Iaido
Intro:
The art of drawing the sword for combat.
Origin:
Japan.
Overview:
The arts of the sword as we know them today probably began with Iizasa
Choisai the founder of the Tenshin Shoden Katori Shinto Ryu. This school
included the use of many weapons from sword and stick to spear and throwing
knives. One part of its curriculum was the fast draw and instant use of the
sword, either in self-defense or as a pre-emptive strike. This section of their
study is called Iai Jutsu. Hayashizaki Jinsuke Shigenobu (1542-1621) like Iizasa
Choisai is reputed to have received a divine inspiration which led to the
development of his art called Muso Shinden Jushin Ryu Batto Jutsu. Here Batto
means simply to draw a sword. The significant factor common to both of these
schools as with many other sword schools which concerned themselves
predominantly with the drawing of the sword, was that the art was practiced
purely as kata. How then can a martial art be fully effective when it is
practiced only as solo kata against an imaginary opponent? This is a much more
difficult question than it at first seems, the problem begins when trying to
define 'fully effective', and consider what 'effect' is required. Of course, in
kata there is no repeated opportunity to prove your technique in combat as there
is in fencing kendo, and in the repeated patterns of kata there seems to be no
opportunity to modify your movements in response to those of your opponent. As a
fighting art of the modern world it is all too easy to see the sword arts
superficially and criticize them as inappropriate, simply because we do not walk
along the street carrying a sword. The way of the martial artist should be to
avoid conflict. This was explained thousands of years ago by Sun Tsu in The Art
of War and later by masters of strategy. The martial artist who trains fully and
correctly, directed by a sensei, will develop an ability to recognize difficult
situations and avoid them before they become a problem, or will engage the
conflict before it has grown to become a significant matter, or will maintain a
state of mind and body that will not offer opportunities for an aggressor. This
is the meaning of Iaido.
The kanji (character) 'I' can also be read as 'itte' and ai' as 'awasu' in
the phrase 'Tsune ni itte kyu ni awasu' which means: wherever you are and
whatever you are doing, always be prepared. Prepared means not only to have an
aware state of mind, but also to have trained rigorously so that if necessary a
decisive technique can be used to end a conflict. With a sword of course the cut
is deadly, there are no hold-downs or restraining techniques, but this is not
the whole point. In business you must be prepared and act decisively when
required, do you have the confidence? When a friend lets you down can you deal
appropriately, fully understanding the implications and effects of your actions?
When crossing a road and a car appears 'from nowhere', or something falls on you
as you walk along the street, is your body sufficiently balanced and your mind
sufficiently clear to deal with these situations and be safe? All of these are
examples of self-defense, and all as important as the superficial interpretation
of self-defense equals fighting. Kata is a very difficult study.
Stages in training
1. Keiko. This means quite simply training or practice. This is the stage
during which the essential movements are perfected by slow repetition, by
breaking the kata down into its component parts, by understanding how the
techniques work in a fighting situation. With this practice the swordsman begins
to understand the principles of Metsuke (correct use of the eyes), Seme
(pressing or pushing) in order to control the opponent, of Maai (combative
distance) and Ma (timing). This study takes about five years of regular
practice. Overlapping with it, from about the third or fourth year, the
swordsman will begin the practice of Tanren.
2. Tanren means to forge in the same way that a sword blade is forged, with
hard work, and sweat, and many hours of dedication, folding together the hard
and soft elements in the body, mind, and movement just as the sword gains its
strength out of hard and soft steel. The student increasingly practices without
concern for the correctness of the movements (though they must remain correct
and effective) and repeats the kata uninterrupted with a feeling of Shinken
Shobu (a fight to the death with a real sword). During this phase posture
improved, movements become more natural, techniques become more effective
because timing is better controlled and less predictable. As confidence
increases and Kigurai (bearing, demeanor) develops, training moves into the
phase called Renshu.
