the saya into the belt so that there is only one motion to pull the sageo to the front (rather than two, one being to place the sageo over the saya and the other to pull it to the front.)

This does not apply to students of Muso Shinden Ryu of course, since they do not loop the sageo back over the saya.

9. Bring the foot no further forward than the left knee when rising during the saho.

10. Control the sword with the left hand when moving back to position after a kata.

11. After the judge says yamae at the end of the test (and you are waiting to be dismissed) make a bow to the sensei before moving back. This is a new instruction.

Note that each grading panel will set its own saho requirments and some of the above points may not be required at your particular grading. Other points, having to do with the performance of the katas should be examined closely.

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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CLUB O' THE MONTH

by Gary Hall, Tanren Kai

The Tanren Kai is an association dedicated to preserving, teaching and promoting in Eastern Canada the Japanese Kobudo or old martial arts of Japan. It is the aim of Tanren Kai to foster the propagation of budo through the study of the foremost weapon of the samurai, the Japanese sword or Nippon-to. Training at Tanren Kai is centered around the methods used to become proficient with this weapon. Primary to this art is Iaido. Iaido is a pure martial art in that there is no sport or competitive aspect to it. Iaido is basically the drawing of the sword to deliver a counterattack, following up and returning the sword to its scabbard. These techniques are taught by means of prearranged solo exercises of great precision called kata. The styles of Iaido practiced at our dojo are the Sei Tei Gata Iai of the All Japan Kendo Federation and the Muso Jikiden Eishin Ryu.

Musashi wrote that to train a thousand times is Tan, to train ten thousand times is Ren, thus Tanren means tremendous training and is analogous to 'spiritual forging'.

Tanren Kai's crest the five-petaled white flower of Nova Scotia, the trailing arbutus represents the five constant virtues of bushido benevolence (jin), righteousness (gi), propriety (rei), wisdom (chi), and faith-trust (shin). The flower rests on a black background representing the sacred or absolute world of non-ego; the state of enlightenment (satori). The center dot of the flower represents the hara or center of the body while the outer white ring is symbolic of ki the fundamental energy of the universe.

The Tanren Kai will officially open its doors through Sackville Recreation programming. Classes will be offered on Wednesday and one other evening from 8-9:30 at Monarch Elementary school. Interested persons should contact Sackville Rec. or Gary Hall for more information.

In addition to the recreation program those persons wishing to advance to intermediate and senior levels of training and want to be tested and ranked through the Canadian Kendo Federation, must be full time members of the Tanren Kai. After meeting and having interviews with the instructor, interested persons may join the Tanren Kai by completing the enrollment form and waiver and paying the appropriate fees.

The Kendo Federation (CKF) is the national body which represents Canada in the International Kendo Federation. This means that the CKF has access to top instructors from all over the world as well as Canada. The ZNKR (Zen Nihon Kendo Renmei) is the largest Iaido organization in the world. The CKF can offer testing and certification to Kendo and Iaido students. The most common style of Iaido studied worldwide is the ZNKR Sei Tei Gata. The only organization in Canada qualified to use and give rankings based on these techniques is the CKF.

The Tanren Kai is an affiliated dojo in the CKF, and is currently expanding its membership. Persons interested in serious practice of the Japanese sword are encouraged to apply. Contact: The Tanren Kai c/o Gary Hall, 23 Cockburn Court, Lr. Sackville, N.S. B4C 1K4. (902)865-9478.

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QUESTIONS AND COMMENTS

from F.Y. Omimura

In response to some of the questions by Mr. Gary Hall.

1. Changing of the leg position in Mae. This, I think, is done firstly as a part of "zanshin" and then to bring the left hip forward to facilitate "noto". This is easier than with the left hip to the rear of the right.

