師伝芥考土佐の英信流

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PREFACE
Everything includes logic, technique, theory etc. These elements can be investigated deeply and intently. However it is almost impossible to comprehend everything at the
same time. There are essentially two ways of rationalising things. One is sharp mentality the other through physical activity. To logically comprehend things and to
physically experience things, both are essential if we want to advance in technical ability. This book is analytically written based on my teachers tuition and my own
experience So not sure if it will be approved of by all that read it. Therefore I would appreciate it if this book was used as a significant guide.
IN APPRECIATION OF FORMER TEACHERS
From August 1957 onwards for 20 years I was given generous instruction by Yamamoto Takuji Sensei (a student of the 17th Master Oh-e Masamichi). I think I managed to
memorize the complete background of the Muso Jikiden Eishin Ryu of Tosa. Which is the reason I am writing this book. To reintroduce the original forms and techniques,
just in case the style is changed in future.
Writing minute technical details may present an oversight. However I will do my utmost. I take full responsibility if there is any misinformation. It is of the utmost
importance that I leave the information which I have received from Yamamoto Sensei, Mori Shigeki Sensei, Fukui Harumasa Sensei (19th Master), Takaoka Den Sensei
and many other members of the preceding generation. Also I would like to pay my special respects and gratitude to Mori Sensei a close friend of the 18th master
Hokiyama Namio Sensei, Fujimura Yoneji Sensei of Kagawa, Imo-o Taketoshi Sensei and members of Kagawa Roshukai.
ATTITUDES TOWARDS TRAINING
When we decide to examine the continuity of an Iaido Ryu, there is more than one path to choose from;
1, Keep to the original or originators method and theory and comply to it without question or hesitation.
2, Disregarding the history or background of a particular Ryu, simply train according to given instruction.
Above are briefly are the two major classes. I have chosen the first one It is straightforwardly possible to trace technical development back to the period of Master Oe. In
between The originator Hayashizaki Jinsuke and the11th Master Goto Masataka there are no detailed records available except for a list of numerical order and a very brief
explanation of techniques.
I WAS EXTREMELY FORTUNATE TO HAVE GREAT TEACHERS SUCH AS:
1, YAMAMOTO TAKUJI Sensei. Direct student of Oh-e Masamichi, studying under him 7 days a week for 7 years, during the latter period of in the life of Oh-e Sensei.
2, M0RI SHIGEKI Sensei. He was a student of Oh-e Sensei from 54 years of age until he passed away. Signifying that he inherited the spirited technical method of Oe
Sensei.
3, FUKUI HARUMASA Sensei (19th Master) TAKAOKA DEN Sensei. Associates who studied Muso Jikiden Eishin Ryu for many years under Oh-e Sensei.
I studied under these teachers to reach the level of Hanshi. Through training under them, I realised the importance of understanding the hard work by Oh-e Sensei had done
in formulating the techniques of Muso Jikiden Eishin Ryu.
From 1964 onwards for three years I wrote my sentiments in a the Nihon Budo newspaper and asking readers for opinions.
Even amongst my teachers opinion sometimes diverged. Perhaps because their own tuition was in a different period during the life of Oh-e Sensei. Unavoidably Sensei
himself may have altered things corresponding by age and experience. For example he formulated an updated Koryu and clearly established other forms. He also created
Henka-waza/Kae-waza (alternative techniques). There were some differences amongst the aforementioned teachers. However etiquette in the Dojo was exactly the same as
Oh-e Sensei had taught. His influence must have been powerful and austere.
Nevertheless I am writing this book without the experience of direct tuition from Oh-e Sensei. Therefore, I shall be looking forward to receiving some readers opinions and
criticism for the future development of Muso Jikiden Eishin Ryu,
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PREPARATION FOR IAI TRAINING
Iaido is not only drawing and cutting a target with a sword. Obviously
handling the sword plays a substantial part. However mental training
is more important in achieving a good human character. There is a
proverb that says, There is no end to learning an Art. The time to stop
is the time one dies.
CHOOSING A GOOD TEACHER IS ONE OF THE MOST

