Don J. ZierContents Foreword! The Students’ Perspective... PART ONE: Preliminaries 1. Overview : . Background = : a ‘Scope : Conventions sees cccse 2. Rasie Techniques Drawing = : curing... Blood-ciegning ss... feces ” Sheathing PART TWO: The Traditional Schools of laido SiH Hastert 7 Background... : : Preliminaries «5.0.0.0. cece eaee Beginning Formality _ 7 eer) Ending Forrality 7 a Shohatto (The inti Sword)... : seceteeeee DD Sa To (Following Sword) wees : 236 U To (Right Sword) « penenenvsnenteee coe 6 Aart To (Striking Sword). 7 3 Inyo Shintai (Advancing Retreating Movement)... 022.0020 265, Ryu To (Flowing Sword) o o7L Jun To (Obedient Sword) «- : : Lat Gyuku To (Reversed Sword) « : 7 oe BL Seichu To (Center Strengthened wore) 88 Koran To (iges Fighting Sword) ‘Not Ucht (Sudden Aitack) Inyo Shintai Koewaza (Advancing-Retrcating Movement) 297 4. Te Mid Talon Ebhin fu . Background . .. wees - Distinctive Features . serene sesaser Preliminary Exercises oo. soso 14 Yokogumo (Bank of Clouds) = 108 Tou Issoku (Palr of Tigers) fee sanInazuma (Lightning) Ubigumo (Floating Clouds) Yurnuorasi (Mountain Wind) : Sanat (Waves Breaking Against Racks) Urckogaeshi (Repeating Pettern) ‘Namigaeshi (Repeating Waves) - Taki Otoshi (Dropping Waterall) ‘Nuit Uchi (Sudden Attack). 5. The emer don: Of, Seated Techniques Background fend extova as Distinctive Features Kasuont (Mist) ‘Sunegaoi (Enclosed Shin) . ‘Shihogtt (Four Directional Cut) Tozume (Enclosing Doors) Towwaki (Side Door) . Tanashia (Lower Shelf) Ryozume (Both Enclosed) . ‘Tora Bashir (Rushing Tze!) 8: The mer Tad: Ou ft, Standing Techniques Background «..... 7 Distinctive Features ‘Yuki Tsure (Accompanying) ‘suredachl (Together) « ‘So Makuri (All Rolled Up) - 0 Dome (Al. Stepped) ‘Shinobu (Faithful Husband) Yukichigat (Crossing) Sodesurigaeshi (Returning from Brushing he Sleeve) ‘Mon int (Entering the Gate) abe Zol (Adjusting forthe Wall) <2 ..2s62cs6 Ukenagashi (Flowing Pay) Oikokegie (Pursuing Cw) yeh ture (Bath Wares Brought Tope) Homagot (Farewell Vist). us 7 Ls Lo 136. 2138 140 146 1s 19 150 150 154 156 e168 168 167 a7 16 ast 1B} 182 182 135 138 ses 19 198 200 1208 208 au 24 217 220PART THREE: Established Kata of the Japanese Federations 7. Rata of the AllJapan Fencing Federation Background Distinctive Features Preliminaries «+. ‘Mae (Front) Ushiro Rear)... Ukencgashi (Flowing Parry) ‘Touka Ate (Hilt Strike) : poe esuyiri (Priests Stole CW) eves e eee eeeeeeeeneee Morotezuk? (Two-Handed Thrust) ‘Sanpogte (Three Direction Cut) Ganmen Aie (Strike Between the Eyes) Soetecukt (Fixing Thist) eee ‘Shihogin (Your Direction Cu sess eee ee ees 8 Kata ofthe AlLJapan Sword Drawing Federation ackground : Distinctive Features ere 7 Preliminaries «0.00. ...eteeeecesecseeescesereseeees Moegirt (Front Cut) Moc Atogiri (Pront-Rear Cur) riage (Rising Sttke) ‘Shihogiri (Four Direction Cut) ‘Risakigaesht (Returning Sword Point) APPENDIX, Headmaster Lineage and Systemic Development Japanese Sword Terms . Glossary Participants’ Statements ee . 279 279 +280 28s 286 291 293, 209 3065 317Foreword. The Students Perspective “This book presents many technical details of Muso Shinden Ry aldo, making ths a use- ful guide foreword crawing teachers and students. One aspect of insruction that is not covered, however, is how Une as taught As long time students of the author (that’s Us tin the pictures), we wanted to comment on the instruction we recefved, thus shedding some light on that aspect of the art. In addition to being a son of iibute to Don, for ‘whom we both have great affection, we believe that much of the value we continue 10 detive rom aide comes as much fom the may he taught as from what he taught. From our st clas, it was apparent that Don was technically proficient i tao. He was teaching something that he knew how to do, and do well. Ashe had completed his formal struction in fide some years before we began studying with him, bis skill was obvious ard gave us something to aspite co. It was not just the flash of e blade that inspired us, He made us wait until we held bleck els in ancther martial ar before agreeing to teach us (so he wouldn't have to start completely from sczatch)—anl by then we knew the diference between flash and substance ‘Don also has a thorough understanding of the art. He knows the diference boenveen the correct movements and similar-but-incoreet ones and is able o demen- strate these diferences. Unlike traditional instruction, which is largely based on imita- tion, our instruction was based on analysis, explanation, and iDustation, Rather than trying 1o duplicate an entie form, we spent considerable time practicing individual movements within specie form. For example, we learned that a single, gloss move- ment, such as the averhead cut (shomen uch), can be produced in several ways— some strong and others not. By breaking each form into its component movements, Dor built the form feom the “inside out.” Thus, when the component movements were mastered, the rest was easy. This process was the essence of eu instction- ‘AS YOU might Imagine, we Spent most of cur time learning and refining basic moverients. We practiced with wooden swords (boker) for thee years before crawing ‘With bladed ones. Wie spent ten years on the twelve Omort yt forms and lesmmed the remaining forms in about two years. That we did not get bored in these years is a tib- utero the detail and Interest with which we were Instructed. (Although Don probably felt safer when we tained wih boken, live blades require the use ofa scabbard. which adds yet one more thing 19 move atthe right time, In the right direction. and atthe right speed. He was simply waiting until we were ready for “advanced! techniques. Ot maybe we were just slow learners) ‘The result of our