2. In "noto", the methods taught by the Muso Shinden Ryu and the Muso Jikiden Ryu are most common. During the centuries of civil war in Japan, and previous to that, the "tachi" (not "daito") was worn slung with the cutting edge down. In order to "batto" the left hand was used to change the position of the blade to a horizontal position to minimize the risk of cutting the hand. This method was replaced when the "bushi" started to wear the sword (daito) thrust into the obi, "otoshi zashi", with the cutting edge upward. While most swordsmen adopted the style which is seen in the Muso Jikiden Ryu "batto" and "noto", the Muso Shinden Ryu has retained the ancient method of turning the "saya" to the horizontal position for "noto" and "batto".

3. "Shomen" in Iaido is considered to be where one's adversary sits or stands, quite different from other Japanese martial disciplines.

4. "Single breath cycle" is considered ideal if one can control his breathing. However, multiple shallow breathing is permitted.

5. In "morote-zuki", a sword thrust is made to the "sui-getsu" or solar plexus, which requires that the sword is aimed at the "sui- getsu" and not at the centre of the abdomen or to the throat area. Therefore, the sword position is not horizontal. The movement was adopted from Kendo's "tsuki", which is aimed at the throat area.

6. To sit "tate-hiza" comfortably (?), put the anus directly on the point of the left heel, with the left leg relaxed. Ensure that the dorsum of the foot is flat and sit erect. This may help to find the comfortable (?) position.

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 SANPO GIRI

7. 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.

7.1 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 foot. The stride distance is normal walking length and the arms move naturally and are not held tensely by the side. As the fourth step (left) 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. During the step continue to smoothly draw the sword. The "ki" pressure from the "tanden" in the stomach and head is toward the opponent facing south on the centre line. Peripheral vision is used to keep in view the opponents to the left, front and right. As the fourth step (left) completes the eyes followed by the head turn to the opponent on the right (see notes at the end for alternative foot position). The next step (right) is not made directly to the east ie. straddling the east-west line. The finish position of the step is with the heel of the right foot on the east-west line and the toes of the left foot on the east west line. Both feet are angled about 15 degrees north of the east west line and are parallel. A common fault is to let the left foot splay.

The end of the right foot stepping is accompanied by a left foot "okuri ashi". The stepping action is driven by the hips. It is during this step a "nukiuchi" is made. During the draw the left hand angles the saya (hence the sword) slightly edge outward. This protects the left ear lobe as the sword passes close to the side of the body. Pressure is focused on the opponent using "ki" from the "tanden" in the stomach and head. As the "monouchi" is exposed "kensen" is used as well. The draw reaches "saya banari". The next action is the "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". The cut begins as the "monouchi" comes into contact just right (your left) of the top of the opponent's head. At this instant the right foot has just completed the step forward. 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 the forefinger at 20%, the palm heal 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 ham-string, 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 east. The overall effect is to cause the cut to become shallower until the "kissaki" exits just below the left side of your chin (your right). The line of the hips drops slightly. A common fault is to make "okuri ashi" too big causing the hips to rise.

The cut finishes with "kime" The hips are angled at "hanmi". 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 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".

7.2 As soon as the first cut is completed begin to turn the eyes followed by the head to the left. Keep the head upright on the shoulders. Do not suddenly turn the head to face the second opponent to the west. The head turn is done smoothly, the line of sight takes in the third opponent to the north and "ki" is used to maintain pressure on that opponent. The posture turn is achieved by rotating the feet on the balls of the feet. The feet 'thought sequence' is right then left. The hips are kept low in "iai goshi". Providing the correct foot position was taken on the first cut no further foot movement, other than rotation, is necessary to effect the turn and end up in a correct hip width posture which straddles the east west line. During the turn bring the sword in towards the body. The little finger of the right hand grips the "tsuka" thus controlling the height of the "kissaki". A common fault is to grip the "tsuka" with thumb and forefinger hence losing control of the "kissaki" which dips.

The right arm is brought close to the body. The left hand has centred the "saya" and has continued smoothly upward to meet the "tsuka" at just above the shoulder height. The tip of the sword is kept on the east west line throughout this movement. The left elbow pushes towards the second opponent bringing the "tsuka gashira" slightly in front of the head. The sword is pushed up to the "kaburi" position using the root of the thumb and forefinger of the right hand.

