Volume 3 number 2 absolute #11 MAR 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
The first official CKF Iaido section grading was held in Montreal the weekend of March 2 and 3. Kyu gradings were supervised by Goyo Ohmi Sensei (Muso Jikiden Eishin Ryu) and Stephen Cruise Sensei (Muso Shinden Ryu).
A CKF Iaido section Kyu grading will be held in Toronto at the Japanese Canadian Cultural Centre 123 Wynford Dr. Don Mills Ontario, March 24. A seminar will be held from 12 noon to 2:30 PM with gradings from 2:30 to 3:00. The fees are: Seminar $10, Examination $15, Certificate $15. All fees are paid in advance of the test and in the event of failure the certificate fee is refunded. All applicants for testing must be members in good standing of the CKF and the applicants must be authorized by the club president or instructor. Application forms are available from the Iaido Newsletter if they have not been received from the CKF. Cruise Sensei and Ohmi Sensei will be the examiners.
There will be a demonstration of various martial arts in the afternoon of March 17 at the University of Guelph Collage Royal open house (March 16 and 17) this will include Iaido and any students of the art who would like to come join us are welcome. Bring your sword. On March 16 the Aikido club is presenting a full day of meditation and Aikido featuring Bruce Stiles Sensei (Aikido) and the venerable Geshe Kalden (Drepung Monastary, Lhasa). The full day seminar starts at 10AM and will cost $30. If you plan to attend either event, bring the family as there is lots to do...from visiting the animals through the square dance competitions to the chemistry department magic shows.
Don't forget the Sei Do Kai Summer Seminar featuring Haruna Matsuo Sensei, June 27,28, July 2-6. See the notice later for details.
Send all information on seminars etc. to the editor as soon as possible. It's incentive to publish the next issue.
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QUESTIONS AND COMMENTS
From F.Y. Okimura Shidokan Montreal
A letter from Mr. Malcolm Copp-Taylor [Dec. 1990] is very interesting. (It takes a gaijin to raise questions--we nisei and younger generations tend not to question too deeply about Japanese traditions--like cormorants; "swollow the fish".)
Since Ohmi Sensei answered Mr. Copp-Taylor adequately, please permit me to add a few additional notes:
1. In Miyamoto Musashi's ryugi, Nitenichi ryu, wakazashi or shoto is used together with the daito. I had the honour of watching the kata of this ryugi at the Shinbjuku Police Station's keiko hajime ceremonies. It is said that although Musashi formulated his ryugi to use daisho (long and short swords), he never used two swords in any of his combats.
2. Wearing of the short and long swords denoted that the wearer was of Samurai class. When Toyotomi Hideyoshi became the "top dog" of the hierarchy after defeating and/or subjugating the lesser feudal lords, he forbade the wearing of katana by the people of the lower classes. It was said (in an article I read a number of years ago) that the daito was "for hire", and it was used to protect the feudal lord who retained the samurai. The wakizashi was used to protect the samurai's honour, e.g., when committing seppuku the wakizashi was used rather than the daito. Rather than a tanto (please refer to #2 of Ohmi Sensei's response), a samurai in full armour would wear a yoroi-doshi, mae-zashi, or saya-maki, across his lower abdomen, to be used when the tachi or the daito was too long for a hand-to-hand encounter.
I possess a 12 inch mae-zashi to complete a set together with my iai-to. It has no tsuba. The blade is a little thicker than those of a tanto or aikuchi. A half inch from the kissaki, about 4 inches of the mune is thinner than the balance of the blade. This thinness permits the blade to enter between the slats of the do, the torso protector.
In full dress when leaving home, the samurai would wear daito and wakizashi, however, inside a house or castle, he would wear the wakizashi only.
To hold the set of katana when armour is worn, a koshi-ate made of leather was worn over the obi. Please refer to a crude sketch:
4. Ukemi wearing daito - although I have no experience wearing a daito and executing ukemi, it could be possible--contrary to Ohmi Sensei's comments, please excuse me sensei. Judo's ukemi differs slightly, I think, from that of Aikido. Of course should the kojiri hit the ground while falling the katana and/or the saya could be pushed out from the obi.