IMPORTANT POINTS IN TAKING UP THE IAIDO PATH.
This is not an easy task. One should get advice from friends. Once you
have found a teacher you should follow and comply to his tuition
without hesitation or doubt. Notwithstanding all teachers are human
beings. You may end up inheriting some of your teachers bad habits.
However once you reach the same standard as your teacher it is easy
to separate unnecessary attributes.
A LIFETIMES RESPECT FOR ONES TEACHER.
Possibly because of democracy coming to Japan after World War II , I

see a lot of students acting very selfishly. To begin with they appear to
be polite obedient and diligent. However once they reach a certain
standard they seem to become ignorant and forget their respect
towards their teacher. Its a rather sad development. No matter how
much a student has achieved in technique and knowledge, the teacher
should be treated with highest respect. Oh-e Masamichi was treated
like a god by my teachers during his life and I have followed in their
footsteps.
PRIDE AND RESPECT FOR LINEAGE.
To study Iaido the practitioner must have a knowledge of the lineage.

Before starting actual physical practice. Even within our Ryu, the
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original style of Oh-e Sensei and the Shimomura Ha displayed a

difference in technique. No one can say which is right or wrong, but
there are different points of movement because the theory or method
differs.
IAI TRAINING SHOULD BE CONTINUED AS LONG AS

ENJOYMENT IS FOUND IN IT.
There are many students who give up a short time after they have
started learning. For these people training must be very boring and
simply hard work. Both Iaido and Kendo training should be continued
with patience. I have noticed that some people give up on entering into
the Tatehiza forms of our Ryu. They could either felt that they had
achieved enough or that they had started to experience real difficulty.
Tatehiza requires a higher standard of technicality and knowledge of
Iai. Seiza technique is not sufficient enough to be able to understand
the quality and history of Jikiden.
YOU MUST NEVER IN ANY WAY SHOW OFF YOUR SKILLS TO

OTHERS.
Politeness and moderation are considered to be virtuous in Japan.

Even amongst veteran Iaidoka, some of them seem to be over
confidant about their own abilities and display a lack of sophistication.
It is of considerable importance to listen to the advice and opinion of
others to advance and improve.
Rearranging traditional techniques must be thought out very carefully.
Recently I have noticed that some instructors are rearranging things to

facilitate easy practice. This mainly seems to be connected to Shiai
and Gradings, as smooth and smart movements seem to get more
points. When comparing technical differentiation between the early
70s and the present 90s, the following changes are noticeable.
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Different Chiburui (Chiburi):
In our Ryu (Seiza section), during Chiburi action the Hasaki (top part
of the blade) used to stop at a point near to ones own right foot, so that
the blood was shaken off near to ones own body. However recently a
more horizontal Chiburi is becoming popular. As a result the blood is
shaken off towards the front. As to performance, it seems to be
dynamic and smart.
Reduction in Iai-goshi: To take the posture of Iai-goshi is to;
• Open both knees
• Drop the upper body
• Push the Tanden forward as much as possible The side view of this
posture does not look at all smart. However this Iai-goshi was created
to react to an attack by an opponent from any direction. The posture of
today seems to be more upright and the knees are much straighter.
Reduction of hip twisting in technique: In the case of cutting a

target with a single handed cut (right hand) in Iai technique,
considerable hip twisting motion has been used to create a better
result. With this hip twisting action the back foot (left) momentarily
holds Shumoku-ashi(L or T shaped foot position). But in modern
Iaido, Shumoku-ashi is inhibited in many schools. This could be
because Kendo prefers foot position and footwork to be straight
forward.
• For the purpose of cutting (Iaido), a body twisting action is

imperative.
• To hold a good posture (as in Kendo), both feet are kept straight
forward.
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In Kiritsuke the Kissaki position height has increased within our

Ryu, because of the cutting aim.
• In the case of cutting down with a dynamic action, the Tsuba is

hidden behind the head and the blade also drops behind at an angle of
about 45 degrees.
• On the other hand, in the case of an emergency (Nukiuchi, Makko ) a

quick Kirioroshi is required. Therefore the Kissaki does not extend
behind the head. Action starts from above.
Students of my generation were taught two different positions to be

taken on different occasions. However the present style is, taking a
shallow Kamae in all forms, one is unable to display different
situations.
In present day Iaido, the Kissaki stops in a horizontal position in

almost every Tachiwaza form (standing forms).
In our Ryu there are two different sword positions when Kirioroshi is
completed.
1, When Kiritsuke is performed to cut the head of the opponent i.e.