instruction is that we are different Because of i, We move and think differently than when we began: we are not just the same people who now also do ido, Don would be the sto say that his approcch to tesching lado is net tradi- &tional. But he has never claimed any legitimacy on the grounds of tradition, only on peolormance. His instruction has been among the more gratifying experiences we have had. and we are pleased that he has finally finished this book so that others right appreciate It as well “Tor Lang & Rich RadcliffePart One Preliminaries1. Overview BACKGROUND Iaido (the way of sword drawing) is one of the more formal Japanese budo (mar- tial ways), This formality appears in the manner of practice, philosophical under- plnnings, and origins of the various systems. The taining is very righ, and there isa coresponding lack of “fee practice.” ‘Sword drawing practice is usually done in a place designated especially for it. Pantcipants wear traditional Japanese martial art uniforms: a keikogi or juban (ight jacket) on the upper body, closed with an obi (wide belt), and hakama (wide trousers) on the lower body. The jacket should fit well, not too loosely; the belt should go around the body three tlmes with enough extra length to tle in a knot in the back; the trousers should come to the ankles. Practice is done with tradi- tional weapons: the hoten or bokuto (wooden sword), the iaito (practice sword), and Katana (actual sword. ‘The sword used In practice, whether wooden or stel, fs worn in bukezukuri (ihe wartior method). The scabbard Is placed between the second and third lay- crs of the belt, edge-up. Ifa second, oF short sword is also wom, its seabbard is Inserted benween the first and second layers, also edge up. The short sword’s {guard and the long swords hilt are both n line with the navel. Both scabbards point tothe left Photo 1: font view, standing, bukezubur Photo 2: left side view, standing ‘bukezukue‘Shinien Ru Japanese Sword Drawing: A Source book for lao Students Placing the seabbards between different layers of the belt prevents them ‘tom couching and protects the scabbards irom beeily oils and sweat. faldy practice iset fs caried out in a formal manner. The positions of the fata (forms) were those of lapanese lie. even If some are po longer comman Various bows are penforned during the course of practice ‘The philosophy which is most often expounded in sword drawing schools 1s of relatively recent origin, The records that exist of very old systems show a phi- Iosophy heavily influenced by Taoism. The more modern syslems are more closely aligned with Zen Buddhism; Zen itself was, of course, influenced by “Taolgm ints seminal phases. The forms practiced in sword drawing (which vary irom system 10 system) ate intended to be practiced for ther own sake, rather than for any consideration of "combst effectiveness.” The movements are designed t0 tain the practitioner Jn “ingeralicing” That is in immersing oneself io the form to such an extent that individual characteristic fall away the form can be said to exist independ: entiy, manifesting itself hough the practioner Sucord drawing practice, lke that of other Jepanese martal ways, passes through three sequential phases. In the ast phase, shu (keeping), the practitioner copfes his Instructcr, memorizing the forms. In the second phase, ha (breaking), the practioner seeks to analyze ard understand the movements ofthe forms. In the third phase, rf (leaving), the practitioner seeks to uncerstand the essence of the forme and to ative at an impersonal practice. These phases also characterize 2 gradually attenuating relationship benween teacher and student It should be noted that the application of phased instruction does not always werk well with Western students There are many systems of sword drawing. Several have existed for more than seventsen genciations—ihe most successful of which are still practiced today, vile the least successul ar only historical euros The system documented inthis work, Muso Shinden Ryu, has its roots in the teaching of Hayashi Jinsuke Shigenobu (c. 1543 -1621). He founded the Shinmei Maso Ryu system in the late 16th century, Since that dime, the teachings have assed through « succession of headmaster, resulting in the system's name and forms being altered a number of times. The headmaster lineage of Muso Shinden Ayu is dlagrammed inthe Appendix Around the year 1800, a mejor split n this lineage occurred, giving rise to vo main schools of sword drawing. One of these eventually became the MUS Iikiden Eishin Ryu; the other, Muso Shinden Ryu. The last headmaster of the ‘Muso Shinden Ryu, Nakayama Haleudo, ttempled a reconciliation benveen the two branches by studying the forms ofthe Jikden Ryu. He formalized the Muso ‘Shinden Byu's current structure and content after this stady, in around 1923,Preliminartes 5 Nakayama died In 1958, and since then no one has been named hesdiaster to the Muso simnden Ryu Japanese sword chawing, which is studied outside of a panticular system fe. the Muso Shinden Ryu) is organized into two main administaive groups These are the Zen Nihon Iaido Renmet (the All-apan Sword Drawing Federation), and the Zen Nihon Kendo Renmet (the AlLJapan Fencing Federation). Most Sword ‘drawing practitioners belong to one or the other federation. However, some of the tmltional systems maintain independent schools and instruction. Of course, the quality of practice varies widely, a does the qualty of instuetion. Sword drawing instruction In the United States Is mostly found tn schools teaching kendo (Japanese fencing), or in oer schocls where sword drawing 3 an adjunct tothe martial acts nosrally taught. These schicos often rank practitioners, in thelr own sword dtavwing forms. The ranks