7. "One of the more dim-witted students" could be correct regarding the wearing of the daito close to the leg--it may help prevent saya-ate. Ha ha!
RE: Don Harvey Sensei's comments/question on Seitei Iai Gohan-me Kesa-giri, could it be possible that the problem arose due to not having seen a "kesa" (the surplice worn by Buddhist priests) itself.
There are two kinds of kesa, one is worn around the neck and the other worn around the lower part of the chest with a wide strap, attached at the waist area, and worn over the left shoulder, extending to and attached to the kesa at the rear. Please refer to the diagram.
The kesa is a silk embroidered brocade--very expensive to purchase--the cheapest would be around 500,000 Yen.
The reverse kesa-giri is a cut from just below the right rib area upward to the left shoulder. To execute this technique, the saya must be turned leftward and down approximately 180 degrees, so that the blade is positioned to cut as prescribed. I was taught this method at the Kenshukan dojo in Tokyo.
To ensure the correctness of the above statement, I researched the reference books in my posession (all written in Japanese) by the following Iaido Hanshi 9th Dan, Master Tomoaki DANZAKI, Eiichi KAMIMOTO, Junichi TAMATSUTA, as well as the AJKF Seitei Iai manual published under the supervision of AJKF and the Iaido Hikkei (Handbook). Three sources note that the saya be turned to the left and downward; Yamatsuta Sensei wrote that the "ha" be facing downward as batto is executed, while the AJKF supervised book says that batto is done as the saya is being turned to the left downward. The majority imply a 180 degree turning of the saya, while the AJKF book is a little more liberal.
From Malcolm Copp-Taylor, Yugenkan dojo, England
Synchronicity, is not only an album by the Police, it is also, according to my dictionary: "A chain
of events occuring without distinct relation to each other, but with similar effect." A while back I
asked a number of questions via the Newsletter [Dec. 1990], and received some fine answers
from Goyo Ohmi Sensei, and latterly Fred Okimura Sensei [see above]. However, good old
synchronicity came into play and I am able to answer part of my own original question regarding
Ukemi whilst wearing Daisho.
I must first state the source of this valuable information, which is the 1988 Aiki News Friendship Demonstration Video. The source informant is none other than Kenju Shimizu Sensei, Headmaster of the Yagyu Shingan Ryu. Shimizu Sensei was a pupil of Tomio Aizawa Sensei and Kunio Hoshi Sensei of Ichinoseki City, Japan.
Aikidoka will note, that Morihei Ueshiba O-Sensei studied the Yagyu Shingan Ryu from 1903 to 1908, and received the Menkyo Kaiden.
Within the Yagyu Shingan Ryu there are definite levels of Waza, known as Yawara (not apparently an all encompassing term as has been used of late, but quite specific). There are Waza known as Ashigaru Yawara, Torite Yawara and Bushi Yawara. To break them down in respect of Ukemi, basically Torikata were not allowed swords, and developed combative methods within the Yagyu Shingan Ryu which allowed a rearward rolling movement, as we might see today in modern Judo. Bushi however wore their two swords, and were aware of their inability to make backward movement. Thus the Ukemi performed by the Bushi, was similar to a handspring, advanced by the placement of the sole of one foot into the crook of the other knee. These Yawara are ably demonstrated in the tape, which also contains grappling and swordsmanship in full Yoroi battle armour. Anyone interested in the tape should contact Stanley Pranin direct at the Aiki News [details in contact list]. =========================================================
THE ART OF BEING TOGETHER
by Sean Hickey
"What is it that makes the Budoka?" It is this question that begins a recent column by "Black Belt"'s Dave Lowry and it is this question he addresses. Lowry attributes the defining quality of a budoka as "sabi-shiori" -- "solitary aloneness". Sabi-shiori is that quality which separates budoka from each other, that quality which brings the realization that martial arts (budo) are in essence a solitary pursuit. It is what brings a lone Iaido-ka to do his forms in an empty dojo, or a karate-ka his kata alone in a field somewhere.