7.3 The sword does not pause in this position but begins the "kiritsuke" movement straight away. The movement begins with the "kissaki" not "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 60%, forefinger 20%, the heal of the hand and the point at the root of the thumb and forefinger 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 side 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 posture can remain static in the sense that no foot movement accompanies the cut. The tensing of the muscles as described above does lower the hips and thus the posture though. The cut can also be accompanied by a more dynamic movement using the hips to very slightly push the left foot forward (to the west) with an associated right foot "okuri ashi". The important thing to remember is "ma", interpretation and precision. The third and final cut must be on the north south line. The movement into the step on the final cut will be different depending whether a static or dynamic movement was made on this cut. The "kissaki" is a little higher than on the previous kneeling forms with the tip at the same height as the top of the "tsuba" rather than the "habaki". 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 the "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".

7.4 As soon as the first cut is completed begin to turn the eyes followed by the head to the right. Keep the head upright on the shoulders. Do not suddenly turn the head to face the final opponent to the north. The head turn is done smoothly and "ki" is used to maintain pressure on that opponent. The step through with the right foot is achieved by bringing the foot in and through to the north in a smooth arc. The amount the right foot is brought in depends on whether the previous cut was static or dynamic. The end result must be with the feet straddling the north south line one hip width apart. The hips are kept low in "iai goshi". During the step through the arms are relaxed and are brought close to the body. The right elbow pushes toward the final opponent. The sword is lifted pushing up with the area at the root of the thumb and forefinger. The "ha" is turned out and up. The whole movement is smooth and strong with the feeling and movement of "uke nagashi", let both hands rise up along side the head instead of in front of the head. In this circumstance any blow aimed at the head is taken by the hands and "tsuka" not the blade. The hips make the movement through the turn and drive vigorously towards the final opponent. The arms push the sword up into "kaburi" with the feeling of pushing the "kissaki". Do not let the tip of the sword dip below parallel line to the floor.

7.5 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 elbows) at about shoulder height. "Tenouchi" is applied with the percentage finger grip of both hands being little finger 100%, next finger 80%, next 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 side of the chest just in front of the armpit. The cut finishes at one fists distance in front of the stomach with "kime". The "kissaki" is a little higher than on the previous kneeling forms with the tip at the same height as the top of the "tsuba" rather than the "habaki". 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 the "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".

7.6 After a short pause with strong "zanshin" the right foot begins to move rearward. The feeling in the movement is of being pulled in the small of the back and pushed at front of the right shoulder. At the same time the "kissaki" moves upward the tip remains on the centre line. The action of both sword and leg 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 higher stance than the cutting posture. Upon completion of the step the sword movement also finishes. The final feeling is of almost sticking the tip into the ceiling, the movement does not just peter out but ends most strongly in a definite way. The sword has been brought back to a position sloping greater than 45 degrees up from horizontal, any "kensen" in this "kamae" is thus lost. The hands are in front of the head with the left gripping the "tsuka" about one fist's distance from the fontanel. The body is angled at "hanmi" the right hip is back. Viewed from the front the tip of the sword is slightly left of centre (your right). A common fault is to allow the tip to go too far to the left (your right) in this posture.

During the movement up to the "jodan kamae" the left hand slides down the "tsuka" slightly so that upon completion of the movement the "tsuka gashira" is covered covering the "suki" otherwise exposed. This sliding action must be imperceptible and the grip position must not be altered relative to the "tsuka".

7.7 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 movement of the sword is "kissaki" led. A common fault is to either push the "tsuka" forward or to let it dip down toward the head.

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 hand comes back to a position where the "saya" passes behind the straps of the "hakama" ("himo"). 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". There is an 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.

7.8 Prepare for "noto" by moving the left hand along the "saya" to completely smother the "koiguchi". It is very easy to loose "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 toward 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 "habaki" 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 toward 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 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). 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 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". The "noto" is completed in the standing posture.

7.9 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 of being pushed in the small of the back. If this movement is done correctly being driven with the hips then the heal 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.