ate cometimes recognized within aufltae schools, bus ether systems elten do not recoypize them. The ranks with the widest acceptance seem to be those given by the American laldo Peder allated withthe American Kendo Federation, headquartered in Los Angeles SCOPE ‘The intent of this book is 10 recond—and thus being 2 rescurce to sword drawing ppracttioners—the forms that are orally taught Ina sword drawing class, The information in this work documents the three styles of sword drawing taught In the Muso Stunden Ryu (Traditional Spiritual Vision System) of sword drawing. These styles, or traditions. are called Shoden (the First Tradition), Chuden (the Middle Traction), and Okuden (she Inner Tradition). Each of these 1s actually a system of sword drawing in its own right and will be discussed in detall {in Part Two of this work. In addition, the Seite! Kata (Official Forms) of the All-Japan Fencing Federation anc the All Japan Sword Drawing Federation are described in Part Three. Japanese writing uses three styles: katsho (the printed style), gyosko (the semi-cursive style), and sosho (the cursive style). Each of these Is progressively harder to write (and read); mastery of each forms the foundation ofthe next. The Japanese belieye that progression through these styles of waiting canviot be done ‘on technical skill alone, but requires an internal esthetic development. The three traditions of the Muso Shinden Ryu correspond to the three styles ‘of writing. Accordingly, practiione:s must have firmly mastered each tradition before going on to the next. Recording the forms of a system should not be confused with wansmitting6 Tapanese Sword Drawing: A Source book for taidlo Students its traditions. And as this work merely represents resource material, it does not transmit the traditions of the Muso Shincen Ry In addition, as deseribed above, Muso Shinden Ryy has a companion sys tem, the Muso fikiden Fishin Ryu. The forms of this system are also divided into a three-tiered structure, and often have the same names. They ate quite distinct, however, and the reader should be well aware that this is often a source of conur sion. Thus, this work also does not clocument the traditions ofthe fikden Ryu, its techniques, or the differences between it and the Muso Shinden Ryu. CONVENTIONS In deseribing sword drawing forms in print, which is a difficult task at best, cor tain conventions will be used. First, the form will be generally described. This description will contain the rationale for the actions of the form and describe the Position and movements of the imaginary enemy(ies). Next, a commentary will discuss the salient features of the form. Then the actual movements of the form will be described in sequence: simultaneous movements will be indicated by the use of “bullets” (¢). Comments conceming important aspects of the movements will follow. Certain terms will also be used to describe the sword. The blade, unless oth cnwise noted, will efer to the edge. The normal sheathed position is blade-vert- cal, edge-upward. Aiter being drawn, when held in both hands, the blade is vertical, edge downward. When the sword is held horizontally, the edge will usu ally face away from the body. ‘The forms are demonstrated so that the main action ditectly faces the viewer. This means that ifthe form contains a pivot before the main action, the Practitioner must take his seat so that the pivot will place him facing the viewer. In the descriptions of the forms, the viewers direction is denoted as the “front.” The practitioner willbe directed where to sit in relation to the “front.” At the first use of any significant sword drawing term or phrase, the Romanization of the lapanese will be glven, using the Hepburn system, followed, by the translation in parentheses. After this, the English translation will nenmally be used: only proper names will continue to be given in Romanized Japanese ‘The reader should be aware that written Japanese is often diferent than the spoken language, wherein many written syllables are unvoiced. Where the pronun- siation of terms difers inthis fashion, a guide will be given in quotation marks.2. Basic Techniques Jatdo forms beyin from either a standing or siting postion, of which there are hyo sitting positions. The fst, sciza (straight siting), is described in the pretiminary seetion of Chapter 3, The second, tate hiza (drawn-up knee sitting), will be dis: cussed in the preliminary section of Chapter 4, Setza Is considered the more for smal of the two seated positions, ancl is still used in daily Japanese life When standing, the sword is usually held with both hands, 7 classical postures for doing this. In the basic position, chexdam (the middle post tion), the sword is extended to the center front, pointing at the eyes of the imag nary opponent } ; / Photo 25% elt side view, sword passing Photo 26 left side view, sword passing Jet shoulder left shoulder Advance the right foot one step 10 the front & Cut downwatd atte enemy rm 4 this high position. wt Photo 27: le sie view, standing, ‘one-handed downvard cut CUTTING Although the intial draw is expected to injure the enemy, its eften not forceful tenauigh to kill him. The form must demonstrate additional techniques to accam plish this. Most ofthese fall into the category of cutting. The cut most often used is a two-handed, overhead cut to the center front. Sometimes this cutis varied by a slanting delivery, intended to cut the right or leit side of the enemy's head or upper body. The mechanics of th tially the same.Preliminaries 15 Although the cut may appear to be the same movement as the cut used in Japanese fencing, itis not. The fencing cut is more of a "rap." designed to allow the fencer to rebound into follow-up techniques. The sword drawing cut is Intended to inflict as much harm on the enemy as possible, thus it must be much more powerful, Vertical Cut Having drawn the sword, swing the sword overhead by stabbing the point to the rear, passing about 10cm above and outside the left shoulder. Move the left foot forward up to the ight heel Draw the scabbard back around until the mouth reaches the vicinity ofthe stom- ach. Then release the scabbard and grasp the hilt withthe left and, on is way overhead. “Make sure the sword gurl does not cross the center line. Tals 1s calle! 