Iaido
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(Contributor: B.K.A. News)
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
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