Tsuki-kage, Oikaze.
2, To cut as deep as possible until the Kissaki reaches knee height.
Recently as Shiai (match/contest) have become popular, the stopping

height of the sword is at waist level. To perform realistically or
intelligently, I do not think anybody can say which is right or wrong
because Both techniques have their own aim, method and logic.
Referring to the above, many techniques have been changed in the

past few decades. Training must be obediently maintained until
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lessons can be digested without displaying overconfidence. In

receiving tuition an obedient and honest attitude is an essential
requirement for ongoing improvement. Endless repetition finally
produces the best results.
The method of tuition nowadays is overindulgent.
In other words all movements are taught theoretically in detail.

Consequently students misunderstand, as they know everything but
unfortunately the body cannot keep up with what the brain tells us!
According to the teaching methods of Oh-e Sensei, he would teach
movements in brief, then students would continue with repetitive
practice. He would then occasionally give advice whenever he thought
it necessary. It was almost the opposite of the present teaching method.
However at any rate repeated practice is essential with or without
tuition. I feel that I have just started to do some decent Iaido practice
after more than 50 years of learning. It is my personal opinion that one
should consider that one is still a student up to about 6th Dan standard
and repeatedly practice what ones teacher advises. However this is not
saying that 7th or 8th Dan is good enough. Because Iaido is a lifetimes
work. There is no end to Do study.
SEIZA SECTION - PREPARATION FOR EMBU.
All techniques in the Seiza section are done sitting in the Seiza
posture. It is a very basic technique, one person against a single
opponent. Although it is questionable as to fact that the Samurai ever
sat in Seiza wearing a long sword on their hips, Seiza is a valid
method of perfecting basic Iaido technique. The conditions are as
follows;
a] Initial action is taken from the Seiza position.
b] A long sword is worn.
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c] One man with one opponent.
d] No difficult or complicated techniques are used.
All these conditions are very basic and most suitable for learning
fundamental techniques. In other words;
1, Seiza is a reasonably comfortable sitting position for Japanese and

some other Oriental nations. However it seems to rather
uncomfortable for Westerners. Even if it is difficult to begin with Iaido
and Kendo enthusiasts soon get used to it. One should always wear
Tabi with Montsuki. However demonstrations outside present a
problem. For this Tabi with rubber soles are available. Seiza practice
promotes the following points;
a] It teaches the association between the Tanden and breathing.
b] Controls mental unbalance.
c] Teaches one to use both arms and feet adequately with speed and
timing.
d] Teaches basic form against an opponent.
2, Our school has a custom of using a long sword, even so;
a] A long sword is difficult to control.
b] Control the timing of Nukitsuke and settle the Tanden.
c] With the added weight of the sword and tightness of the Obi the
whole body has to work more actively.
3, As to the one man one opponent situation. This position seems to be

adequate as either can initiate action.
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4, Throughout these forms, movements are relatively simple. The

Seiza section was created by the 9th Master Hayashi (omori)
Rokudayu for the purpose of practising fundamental technique. It
actually seems easy to accomplish basic movements, however the
reality is different. Simple movements are far more difficult than
complicated ones. Unfortunately beginners do not realise the
importance of this and tend to go on to Tatehiza and Oku-Iai to
quickly. Seiza techniques must be studied and practised repeatedly for
a long time. After many years of accumulated practice each technique
is finally established within the body both mentally and physically. To
understand the essence of Seiza, the following points should be
carefully considered;
a, Ample Tanden power.
b, Large technique.
c, Power generated by the whole body.
d, Correct posture.
e, Follow basic logic.
f, Full spirit in Zanshin.
This method is used in Kendo for exactly the same purpose. Kirikaeshi
and Uchikomi are fundamental exercises for all experienced Kendoka.
They display the significance and importance of fundamental exercise.
However there is one issue. How should one instruct beginners? When
I teach Seiza to beginners, I tell them to perform slowly with broad
actions checking each movement. I recommend that Tatehiza and
Oku-Iai be performed smoothly at a reasonable speed.
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Seiza Nobu Linkpage Home
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IPPON ME - MAE
MEANING.
When recognising the opponents harmful emotions, take immediate
action to cut the neck of the opponent or his face or upper arm
(depending upon the opponents posture). Followed with Kirioroshi
on the fallen opponent to complete the action.
MOVEMENT.
(a) Sit in Seiza facing Shomen and substantiate the existence of an
opponent. Technique hereafter must be taken after substantiating
that an opponent exists. However when an opponent is to the side
or behind action is instinctively delayed.
Iwata Sensei demonstrating Shimomura-ha Oroshi for