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

7.11.1 Note. On the completion of the fourth step the left foot can be turned in slightly to the centre line. Do not cross the centre line. The toes just touch the line. The foot angle should only be 10 or 15 degrees to the line. The effect of this is to stop forward momentum in preparation for the movement to the left. The left foot is more likely to end up in the correct plane at the end of the fifth cutting step avoiding the fault of slaying. This method is easier than the one described above. A disadvantage is that the opponent may see the intention, your "sen" will be lost and a potential "suki" is created. Not turning the foot requires greater control of body momentum plus the ability to correctly turn the left foot to the right during the "okuri ashi" to the fifth cutting step.

7.11.2 Note. This form is generally performed with five forward steps. The three steps are used when insufficient space is available.

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CONTACT LIST

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

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

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

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

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

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

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

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

MJ Mike Chinadi, 2-4223 Terrace Ave. Niagara Falls, Ontario Canada. L2E 4E1.

JoJ* Malcolm Copp-Taylor, Yugenkan Dojo, Unit 19, Charlton Trading Estate, Shepton Mallet, Somerset, England, BA6 8ER.

TS* Stephen Cruise, 10 Glenborough Pk. Willowdale Ontario Canada. M2R 2G5 (416)229-4986

TS John A. Czekala, 128 Raleigh Dr. Winston Or. USA 97496-9544. (503)679-5500.

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

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

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

T*S John Drouin, 6173 Oakridge Rd. Auburn NY. 13021. (315)253- 7038 home, (315)252-8875 dojo.

T*J Gilles Dupuis, 1917 Cogilvie Rd. #C Gloucester, Ont. Canada. K1J 7N7. 746-6898.

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

T* Daniel Fontaine, 1400 Provencher, Cap Rouge, PQ Canada. G1X 1R6. 653-7973.

T*J Gary Hall, 23 Cockburn Court, Lower Sackville, Nova Scotia Canada. B4C 1K4.

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

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

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

T*J Hiryu Bushido Kai, c/o Fred Walker, 110 Lilla St. Port Perry Ontario Canada. L9L 1J8. (416)985-0205.

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

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

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

T JUKADO inc. 10126 St-Laurent, Montreal, PQ Canada. H3L 2N7. 1-800-363-2992 FAX 387-7110.

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

T* Ken Zen Institute, attn. Tom Hooper 152-158 West 26th Street New York NY. USA 10001 (212)741-2281

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

M* Ki Dojo, c/o Carol Froelich, 598 Hertel Ave, Buffalo, New York, USA 14207

M*S Kazuhiro Komaki, Haggviksv 35, 191-50 Sollentuna Sweden. Tel. (08)960523.

T*J Peter Koves, 139 Greyabbey Trail, Scarborough Ontario, Canada. M1E 1W2.

T* Marianapolis Kendo Club, c/o Dr. Gabriel Weitzner, 2021 Atwater, Montreal, PQ Canada. H2H 2P2.

TS Dr. Robert Miller, 45 Cedar Cr. Beaconsfield Quebec. Canada H9W 4S9 (514)630-4331 work (514)843-4907.

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

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

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

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

TS* 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

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

TJ* 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.

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

T Ayal Ron 800 Tzviya and Yitzhk, St Gilo 9111, PO Box 11133, Jerusalem, Isreal. Tel 02-764424.

M S&P Budo, c/o Mr. Kimura, 6049 Transit Rd. De Pew, Buffalo N.Y. 14043. (716)681-7911.

T*J Paddy Savage, Box 912 Georgetown, Grand Cayman, British West Indies. 809-949-4549.

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

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

TJ* 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.

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

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

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

TS 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

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

TK* Washington Kendo Club c/o Kurt Schmucker, 11824 Winter Long Way, Columbia MD, USA. 21044 (301)740-1462.

TS* Washington State Iaido Federation, c/o Pat Y. Murosako, 16320 76th Ave, N.E. Bothell, WA. USA. 98011.

-S Dr. D. Winslow, 1376 Louis Morin, Prevost, Quebec Canada. J0R 1T0.

TJ* 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)

TJ* 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.

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

COMING SOON

SWORD RESTORATION

A LISTING OF IAI SWORD SCHOOLS.