3. Renshu. Ren means to polish, to perfect by continued practice of both
keiko and tanren. It also means to polish the spirit and character through the
requirements of detail and interpretation. To demonstrate a compassionate nature
that can pass on knowledge without egotistical pride and arrogance. This leads
to the award of Renshi meaning a person whose performance and character is
polished by training. This grade is not awarded below the rank of 6th Dan and is
only available from the All Japan Kendo Federation (ZNKR). After this stage the
actions become slower and softer, appearing to a bystander to be less
effective-but the technique comes from refined efficiency, not using force-until
the moment the sword is actually cutting, remaining relaxed in body but
constantly aware and prepared in mind. Only after leaving all of these stages in
the past and demonstrating the simplicity of the correct action and knowing all
of these stages by direct experience can the student who has by now gained 7th
Dan receive Kyoshi (teacher grade) from the ZNKR.
The Curriculum
After learning basics of how to hold a sword and cut with it the beginner is
gradually introduced to the ten kata of the All Japan Kendo Federation. These
forms were developed in the 1960's and 70's as a national and later,
international, standard for teaching, grading and competing. The moves are
derived from the most popular of old styles (koryu), and, although they
represent basic study in preparation for koryu practice, they continue to be the
forms through which instructors and sensei demonstrate basic principles at all
levels. Following these there are old style kata. Most common in the UK and
Japan are Muso Shinden Ryu and Muso Jikiden Eishin Ryu, both of which are
off-shoots from the Muso Shinden Jushin Ryu Batto Jutsu mentioned above.
These schools have five sets of kata, three of one-man sword drawing (Iaido)
and two of two-man techniques (ken jutsu). As the student progresses through the
sets, the range of interpretations widens, so that whereas the beginner had a
very strict defined set of moves, the more advance student is able to imagine
Kasso Teki (his imagined enemy) moving or acting differently, and adapt the kata
accordingly. Similarly, with the two-man kata the student (Shidachi) must learn
to cover his weak openings (Suki). If he does not the teacher (Uchidachi) will
show him where he is weak by attacking other than as prescribed by the kata.
This is the start of how we learn to become prepared for any eventuality in
Iaido.
The Equipment
Iaido is normally practiced wearing a hakama (baggy pleated trousers) and
keiko gi (training jacket). An iai obi (sword belt) is worn under the hakama
cords to hold the sword in place. The hakama is usually black or dark blue, and
the keikogi matching color or white. A white hakama can be worn, but this is
usually considered to be summer dress. There is no indication of grade by any
means in the costume. A zekken is worn on the left chest indicating your name
and club, or country when attending international events. The swords used range
from bokuto (wooden sword) for beginners, to iaito (plated alloy blunt practice
swords) for the more experienced. Please don't turn up to a dojo for your first
lesson with a sharp sword and expect to be allowed to use it! The dojo needs to
be an area of plain floor, preferably wood, without mats, and with sufficient
head-room to swing the sword. For individual practice I find a squash court to
be ideal.
The format of a practice
After warming up and stretching the practice begins with opening etiquette
consisting of kamiza ni rei (bow to high side), sensei ni rei (bow to the
teacher) and to rei (bow to the sword). Then follows suburi (cutting action
practice) and kihon including Chiburi (blood shaking action) and Noto
(re-sheathing). Depending on the size and level of the class further techniques
derived from the kata may be practiced individually before the kata practice
begins. The kata practice often begins with the teacher explaining points to be
practiced, either to the class as a whole or to groups at different grades as
appropriate. Then follows either a formal practice in which everyone performs
together, following the timing of the dojo leader, or a free practice when
everyone performs the kata in their own time while the instructor wanders from
student to student correcting points as necessary. At the end of the session
everyone performs the finishing etiquette together.
The structure of the kata
Each kata follows the same basic design of four sections: Nukitsuke (draw and
cut) Kirioroshi (main two-handed cut down) Chiburi (blood shake-off) Noto
(re-sheathing) There are within this format considerable variations. The most
common variations include: Strike forwards with the hilt before drawing, pull
the scabbard back off the blade and thrust immediately to the rear. Cut at an
angle other than horizontally, e.g. vertically downwards, vertically upwards.
Turn to various directions to cut opponents, or re-position the sword and stab.
Deflect an initial attack instead of the single handed cut, then follow
immediately with a two-handed cut.
Sub-Styles:
- Muso Shinden Ryu
- Muso Jikishin Ryu
- and others
(Contributor: B.K.A. News)
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