Certainly, everyone realizes that it is not the physical side that makes budo different from sports. Boxers punch. Wrestlers throw and pin. Fencers wave swords. But they are never mistaken for Karate-ka, Judo-ka, or Iaido-ka.
But, I feel that there is a whole attitude to being a budo-ka that goes beyond, but does not include, sabi-shiori. There is a balance to be achieved that creates a lifestyle, and awareness, a way of thinking. If you watch a football game, you will certainly spot one player who has that concentration and thought, that separateness, that marks sabi-shiori; but you will not mistake him for a budoka, for he is still missing much.
Professor Kano, the founder of Judo, stressed the idea of "mutual welfare and prosperity", an idea absent in sports. This idea is strong in Japan, where it is not uncommon to see rival companies sending each other gifts for being such good competition. They realize that without competition their edge would be lost.
This figures prominently in the experience of the budoka as well. Without others, our training would bring little. "Mutual welfare and prosperity" means that as your partner's attacks improve it forces your defences to improve, which forces your partner to improve his attacks. While sabi-shiori recognizes the solitary in the budoka, "mutual welfare and prosperity" recognizes the social. As we train for ourselves, we train for others, who in training for themselves, train for us. There is a whole range of attributes that make a budoka.
Awareness develops through the years of training. Budoka are made sensitive to body language
through their time spent recognizing attack from feint. This awareness gives you a split second
edge if someone hostile is threatening. If you are an "Aikidoka" or Judoka, pay attention to how
you get up from kneeling or how you turn around. Most likely, you use the same "tai sabaki" in
regular life as in the dojo. Training has incorporated certain things into your daily life and made
you aware of the mechanics of your body.
In a very real sense, budo, is training for life. You develop awareness of body and spirit, yourself and others through budo, and yes though it sounds a cliche, as we strive to be better fighters we strive to be better people. I titled this "the art of being together" partially to contrast it with Dave Lowry's title "the art of being alone". But by "being together" I do not mean as in a group, but in "having it all together". Being together is being able to draw in those influences and aspects that are part of being a budoka and striking a balance between them -- the best balance possible. There is both physical and mental in budo, neither can be neglected. Neither can sabi- shiori, the aloneness, and "mutual welfare and prosperity", the social nor any of the other diverse elements that I couldn't even begin to name. When it all comes together, and is balanced, is the time we look and say "this is who budo is all about".
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CLUB O' THE MONTH
by Sean Hickey
The Academy of Martial Arts, Yoseikan is in an unlikely location -- a converted warehouse loft, behind the Museum of Science and Technology in Ottawa. But, in this unassuming location lives a small piece of Japan. There, traditional style instruction is given in Judo, Karate, and Aikido.
Yoseikan Budo is a composite martial art from drawing techniques from Aikido, Judo and Karate to create a complete system. Students are constantly exposed to concepts from Budo outside their art of study. Karateka are introduced to the throws of Judo and the joint locking techniques of Aikido; Judoka to Aikido and the punches and kicks of Karate; Aikidoka to Judo and Karate techniques. Because the sword is the origin of Budo, at higher levels students are introduced to Iaido and Kenjutsu forms to better understand the workings of their techniques. The head instructor of the Yoseikan is Patrick Auge Renshi, Aikido Rokudan, Judo Yondan, Iaido and Karate Sandan. A native of France, Auge Sensei lived for several years in Japan as a student of Yoseikan Budo founder, Minoru Mochizuki, Aikido Meijin and Judan. Mochizuki Sensei is a student of Kano, Ueshiba and Funakoshi Senseis. Auge Sensei came to Canada in 1978 and began teaching at the Ottawa Civil Service Recreation Association (RA centre for short), before opening the Academy in January 1986.