10 6 furl kamuri (swinging the sword overhead). The movement draws the scabbar! mouth in line with the center, so that the scabbard does not hinder the cut. Splay your elbows as you raise your arms, Photo 28: front view standing, ‘cl of horizontal dawle Japanese Sword Drawing: A Source book for Iaido Students ee 8 Photo 30: front view; sword over let shoulder Photo 31: left side vies sword ever let shoulder 2: ron closeup "ve ae J Photo 32: oflefthand on scabbant say Photo 3 fram view, dan Photo 34: lel sie view, daPreliminaries 7 ‘Stamp the right foot down again one step forward, Cut downward atthe center of the enemys head, ‘Sing Your arms down sharply to complete the strike. As your arms swing down, «liminate tive splay of your elbows by extending your ams and by “wringing” the hit with your hands. This puts your wesis behind the sword so they’ can with: stand the impact of the cut Your left arm powers the cul and swings down as it extends. Your right arm directs the cul and pushes forward as i extends. The cut stops naturally when “your right arm is flly extended. Be aware of@ singe flowing movement from the overhead siving to the dovn= ward cut, This ts called | hyoshi no uch (the strike of one shy the. 3 > we i \ Dhoto 8: fontven sanding dowmvancat Thao se ew andi ‘downward ut Photo 37: left side view, cownward Bae cut w overlay shang aes and comers 3 asstIs Japanese Sword Drawing: A Source book for fakdo Students p ne BLOOD-CLEANING Blood-cleaning Is the largely symbolic action of removing the enemy's blood from the blacle. There are several types of cleanings used in the Muso Shinden Ryu forms. The following are the two most common. Omori ryu no chiburi (Blood-cleaning of the Omori Ryu) 3 Having worhandd grip onthe sword 4, hold tina middle position, about wast I towel This chudan, the base fencing post f ton. The igh fot forward Photo 38: front view chun Remove the left hand! from the hilt and place it, palm open, on the scabbard at the left waist The right hand extends, stretching out the elbow, raising the sword tothe right side The height ofthe right fist fs about the same as the right shoulder The sor tip points about 60 degrees tothe rear Photo 39: fone view: sword extended 9 ight Photo 40: front closeup. left andPreliminaries 19 Photo 41> front view, sword extended 9 rear Photo 42° front view: sword approaching head Justas the elbow makes a 45-degree angle, swing the sword sharply down in front of the body. The right fingertips pass near the face now, sword passing20 Japanese Swont Drawing: A Source book for lao Students ‘The sword point comes cleanly tothe low, ight, diagonal side of the body. When swinging the sword downwards, make a forceful, ut not showy effor. Done correctiy, the hitle and midale {fingers accelerate the sword point. The owwnveard swing of the sword sends the up out infront parallel tothe tip of the foo. Photo 4 font view, end of standing omar chiburt ryu no chiburi (Blood-Cleaning of the Eishin Ryu) , tonne Photo 45: font view: chun Remove the let hand from the hilt and place it, palm open, on the seabbard at the left waist. The right hand retains its grasp, and the fight arm opens to the right side, ending with a slight snap as the elbow staightens. The sword assumes a downward diagonal position, much as before, but without the large swing. ICs important to center the action on the right elbow, not the right hand.Preliminaries 2 a y) i Photo 4: rant ven Photo 47: elt closeup, ff hat sword moving 0 right side a Photo 48 fom view, end of standing eishin chiburt SHEATHING Sheathing is the act of returning the sword to the scabbard. The decision to sheath assumes that an action is complete and that the wartior Is victorious. Nevertheless, the wartior is ever on guard, so the sheathing must be done with zn shin (remaining hear). ln most forms this is demonstrated by the contrast in speed between the frst part of the sheathing and the last. Following is a general description of the most common sheathing action.2 Japanese Sword Drawing: A Source book for faido Students With the hips held firm, grasp the scab. bard mouth with the let hand, nvist tt the horizontal. Swing up the sword to rest on the let hand, edge horizontal Rest the back ofthe sword in the neigh borhood of the handlguard tn the hollow of the tndex flnger and te thumb, Photo 49: font view, end of standing ‘mor chiburt Photo 50: front view, scabbard tured Photo 52: front vies sword on let hand Photo 53: font closeup, hitPreliminaries 23 Dra the right hand quickly out to the right front, stretching out the elbow, until the sword point reaches the scabbard mouth. The left hand withdraws the seabbard a litt The sword moves tothe sce im one stroke. Do not diop the point, Da nat look. The motion ofthe two hands meet at the end of sheathing Photo 54: from vies, oto to pont entry Insert the sword point in the seab bard mouth with the let hancl Photo 55: font closeup, point entry Slide the blade, horizontally into the scablbard. o ~e , Photo 56: front view Photo 57: left side views bade inserted to turnover blade inserted to turnover4 Japanese Srword Dravving: A Source book for lado Students When you have inserted 1wo-thitds of the blade, deliberately tum the blade ‘upward and insert the remainder ventically and much more slowly. 