people attempting 8th Dan Shodan-shiken (Heisei 11)
(b) When the body is filled with fighting spirit, grip the Koikuchi with the left hand. At the same
time the left thumb pushes the Tsuba and the right hand moves to the Tsuka gripping lightly with
the fingers. The knees are drawn together to meet on the centre line.
(c) With the Tsuka-gashira maintaining a line towards the centre of the opponent’s body start to
draw the sword. At the same time both toes touch the ground and the hips are raised. At this
point 10 c.m. of the blade is still inside the Saya until the Nukitsuke posture is completed.
(d) As the right foot is extended forward take Nukitsuke action cutting horizontally from left to
right.
(e) In finalising the Nukitsuke movement bring the Kissaki towards the left ear and adopt the
Jodan posture with both hands, following this a vertical Kirioroshi.
(f) With full Zanshin, Metsuke is maintained toward the fallen opponent. The left hand is
released from the Tsuka and is brought to the left hip (over the Obi).
(g) Inscribing a circular movement with the Kissaki to the upper right, the right fist is brought up
to the right temple.
(h) Swing the right fist diagonally to a position forward right which is continued until the fist
reaches a position right front of the right knee (Chiburui). At the same time, stand and bring the
left foot to the right foot. The knees are slightly bent (Iai-goshi). The upper body is vertical.
(i) holding this posture move the right foot back in a slightly diagonal path.
(j) Noto starts in this Iai-goshi posture and is completed as the right knee touches the ground.
(k) Keeping the eyes on the imaginary fallen target stand, bringing the right foot to meet the left.
Adjust ones posture from Iai-goshi to an upright one and Metsuke moves from the target to a
natural Enzan no Metsuke (See note).
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(l) Take one pace backward and return to the sitting posture before starting the next form.
EXPLANATION OF THE MAIN POINTS.
TECHNIQUE MUST BE STARTED AFTER SUBSTANTIATING THAT AN

OPPONENT EXISTS.
Before starting action in any form the logic of movement must be understood in full detail. One
must imagine the situation and status of the opponent, then ascertain when is the best time to
begin to act. In starting action without adequately evaluating the opponent. The whole action will
end up meaningless. Even if the form looks attractive and smart it will not be realistic. The
posture, position, height and angle etc. of imaginary targets are all different therefore, Metsuke
before action must differ case by case.
BRINGING BOTH HANDS TO THE TSUKA.
In sitting forms Seiza or Tatehiza One begins with both hands resting on the thighs. The fingers
pointing diagonally inward are relaxed. The action of bringing the hands to the Tsuka must be an
unanticipated movement keeping the opponent unaware of ones intention. A smooth natural
movement is essential. First of all a relaxed left hand moves to the Koikuchi. This can be likened
to gently rubbing the Hakama and Obi. Push the Tsuba forward with the thumb and at the same
time move the right hand toward the Tsuka-gashira and lightly touch the Tsuka with four fingers.
Then grip the Tsuka underneath and near the Fuchigane. There should be a minimal movement
of the elbow.
In being precise, the left hand moves a fractionally earlier than the right to make the Nukitsuke
action fast and smooth. An important point within this action is to keep the right elbow and
shoulder joints relaxed. Also to perform this move successfully the right wrist must be flexible.
DIRECTION OF THE TSUKA-GASHIRA IN NUKITSUKE.
As the drawing action starts the Tsuka-gashira is on the centre line aiming at the opponent’s
Suigetsu (solar-plexus). When facing an opponent in a normal situation the Kissaki is applying
force towards him. But the Tsuka-gashira points towards the opponent to occupy and destroy his
concentration. Also this movement is designed to offer protection, disallowing the opponent from
attacking easily as ones own centre line is covered.
For the above reasons, it would seem to be extremely ideal, logical, sensible and economical to
wear the sword with the Tsuka-gashira on the centre line for ones own protection. Except in
reality this is insufficient. To pressurise the opponent with the Nukitsuke movement the Tsuba
must centre. In having the Tsuka-gashira in the centre, the Nukitsuke action easily ends up too
wide. In other words it seems as if the sword is being drawn towards the left of the front instead
of forwards. It is understandable that the sword should be drawn broadly. But the broadest of
movement is not always the best. Fundamental logic should be used in working out each
movement.
One of the most important points is to retain ones spirit and positive attitude within this action to
demonstrate ones conviction.
(Note: Enzan no Metsuke (looking into the distant mountains) seeing forward but beyond this,
having an overall view of ones surroundings)
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Another important point in Nukitsuke is