The Yoseikan has three related clubs in the National Capital Region -- The RA Centre Aikido Club, the University of Ottawa Aikido Club and Le Club D'Aikido de la CEGEP de l'Outaouais. The clubs are all instructed by students of Auge Sensei and connected by the Canadian Yoseikan Budo Association (CYBA), with Auge Sensei as technical director. The CYBA links the clubs for events such as clinics and seminars, or winter (kangeiko) and summer training camps. In 1989 the CYBA, with the United States Yoseikan Budo Association, was proud to sponsor the visit to North America of Master Mochizuki. During his stay, Mochizuki Sensei taught clinics at the CEGEP de l'Outaouais, in Birmingham, Alabama and in Mission Viejo in California. In addition to his work with the CYBA and teaching Auge Sensei is active in the International Martial Arts Federation (IMAF).
Those wishing further information about the clubs or Yoseikan Budo may contact Patrick Auge Sensei at: Academy of Martial Arts, Yoseikan. 2486 Lancaster Rd. Ottawa, Ontario. K1B 4L5. ========================================================
TECHNICAL NOTEBOOK
SEI TEI GATA OF THE JAPAN KENDO FEDERATION
by Don Harvey 5 Dan ZNKR Muso Jikiden Eishin Ryu, Kenseikai, England. The following is an excerpt from a book being written by the author. Copyright c Don Harvey all rights reserved. No copying of this material in any form whatsoever, electronic or mechanical, except as part of this newsletter in its normal distribution is permitted without permission in writing from the author.
#4 TSUKA ATE
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. TATE HIZA POSTURE
Take the "tate hiza" posture facing the front. As you kneel do not look at the floor, rather keep your gaze to the front. Ensure that you position your knees and hands so that once in the posture no further adjustment is necessary. To get into this posture perform "hakama sabiki" and place the left knee in the same position as for "seiza". Instead of lowering the right knee down, bring the right foot up to the left knee so that the toes are in line with the front of the knee. The foot should be close to the inside of the left knee. Fold the left foot under so that the instep lies on the floor and lower the buttocks onto the heel of the left foot. Keep the posture upright. Do not have the right knee too high, just at or slightly above the height of the "tsuka gashira". In this position the right foot is not flat on the floor but angled at about 10 degrees. The arms are relaxed and close to the body, the hands are cupped so that the fingers are curled in with the forefinger and thumb very lightly touching. The correct rest position of the hands can be ascertained by placing the left on the "saya" and the right on the "tsuka" then let them lower to the rest position in the same relative position one to the other.
The breath is taken in through the nose with the tongue on the roof of the mouth and the chin slightly pulled in but not tense. The breath is taken into the abdomen rather than the chest. Exhalation is through the mouth. Do not breath in such a way as the cycle can be clearly observed by the opponent. Once in posture begin your breathing cycle. Do not focus upon the potential opponent to the front, rather keep an open gaze (enzan no metsuke). NUKI TSUKE
The opponent to the front begins to move. The "ki" pressure from your "tanden" increases. At the beginning of the exhaling cycle bring your hands smoothly onto the "tsuka" and "saya". The thumb of the left hand hooks over the "tsuba" and firmly locks the sword in the "saya". The muscles in the thighs and buttocks tighten enabling the posture to rise vertically. once there is sufficient clearance the left foot moves to the left side of the north-south line turning the toes under at the same time (see note 1 at the end for alternative movements). The sheathed sword held firmly in both hands is sharply thrust forward towards the solar plexus of the opponent. The left hand is the driving force behind this thrust. Simultaneously, the right foot stamps into a position to the right of the north-south line, the feet are now hip's width apart. Do not step too far forward with the right foot, as a guide the foreleg or shin should be approximately vertical, the best position is where a vertical line dropped from the knee would pass through the ankle bone. A common fault here is to move the foot out too far causing the left thigh to curve excessively back. Make sure you do not step too narrow ie. on or close to the centre line, or too wide, maintain the hip width of the posture.