1 Photo 58: ron view blade ater turnover Photo 59: lft side view, blade after turnover Phot 60: front view, end of standing ntoPart Two The Traditional Schools of Jaido3. The First Tradition: Omori Ryu BACKGROUND The Omori Ryu (The Big Forest System) is a style of traditional sword drawing. It Is currently taught as the First Tradition of the Muso Shinden Ryu. As such, itis regarded as the most approachable of the three styles that compose this system. 4 z Omori Ryu contains eleven forms (plus a spare one). All but one of these begin from seiza, the more formal seated posture. The forms are designated by name as well as number. Sometimes a second tite Is given, usually more descrip: tive than the first. The eleven forms are named as follows: AR Inyo Shimtai (Advancing Retreatin ye gaki (doubled fences) Movement) Ryu To (Flowing Sword); ukenagasht (parrying) Jun To (Obedient Sword); kaishaku (assistant at suicide) Gyaku To (Rev sed Sword); tsukekomi (take advantage of) Seichu To (CenterStrengthened Sword); tsukikage (moonlight) Koran To (Tiger Fightin, rord); oikaze (pursuing wind) ‘Nuké Uchi (Sudden Attack); nuki uchi (drawing stike) Im addition t0 the above eleven forms, a twelfth “spare” form is practiced. ‘This form is sometimes used to replace number five, Inyo Shintai, and is titled Inyo Shintai Kaewaza (advancing- retreating movement, altemate technique).28 Japanese Sword Drawing: A Source book for Iaido Students 8 PRELIMINARIES As eleven of the forms beyin in the seiza posture. Accordingly, the first prelim! nary matter is to describe the taking, and leaving, ofthis position, Sitting in Seiza 9 Stand withthe feet together. vy Photo 1: fron view, standing Draw the left foot back about one half step, until the toes adjoin the right instep. The left heel rises off the floor 'B Photo 2: front view, fot drawn back Photo 5: left side closeup, feet,The Traditional Schools of lato 29 Begin to kneel vertically, keeping the back straight. Try to bring the left Buttock tothe left 4, R) heel. The toes stay bent under Photo 4: front view, dropped to heel When you have dropped as far as possi ble. gently tip the left knee forward and down onto the floor. The right knee will stil be up inthe air. Photo 5: front vew, et knee on floor ‘Then gently tip the right knee to the iy Draw the right knee back to make the ALY, ences even, about tw fists apart Photo 6: front view, both knees on floor30 Japanese Sword Drawing: A Source book for Iaido Students Straighten the toes so they point 10 the rear and bring them together, left big toe on top of the right Sit on your heels If you practice this, the steps will Dien toa single movement. The pleated front of the rousers will fold naturally under your knees ‘and not require any manual Photo 7: rear closeup, fet ‘adjustment Photo 9 let side view, setza Rising from Seiza Sitting formally, rise wo both knees. At the top ofthe rise, urn the toes of both fect under. Raise the right knee from the floor and advance the right foot about one half step. you have been sitting properly, the trousers will not impede the feet. The tocs stay underThe Traditional Schools of laido2 Japanese Sword Drawing: A Source book for laido Students Gently rock backwards to bring the eft knee off the floor. Keep the back vertical, The left buttock should rest on the lft heel } Rise vertically from this position to standing Bring the left foot forward and make the feet even. Photo 15: front view, standing This ts the Ogasawara style of siting, which is the mast formal. Some sword drawing schools do not use this, but use a more informal method. In this case, the left foot is carried backwards a full step and the body is lowered to the leit knee. The right knee is placed on the floor, the feet are made even and the body Is lowered to the siting position, ce this simpler method does not preserve the folds in the wide trousers, before sitting strike the insides of each trouser leg with the right hand. This sweeps the trouser legs backwards and away and prevents them from interfering with subsequent movements. The practice of sword drawing is quite formal. Although the actual practi differ from system to system, almost all show respect by bowing. In all cases, some formality Is used when first inserting the sword into the belt, and when last removing it. The following is a general description of such a formality BEGINNING FORMALITY ‘The sword is carried to the practice area in the right hand, with the hilt to the rear and the edge downward. Any cords are tied around the seabbsrd. Perform a standing bow upon entry to the practice area,The Traditional Schools of latdo 33 ‘ Photo 6: front view, sword insight hand Photo 17: ight side view, sword in ight hand Pass the sword to the front and transfer it to the forward, edge up, with the thumb over the guard. eft hand, carrying it with the hilt Advance to the spot where the sword-insertion i to take place Lower the body to seiza, Place the sword on the ground, edge to the outside, guard in Line with the lft knee. Remove the left hand. t Wh Photo 18: front view, middle of pass Photo 19: font closeup, hands3 Japanese Sword Drawing: A Source book for Iaido Students y a _° view, sword in ft an a i Photo 22 front view, seiza Photo 2 let side view se 1 sword on let side ground Ww sword om left side ground Photo 20: ront view, sword in let hand Photo 21 ets there are any bows to perform to the Instructor or others, do so now Resume the grip on the sword, Lift the sword to the front until the guard Is centered, chest high, with the seab- bard hanging diagonally down to the left. Grip the sword with the right hand, palm ¥ under the guard. Slide the left