posture. Many people misunderstand
the meaning of Seme (attack). It does
not mean violent action. Fighting spirit
and violence are entirely different
things. An overactive fighting spirit can
create violence. In Nukitsuke the body
unnecessarily leans forward. There are
other things that should be mentioned;
a, In a bent over posture it is

impossible to maintain Ki and power in
the Tanden.
b, If the upper body is bent forward the

balance of ones weight will incline
forwards during action. As a result of
this there is not enough weight left on
the back leg or foot, so the knee will
slip backward during action.
c, In a bent over posture one also

loses power against the opponent as
ones stature is lowered.
Iwata Sensei winning the 6th All

Japan Iaido Championships
d, It is difficult to finish in a correct posture if one starts out in a bad one. An upright body and
power in the Tanden would be effective advice given by the old masters.
BRINGING BOTH KNEES TOGETHER.

In the Seiza section of our Ryu, Batto (Nukitsuke), Hiza-awase (Note 1) and the action of raising
the hips must be done simultaneously.
a, Hiza-awase is the preparation to move forward to take Nukitsuke action. The toes of both feet
and knees initiating the action. It is a very important to concentrate ones body weight on a single
point whilst moving the body forward powerfully with speed. This is why we must bring the
knees together before Nukitsuke. After Hiza-awase raise the hips to get ready to go forward. At
this moment the body is on a single straight line, because the right foot is almost off the ground
in preparation to go forward and the full body weight is on the left knee and toes. This body
posture should be extremely flexible to counter against any situation.
b, Hiza-awase is also a defensive posture. In times when Judo was called Yawara, one hand
covered the groin for protective reasons. In Iaido, Hiza- awase seems to have the same
purpose, offering protection against a groin kick (Kin-geri). however this is not the major purpose
of Hiza-awase.
NUKITSUKE LOGIC - BATTO AND HIZATATE
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Kneeling on both knees with the toes touching the ground. In this connection there are two
methods of rising.
1. Rise up onto the toes before starting Nukitsuke or. . . . .
2. Start Nukitsuke before the toes are raised.
The first one is used if there is plenty of time to draw the sword or the ground conditions are
rough and it is difficult to instantly draw the sword. Also another purpose is to prepare the lower
half of the body for action.
Nowadays in doing Iaido, the floor condition is quite smooth and even. Therefore in most cases
the first of these methods is used. There are many other reasons for doing this. In any case the
power and pressure against the opponent is the actual Nukitsuke. I personally prefer the second
method for my own practice as this way I do not have to worry knees, feet or the floor condition.
THE RELATIONSHIP BETWEEN BATTO AND THE ANGLE OF THE BLADE.

It is advisable to start Nukitsuke while the edge is still upward. This is practically impossible to
do because within action the blade is moving from left to right to cut a target horizontally. No
matter how ones grips the Tsuka, the up-pointing edge must be turned outward to take
Nukitsuke action. The effectiveness is in the timing. At what stage the edge is turned outward to
take Nukitsuke (Note 2).
Start preparation for Nukitsuke by; Turning the sword outward before drawing the sword.
Turn the sword outward according to the blade movement.
Keep the edge pointing upward until the last split second before dispatching the blade.
If the conditions allow I would recommend the last point.
In the 1950 s whilst training in Kochi City, some of my friends used to drop the right shoulder to
draw the sword. In dropping the right shoulder drastically it enables one to grip the Tsuka whilst
keeping the edge upward. Although I did not approve of this action it was understandable.
The angle of the edge and right hand control.
How and to what degree one should turn the edge is a very important point, as it is the right
hand control which creates different results. Turning the sword outward with the left hand before
drawing the blade is not so difficult. However taking action with the blade inclined outward is
indeed a difficult task. Wrist control and flexibility of the right hand and combination of both
hands etc. is extremely intricate but is most essential element. Unbalanced control of the hands
creates a great difference in the result. Nevertheless if practice comes first good results will
follow automatically.
Note1: Hiza means the knees. Awaseru; The Japanese verb to put or join things together, unite, combine, connect,
amalgamate etc.
Note 2: Iwata Hanshi teaches that the power of the cut is derived from this twisting action. If there is no power in the
twist, one cannot cut.
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SPEED OF BATTO (NUKITSUKE) To my knowledge and experience