During this movement there has been a steady exhalation. The strike is a focus point "kime" but is not a stop point. The muscles in the "saika tanden", buttocks and thighs are tensed causing a tightening of the rim of the anus. Immediately after the strike these same muscles are relaxed as is the grip in the hands and the top side chest muscles. A common fault is to tighten the muscles on the top of the shoulders too much. The muscles at the top of the chest on the inside of the arm pits are the ones to tighten. The arms should be straightened without locking the elbows. REARWARD THRUST
As soon as the strike is complete the left thumb pushes the "tsuba" to break the seal between "habaki" and "koiguchi", the thumb then folds away. A common fault is to leave the thumb sticking out during the draw, this is dangerous and untidy. The right hand holding the tsuka remains at the same height maintaining "semeru" with the tsuka gashira. A common fault here is to loose "zanshin" by relaxing too much and letting the tsuka gashira drop. The left hand smoothly pulls the saya rearward. There should be strong semeru focused at the kojiri. At between one and two thirds of the draw the left hand rotates the blade (in the saya) to the edge out position. This action causes the tsuka to rotate in the right hand. A common fault is to turn the sword using the right hand thus creating tension in the wrist causing the blade to flip out of the koiguchi at saya banari instead of coming out smoothly.
During the draw the eyes followed by the head turn to the left, use the maximum peripheral vision throughout this movement. Keep the head upright on the shoulders. At saya banari, pivoting on the left knee, raise the toes of the left foot and rotate the foot through 90 degrees anticlockwise. As this is done the left hand pulls the left hip in line with the north-south line in "saya biki" . The saya is horizontal, the thumb of the left hand covers the mouth of the koiguchi. The little finger of the left hand has remained in contact with the "himo" during the saya biki. The left elbow is tucked in and in line with the turned in shin of the left leg. As the blade clears the koiguchi it smoothly and continuously comes up to a line where the mune is at nipple height and the blade is horizontal to the floor. The right arm is curved smoothly and the tsuka is gripped with the top of the right thumb pushing up against the little finger on top of the tsuka maintaining the balance. The right knee is still in its original position facing the first opponent. A common fault is to let the right knee dip in towards the centre line as the draw is completed thus breaking the posture.
The sword is poised ready for the thrust. There is a very slight pause here with a strong feeling of 'girding the loins'. The sword is thrust rearward with a very slight decline to a target just below the opponent's solar plexus. A common fault is to pause at this position too long. The "mune" travels along a line half way between the shoulder and the elbow of he left arm. A common fault is to let it travel down into the crook of the elbow causing the tsuba to hit the forearm and bounce the kissaki up. The left hand brings the saya back to the centre position during this thrust. The sequence is sword movement followed by left hand with saya. If this is reversed the kissaki will pierce the sleeve of the jacket or worse. A common fault is to thrust upward or to thrust so that the kissaki travels to either the left or right of the centre line. The thrust is accompanied by a steady exhalation of breath culminating in "kime". The travel of the thrust ends when the inside of the right forearm and biceps come into contact with the right side of the chest. A common fault is to stop short leaving a gap between arm and chest or to over extend bringing the arm in front of the chest. The right hand grips the flat edge of the tsuka relaxing somewhat once the thrust is complete.
FURI KABURI
Immediately after the kime the eyes, followed by the head, begin to turn to the original opponent at the front. This action is not rushed but is performed smoothly using the maximum peripheral vision. As the head turns, the left foot lifts slightly and pivoting onto the left knee the left foot is rotated 90 degrees back to its original position. A common fault is to only partially return the foot leaving a narrow posture. Once the foot is in place the hips turn square on to the front. This movement is most important and should be driven by the left hip. The right hand grips the tsuka but the elbow remains relaxed so that the hip movement effects a withdrawal of the blade with the kissaki remaining on the centre line. A common fault is to stiffen the right arm during this move causing the kissaki to move off the centre line as the hips square up. The right hand brings the sword up in furi kaburi with the tsuka in front of the head. The left hand leaves the saya at the centre of the body and moves smoothly but strongly up to grip the tsuka at just above shoulder height. The sword is pushed up into "kaburi"; the maximum line of the sword being "heiko" parallel to the floor. The sword does not pause in this position but begins the kiritsuke straight away.