hand, palm down, to the buat, lifting the sword to horizontal (Photo 24: front view, sword raise in lft handThe Traditional 9 % Schools of lado 35 Photo 25: ront view, rght hand on sword Photo 26: front closeup, hands Photo 27: font view, sword horizontal If there ate cords, use the left hand to stand the sword vertically in front ‘of the right knee, edge to the leit. Photo 28: rant view left hand standing sword vertical36 Japanese Sword Drawing: A Source book for lato Students Use the left hand to rotate the scabbard 180 degrees, edge tothe right, Photo 29: front view, rotated scabbard Photo 30 front closeup, hands Use the left hand to unfasten the cords, drawing them horizontally tothe left to straighten out any kinks. Photo 31: font view Fett hand drawing out cords Let the cords hang down the scabbard. Photo 32: front view, let hand lowering cordsThe Traditional Schools of Iaido 37 Use the left hand 10 again rotate the scabbard 180-degrees, edge tothe left Photo 33 front view; rotated seabbard Photo 34: front closeup, hanels Grasp the scabbard and cords together with the let hand and bring the sword back to the high horizontal position from which you started. Photo 35: front view hand grasping scabbard ae Photo 36: front view, sword horizontalas Japanese Sword Drawing: A Source book for Iaido Students Place the sword on the floor infront with the guard in line with the right knee, and the edge away from you. Arrange any cords parallel to the scabbard Perform the seated bow: This is called the to rei (sword bow). Photo 37: font vlew, sword placed on floor Photo 38: font view, sa 1w/ sword om round infront I there are cords, pick them up with the litle fingers of the right hand. Photo 38 front view right hand picking up cordsThe Traditional Schools of Iaido 30 Re-grip the sword as above and r a Rotate the sword in the right hand until you can inser the left thumb into the belt at the eenter waist, berween the second and third layers. Photo 40: front view. sword horizontal Use the left hand to insert the butt into the belt Photo 4: front view, sword inserted Inobi Photo 42: lft side view, sword inserted in obi As the scabbard emerges from the belt through the left side opening of the wide trousers, slide the left hand to the butt and draw the sword fully to the reat q d di as Photo 43: front view, lft hand Photo 44: eft side view, lft hand drawing sword to teat drawing sword 10 reat40 Japanese Sword Drawing: A Source book for Iaido Students Slide the left hand up the scabbard and grasp the sword at the guar. Release the right hand 9 a Photo 45: rant view, siz, w/ sword settled, side view, seta, cords in right hand Serted, cords night If there are cords, draw them to the right and tie them around the trouser strings at the right side opening. Photo 47: front view, drawing cords to rght Photo 4 ront view, tying knot Photo 49: rant closeup, tying knotRest the right hand on the right thigh Release the left hand and rest it ‘on the left thigh. Stand and move to the waiting area ‘or directly to the practice position, Photo 51: front view, st2a, w/sword settled Photo 52: front view, seiza, w/ sword settled ‘The Traditional Schools of laido 4 Photo 50: front closeup, tying knot ENDING FORMALITY Advance to the spot where the sword:-removal isto take place, with the sword correctly placed In the belt. Grip the sword with the left hand, thumb over the guard. Lower the body to selza Photo 53: left se view setza w/ sword settled2 Jopanese Sword Drawing: A Source book for Iaido Students Ii there are cords, untie them and hol the ends with the litle fingers ofthe tght hand. Bogin to drav the seabbard forward out of the belt with the left hand, Photo 54 front view, drawing cords to right When the left hand is advanced about 10cm. grip the handle with the right hand as before, palm underneath Photo $5: front view, righthand on sword Continue advancing the sword, but restrain the let hand from moving forward. Photo 56: front view, ight hand Photo 57: lef sie view, right hand withdrawing scabbard Withdrawing sableThe Traditional Schools of laido 43 AAs the butt emerges from the belt, grasp q it with the left hand, palm on top. Photo Sf ront view, left hand on sword Bring the sword up to the horizontal Photo 59: front view, sword horizontal If there are cords being held by the right fingers, use the left hand to stand the ‘sword vertically infront of the right knee, edge to the left Photo 60: rant view, eft hand standing sword vertical4 ource book for laido Students Sword Drawing: A $ Use the left hand to rotate the sword 180-degrees, edge to the right. Photo 6: front view, rotated scabbard Photo 62: front closeup, hands Reach benween the cords and the scabbard with the let hand, take the cords from the right fingers, and withdraw the hand and cords to the left. This ties the cords around the scabbard. Adjust the cords near the but. Photo 63 front closeup, left hand taking eords Photo 6 front closeup, tying cords around butt‘The Traditional Schools of lakdo 45 Use the left hand to rotate the scabbard 180 degrees, edge to the Left Photo 65: front view, rotated scabbard Photo 66: font closeup, hans Grasp the scabbard and cords together with the left hand rotate the sword back to the high horizontal position from which you started Photo 67: front view left hand taking scabbard Photo 68: font view, sword horizontal46 Japanese Sword Drawing: A Source book for laid Students lace the sword on the ground with the guard in li mt = e with your right knee, edge Perform the seated bow Photo 70: front view, size, sword on ground In ont Photo 69: front view, placing sword on floor Re-grip the sword. Ralse It to the horizontal Slide the let hand up to the guard, taking the familar grip there. 