A common fault is to treat the thrust, turn and cut as three completely separate movements each done very fast, the effect being to give a jerky appearance to the form. The thrust is a sharp movement at the end of which the looking movement immediately begins. The looking movement is strong and smooth as is the movement up to kaburi performed with strong zanshin. At the kaburi position the cut begins immediately and is again a sharp movement. Doing the form this way gives a smooth continuous but powerful look to the form. KIRI KUDASHI
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 as little finger 100%, the next finger at 80%, the index and forefinger at 20%, the palm heel at 100% and the area at the root of the forefinger and thumb 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 he chest just in front of the arm pit. The cut finishes at one fists distance in front of the stomach. 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. The blade is slightly down, the kissaki about the same height as the top of the habaki. 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. To not relax the pressure, keep the strong pushing feeling 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. CHIBURI
After a pause with strong zanshin the yoko chiburi is performed. The feeling of this movement should be of snapping the blade directly to the right. In practise however, since a good proportion of the blade is below the height of the right knee this is not physically possible as the right hand will collide with the right leg. At the end of the cut the posture of the body should be upright but the shoulders will be slightly rounded. The chiburi movement can be performed without colliding with the leg by very slightly pulling the shoulders back from their rounded position combined with a feeling of pushing the hip forward. At that instant 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 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. For this 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 a shallow arc moving to the right and away slightly 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 slightly down toward 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 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 in 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 extended along the waistline 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.
NOTO
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 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 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 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 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. The final movement of the noto, the actual sheathing of the blade is done in conjunction with a pulling back of the right foot. This movement involves the whole posture and is not just a leg movement. The distribution of weight is of paramount importance. If too much weight is retained on the front foot then a smooth slide pulling back will be impossible. The position and weight of the head as it effects balance is the key. If the head is bent forward, that in itself will increase the weight distribution to the front. If problems are experienced obtaining a smooth posture change then altering the head position rearward will usually solve them. During the sheathing action, as the tsuba approaches the front of he right knee, begin to pull the right foot back in at a very acute angle toward the centre line (see note 2 at the end for an alternative method). Keep the shin as vertical as possible during the first part of this move. A common fault is to leave the foot in place and open the angle between calf and thigh breaking the posture. Do not let the tsuba come behind the line of the front knee, to do so inhibits the ability to draw the sword again if the need arises. The right foot continues to pull back coming on to the ball of the foot in so doing. It stops when the heel of the right foot is in line with and close to the inside ankle bone of the left foot. The line of the hips is kept as square to the front as possible. A common fault is to not come far enough back, or to go too far, or to let the feet touch. In this position the line of the right thigh to the knee is at about 45 degrees from the centre line. The muscles in the thighs and buttocks are kept tense. The knee is pushed down towards the floor, the overall effect is to keep the saika tanden tight maintaining a strong solid posture with zanshin. A common fault is to relax once the right foot is back, letting the knee slope up giving a weak posture and losing zanshin.
STANDING UP
After a slight pause with a feeling of semeru, the right hip drives the right foot forward to a position where the heel of the right foot is in line with the front of the left knee. The left knee and right foot are hip distance apart and the right foot is flat on the floor. This movement is a single action.
A common fault is to first turn the knee in to the front then slide the foot, also the foot is commonly brought too close to the centre line.
After a momentary pause with zanshin, raise the posture bringing the left foot up to one foot's breadth distance apart from the right. This movement is not rushed 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 left foot connects with the floor first. A common fault is to move by shifting the weight of the head and shoulders causing the toes to make contact with the floor at feet together position.
As soon as the foot is in place begin to remove 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 its own start and stop. Rather think of them as continuous, the end of one movement is the start of the next.
MOVING BACK TO POSITION
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. This 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. 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. Once in the original start position the breathing returns to normal. The form is complete. Note 1... Prior to the initial strike instead of turning the toes of the left foot under well in advance of the strike they are left until an instant just before the strike. The timing and posture control of this method is more demanding and great care is needed to ensure that the strike is not made with the foot in the air. The advantage is that the movement up to the strike is smoother and more continuous giving a more dynamic look to the form. Turning the toes under in the conventional way can break up the flow of this initial movement.