9 Photo 71: font view, sword horizontal Photo 72: front view, lft hand on guardThe Traditional Schools of latdo a7 Release the ight hand. Photo 75: ront view, right and removed Place the sword on your left side, guard in line with your knee, edge to the outside. Release the left hand. If there are any other closing bows, perform them now: 74: front view, sea, ‘sword on left side ground Re-grip the sword in the left hand. Rise, right foot first, and move to the edge of the practice area, Photo 75: font view, sword in left hand. Photo 76: left side view, standing, sword in left hand48 Japanese Sword Drawing: A Source book for Iaido Students pe " Transfer the sword across the front to the right hand, with the hilt to the rear and the edge downwad. Bow and leave the practice area, 9 Photo 77: front view, middle of pass ‘Photo 78 font closeup, hands 9 & ai 4. Photo 79: front view, sword in right hand Photo 80: right side view, sword in ight hadThe Traditfonal Schools of faido 49 SHOHATTO (The Initial Sword); mae (the front) General Desc Sitting in seiza, face your enemy, who is about 1.5 meters away. You sense that he 1s about to attack, but before he can act, you draw, striking his chest or temple. AS he throws himself backward you advance and cut downwvard, striking his forehead, Finish the form by performing blood -cleaning and sheathing. ARS Commentary This and the three following forms are the core of sword drawing Instruction. ‘They, or ones very like ther, ae found in almost all ystems of sword drawing 3s the beginning techniques. AS such, they define certaln general characteristics of the Omori Ryu style. ‘The forms describe in-door situations. Although the Japanese swordsman ‘would often be outside, specifically exterior forms are not encountered until the Inner Tradition. The swordsman is in more danger when inside a house, where his movements are constrained by both the building and the social situations in ‘which he might fin himnselt. This is born out by the fact that all but one of the Omer! Ryu forms begin from ser2a, the most formal siting position. The use of ths position implies that te swordsman is engaged in a formal gathering, not merely siting alone in his house Japanese swordsmen would come together for formal occasions, sitting in political or social groups. Social rank and position would govern the arrange ment, both within and between groups, but certain general principles would apply. Swordsmen bonded together in some kind of group would sit close to one another and face the same direstion. Their spacing would vary from enly inches away to about 5 meter. Armaments would vary, too, but follow a general rule. The less armed the swordsman is, the friendlier the gathering. I he has both swords, but the long ‘sword is cared rather than worn inthe belt, the gathering is less dangerous. In this form, you are described as facing your opponent, who is about 1.5 meters away: too far away to be part of your group. This means thatthe meeting is alrcady hostile and the enemy is known to be a threat. You should be on guard irom the beginning. The fact that you're wearing your sword further indicates the hostile nature of the meeting50 Japanese Sword Drawing: A Source book for Iaido Students Movements Sitting in seiza, face the front. To compose yourself, take three breaths. Photo 2: front view ez, Photo 3: left side closeup, hands ‘nian horizontal rave Perform the horizontal draw, coordinating your movements with a forward right step in a kneeling posture The draw and step must be coordinated so that you begin the draw at the same time as you begin tse up on both knees. You must reach the top ofthe rise, and turn your toes under, at the same ‘moment that you tun the siword a quarter turn to the lef. Without pausing, suddenly advance the right foot one step tothe front, The right knee makes a right angle, The left eg stands vertically upward tothe knee The let foot stands on the toes. The lower left leg should be parallel to the right foot and clearly to the lef ofthe centerline. This ts the fundamental kneeling posture of pain.‘The Traditional Schools of laido sr You must complete the draw, attacking the enemy’s chest or temple, a the ‘same moment your right foot comes down. Photo 4: front view, kneclingon both knees, Photo 5 eft se view, kneeling on both ‘dav to tumover ‘knees, draw to turn over Photo 6: front view, draw after tumower Photo 7: elt side view. draw afer tumover Photo 8: rant view, kneeling, horizontal daw Photo 9: left se view, kneeling, horizontal drawJapanese Sword Drawing: A Source book for aido Students Prepare for the vertical cut by swinging the sword overhead and moving the left knee forward, even with the right heel. a5 Photo 10: font view, kneeling. Photo 11: let se view, kneling ‘sword over left shoulder sword over lft shoulder Photo 12: font view, kneeling, jada Photo 13: left side view, kneeling oda ‘+ Stamp the right foot down again one step forward, ‘+ Cut downward at the center of the enemy's head. The sword tip stops about 15cm. from the floor.Photo 14: font view, kneeling, downward cut am ” Photo 1: front view, kneeling, sword extended to ight y, Photo 17: front view ising ‘sword passing face The Traditional Schools of Iaido Dd re Photo 15: left side view, kneeling, ‘downward eat Perform the blood:-cleaning of the Omori Ryu: ‘As you swing the sword down past your face, stand half-way up on your right foot. The left knee will rise off the floor ‘as you assume this half-standing, half= kneeling posture. Ths i called iai goshi (sword drawing waist, Photo 18: front view, aigosh, en of chiburt34 Japanese Sword Drawing: A Source book for taido Students In the halt-sitting, half-standing posture exchange the left and right fet. ) The shor is held tm the right hand, ‘away from the body on the right side, with the edge downward and the tip pointing toward the centerline. 