Note 2... On the final part of the noto instead of waiting for the tsuba to travel to a point in front of the right knee before beginning to pull the right foot back, the right foot begins to pull back as soon as the sheathing begins. The timing and posture control is more demanding in this method and the tsuba needs to be kept in front of the knee to avoid 'blocking' the sword. The advantage is that a smoother more continuous look is achieved avoiding the possibility of changing the pace of the noto as the knee movement is 'picked up'.
CONTACT LIST
S* l'Aikido de la Montagne, 3734 Avenue du Parc, Montreal Quebec, Canada. H2X 2J1.
The Aiki News Stanley Pranin ed. Lions Mansion #204, Tamagawa Gakuen 5-11-25, Machida Shi, Tokyo To, Japan 194. Tel. 0427248675 FAX 0427249119.
Roy Asa, c/o Japan Camera Centre, 88 Lesmill Rd. (Don Mills) Toronto Ontario, Canada. M3B 2T5. (FAX (416)445-0519)
J* Mitsuru Asaoka, 2445 Cape Horn Ave. Coquitlam B.C. Canada. V3K 1K1 (604)525-5080 FAX(604)520-5999
Douglas Blue III, 673 Panorama Trail West. Rochester N.Y. 14625. J
Jim Callfas, 88 East Lynn Ave. Toronto, Ont. Canada. M4C 3X2 698-8688.
Central YMCA Aikikai, c/o Stuart Rae 375 Brunswick Ave. #504, Toronto Ontario, Canada. M5R 2Z3
S* Kazuo Chiba, 3846 Eagle St. San Diago California USA. 92103
J Mike Chinadi, 2-4223 Terrace Ave. Niagara Falls, Ontario Canada. L2E 4E1.
J* Malcolm Copp-Taylor, Yugenkan Dojo, Unit 19, Charlton Trading Estate, Shepton Mallet, Somerset, England, BA6 8ER.
S* Stephen Cruise, 10 Glenborough Pk. Willowdale Ontario Canada. M2R 2G5 (416)229-4986
J* Ted Davis, Dept of Biology, University of Victoria. Box 1700 Victoria B.C. V8W 2Y2
J Dr. Gregory DeMarchi Dept of Family and Community Medicine, St. Michael's Hospital, 30 Bond St. Toronto, Ontario M5B 1W8. (416)876-7431.
* Doshikan Kendo Club, c/o Shozo Kato 124 East 79th St. Apt 3A New York NY. USA 10021(212)535-6470
S* M. Flynn, 1059 El Centro Ave. #1, Oakland, CA, USA 94602 (415)530-5714 Gary Hall, 23 Cockburn Court, Lower Sackville, Nova Scotia Canada. B4C 1K4. J* Matsuo Haruna, 247-1 Yoshida, Higashi-Awakura-son, Aida-gun, Okayama-ken, Japan. 707-04. Ph. 08687-8-3567.
J* Don Harvey, 81 Sandcliffe Road, Midway, Burton-on-Trent, Staffs. DE11 7PH. (01144)283-218958.
Sean Hickey, 6218 Ravine Way, Gloucester Ontario, Canada. K1C 2V4.
* International Kendo Federation c/o Nippon-Budokan 2 Kitanomaru-koen Chiyoda-ku Tokyo Japan. 102 (211-5804, 211-5805)
S* Japanese Swordsmanship Society, PO Box 1116 Rockafeller Stn. New York, New York. USA 10185 (212)691-2891
Japanese Canadian Cultural Centre 123 Wynford Dr. Box 191, Don Mills Ontario Canada. M3C 1K1
J* Trevor Jones, 36 Holmleigh Ave. Dartford, Kent, England. DA1 5AS. (01144)322-78598.
JUKADO inc. 540 est Henri-Bourassa, Montreal, PQ Canada. H3L 1C6 1-800-363-2992 FAX 387-7110.
* Ken Zen Institute, c/o Kenjun Kasahara 152-158 West 26th Street New York NY. USA 10001 (212)741-2281
J Fred Kay 54 Ashbury Ave. Toronto Ontario M6E 1V1 (416)652- 7110.
J Roy Kennedy, 124 Glen Springs Dr. Scarborough Ontario, Canada. M1W 1X8
J* Larry Nakamura, 24 Beckwith Road, Etobicoke Ontario, Canada. M9C 3X9. (416)622-2962
S* New England Aikikai, 2000 Massachusetts Ave. Cambridge Mass. USA. 02140 (617)661-1959
J* New York City Kendo Club, c/o Noboru Kataoka 46 West 83rd Street New York NY. USA 10024 (212) 874-6161
J* Goyo Ohmi 43 Milington Cr. Ajax Ontario, Canada. L1T 1R3 (416)683-8346
S* F.Y. Okimura, 7557 de Normanville, Montreal Quebec, Canada. H2R 2V2.
S* Seigan T. Okuyama, 1612 Shadford Road, Ann Arbor, MI, USA, 48104. (313)662-6685
J* Masakazu Oshita, 3-2-5, Kaminae-cho, Nada-ku, Kobe, 657, Japan. Ph. (078)871-7726.
J* John Ray, RR1 Box 341A, Hinsdale, N.H. USA 03451
S* Renbukan Dojo, c/o Mr. Tamio Tateno, 207 Nelson St. Brantford Ontario, Canada. N3S 4C2.
S* Pierre-Paul Rivet, 12 Desmarteau Boucherville Quebec. J4B 1Z9.
Robert Savoie 532 Avenue Duluth E. Montreal Quebec Canada. H2L 1A9 (514)288-8679 or 842-0342
S* Dr. D.W. Schwerdtfeger, 8580 Lakewood Shores Road NW. Rice, MN 56367.
J* Sei Do Kai Iaido, c/o Kimberley Taylor, Department of Animal Science, University of Guelph, Guelph Ontario, Canada. N1G 2W1. (519)824-4120 ext 6225 FAX (519)836-9873.
J Chris Sora, 121 Westgate Park Drive, St. Catharines, Ontario, Canada L2N 5X5. (416)935-5287.
J* Mark Sykes, 57 Seaforth Ave. Leeds, Yorkshire, England. LS9 6AS (0532)497209.
J* Allan Tattersall, Samurai Ju Jitsu HQ, Barlow Street Rochdale, England. OL16 1TG. (01144)706-525814.
S Marion M. Taylor, 32 Bedford Court Amherst, MA USA 01002 (413)256-0219
S* Valley Aikido, c/o Paul Sylvain, 131 King St. Northampton Mass. USA. 02140 S Peter Verra, 1452 Paddington Ct. Burlington, Ont. Canada. L7M 1W7. (416)336-7159
K* Washington Kendo Club c/o Kurt Schmucker, 11824 Winter Long Way, Columbia MD, USA. 21044 (301)740-1462.
J* Katsuo Yamaguchi, 3-24-1 Shinbori Higashiyamato-shi, Tokyo Japan 189. (0425-65-9146)
J* Yasuo Yamashibu, Tonda-cho-1-4-2, Okayama Japan 700. (0862- 25-5471) (FAX 0862-23-9433)
J* Yugen Kan Dojo, c/o Mr. Bill Mears, 100 Elmwood Ave. Crystal Beach Ontario, Canada. L0S 1B0. (416)871-7772 ext. 314
* Yoseikan, Academy of Martial Arts, Mr. Patrick Auge, 2485 Lancaster Road Ottawa, Ontario Canada. K1B 4L5.
S* Zanshin, Ecole D'Aikido et Iaido, c/o Donna Winslow, 5425 Bordeaux #503D, Montreal
Quebec, Canada. H2H 2P9 (514)521-6786
The Sei Do Kai Presents an Iaido Seminar at the University of Guelph
with Haruna Matsuo Sensei 7 Dan Kyoshi
Chief Instructor, Musashi Dojo Ohara, Okayama Prefecture. June 27 and 28 1991 (ZNKR Seitei, limited space available) July 2 to 6 (Main Seminar, lots of space)
Accomodation in University Residences
under $30 per night
Cost: daily $35, 2 days $65, 5 days $125, 7 days $150 (pre registration by 30th April for June 26-28)