1 will xX Stayin tpt rng he fot " exchange. The lft hand presses the ‘ scabbard against the left waist. ‘Draw the ff foot upto the right. Pall the right foot back. During the Photo 19: font view, aigosh kt foot {ime you are standing both knees ven w tight wll remain bent XM Photo 20: front view, algosh, right for pulled back Sheath the sword. When you ture the blade fo vertical, put the right knee quietly on the floor 4s the action terminates. Remain kneeling for a moment, then continue practiceThe Traditional Schools of Iaido | | Photo 21: front view, iatgosh Photo 2: front view, sword on let hand. Scabbard tured Photo 25: ront view, note to point entry | Photo 24 front view, blade inserted Photo 25: front view, blade after turnover Photo 26: font view, end of noteJapanese Sword Drawing: A Source book for laido Students SA TO (Following Sword); hidari (left) General Description ZA, Youstt inte customary ea poston. The enemy ison your lft about 1.5 meters vay, acing the same direction as you. Before he can tam and atack. You dra Fy ome xmas cing thane oman shh Commentary In this basic form you deal with an opponent who is not from a hostile group, but from one allied with your own. Your distance from your opponent means you are not part ofthe same group, but you ate siting on the same side, facing the same way. Suadenly the supposed friend becomes an enemy You, ever alert, must per ceive this and respond accoedingly Because the enemy is on the left side, you have some advantages. The enemys sword ison the other side of his body. To use it he must tum all the way around to face you. This will slow the enemy's draw, whether horizontal or vera ‘Your weapon is on the same side as the enemy. If you can use it effectively you should be able to strike fist, provided the lft step does not confuse you Movements ‘Sit with the front on your left. Look to your left and grasp the sword. Perform the horizontal draw, coordinating your movements with a leftward step in the kneel- Ing posture Begin the draw at the same time as you begin to rise up on both knees. You must reach the lop of the rise, and turn your toes under, atthe same move ‘ment that you turn the sword a quarter turn tothe lf. Without pausing, pivot on your right knee tothe left. Make sure the biltpre- cedes you during the pivot. You do not need to hurry the turn, Suddenly advance the lft foot one step. The left knee makes a right angle. The right leg thrusts vertically downward to the knee. The right foot stands on the toes. The lower right leg should be parallel to the left foot and clearly to the right of the center line. You must complete the draw, attacking the enemy's chest or temple, at the ‘same moment your left foot comes down.The Traditional Schools of laido 37 Photo I: front view, setza,w/ sword settled Photo 2: front view, siz, initiating horizontal draw looking to leit Photo 3: front view. kneeling on both knees, | Photo 4: front view: draw after tumover rave to turnover looking to left pivoting on right knee Photo 5: front view, kneeling, horizontal dra, Tet foot frwars38 Japanese Sword Drawing: A Source book for laido Students Prepare for the vertical cut by swinging the sword overhead and moving the right knee forward even withthe left heel. Photo : front view, kneeling, sword over let shoulder, left foot forward Photo 7: front vw, kneeling dan, Te foot frwarc ‘+ Stamp the leit foot down again one step forward, ‘+ Cut downward at the center of the enemy's head, In this case, the actions of the hands on thee scabbard and hilt are the same as in Shohatto, but the feet are reversed. Photo fran view, kneeling ddonmwrard cut w eft footThe Traditional Schools of laido 59 Perform blood-cleaning. Again the hands perform as in the Shohatto, but the feet are reversed. You will rise up on the left foot Photo front view, kneeling ‘sword extended 10 ight : x Photo 10: front view rising Photo 11: font view, sigoshl, end of ehburt ‘sword passing face In the haltsitting, half-standing posture exchange the right and left fet. Put the right foot forward, even with the let. Withdraw the left foot x Photo 12: fran view, aigoshi, Photo 1 front view, falgosh right foot even w/ Tet let foot pulled back0 Japanese Sword Drawing: A Source book for lakdo Students Sheath the sword. Kneel on the left knee, The kneel and the sheathing terminate together Pause and then continue your practice. J h, ibd font view, sword on efthand, Photo 14 front view, faigos, scabbard turned ph i Photo 16: ront view, noto to point entry Photo 17: front view 4, Photo 18: front view, blade ater turow Photo 19% front view, end of nota‘The Traditional Schools of laido ot U TO (Right Sword): migi (right) General Description BS ou st inthe customary seiza poston, with the enemy om your right, about 1.5 ‘meters away, facing the same direction as you. Before he can turn and attack, you draw, and then cut downwards, acting with the same general formality as in FD Stott ‘Commentary This form describes a situation more dangerous than the previous ones. Here, again, you face an enemy who initially masquerades as a friend. However. because the enemy ison the right sid, the ackantage lies with him. Infact, you and your opponent are in exactly opposite positions as you were in the previous form. Sa To. ‘The enemy's sword is closest, now, and he can attack faster. He must step forward with his left foot, though. while you can use your right, This tends to Improve your chances. Movements. ‘Sit with the front on your right Look to your right and grasp the sword. Photo 1: front view, sez, w/ sword settled Photo 2: front view, sea, initiating horizontal draw. looking 0 ight