the speed of Nukitsuke is taught to all Iaido enthusiasts by individual
teachers and instructors many times.
Jo, Ha, Kyu, are the three words to digest to improve Nukitsuke. In other
words, slowly and mildly at the beginning, increase speed in halfway Then
increase the speed and explode into action. Or more simply heighten speed
towards the end. A simple explanation could be to Start slow and finish fast.
But it is not so easy to connect these words because a psychological factor
is involved. The following table shows the main difference between them.
JO : The intention and feeling is to pressurise the opponent with full mental
and abdominal power.
HA : Build up the abdominal power and attacking spirit.
KYU : Concentrate the attacking power with a will and confidence of

positive victory.
As shown above the psychological preparation contains plays a heavy role in taking Nukitsuke
action. It is very difficult to explain in writing, but there is an inseparable connection between
technicality and mentality within the study of Iaido.
BODY POSTURE JUST BEFORE NUKITSUKE.

For whatever movement, it is necessary to face the opponent squarely, deliver pressure and
show confidence. It is the same with Nukitsuke. This is difficult to explain, but is even more
difficult to show in action.
Turn the Saya outward with the left hand before action as preparation is one way, but is not a
recommendable way. The body should face the opponent squarely until the last moment. Then
pull the hip backward when the blade is dispatched from the Saya. Overdoing this action closely
resembles the style of Shimomura Ha. Therefore it is necessary to study the differences
between Shimomura Ha and Tanimura Ha.
NUKITSUKE ACTION.
To take Nukitsuke action, a degree of experience is necessary to maintain a pressurising power.
To perform it involves an extremely lively spirit, heart and mind. In Iaido the target or opponent is
invisible. But the action should be taken as if a target is present. Nihon no Tachi (the second
stroke) relies upon the result of Nukitsuke. The first stroke called Shohatto is a vital movement.
For example in Ukenagashi or Kaishaku a second move is not required against an opponent’s
action. Therefore Nukitsuke should be done in effect to show that a second cut is unnecessary.
A LOGICAL EXPLANATION OF THE ANGLE OF THE EDGE.

The technical movement of Nukitsuke is set out above. At the beginning of the movement the
edge is pointing upward. When about 10 c.m. of the Kissaki remains in the Saya. Turn the Saya
outward with the left hand and take Nukitsuke action cutting the target horizontally. At this stage
the target to aim for is the shoulder or chest of the opponent. However one ends up cutting the
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neck as the body automatically rises with Nukitsuke.
The condition of the right hand; Fingers must be relaxed at the beginning and squeeze gradually
towards the end. The right fist moves straight forward until the Kissaki leaves the Koikuchi. The
Kissaki draws a circular line from left to right cutting through the target. In Iaido (also in Kendo)
Kiritsuke, Tsuki, Chiburi etc. demand this squeezing fingerwork is called Te-no-uchi. Without Te-
no-uchi the performance will consequently be uninteresting and lacklustre. Taking positive action
before continuing into the next move is a basic requirement in Iaido.
THE LOGIC AND TIMING OF NUKITSUKE ACTION.

There is a necessity to consider the timing and degree of the edge when the blade is dispatched
from the Saya.
Logically the left hand turns the Saya outwardly according to the increase in action. This
seems to be a reasonable and natural reaction.
Obviously the length of the sword makes a difference to the technique and timing of turning
the Saya outward. With a long sword one needs preparation to draw and a big Sayabiki is
necessary. On the other hand a short sword can be handled speedily with a small amount of
movement.
A main element of Nukitsuke is Sayabiki (pulling back the Saya with left hand as the Kissaki
leaves the Koikuchi).
NUKITSUKE SYMMETRY.
Check the existence of the opponent. Put both hands on the Tsuka. Lift the toes to touch the
ground. Lift the hips and start to draw the sword. The posture at this stage should be;
Turn the toes and grip the ground firmly.
Gently bring both knees together to meet on the centre line.
Lightly raise the hips.
With the right hand grip the Tsuka in a gentle manner and stretch out towards the chest of the
opponent
The left hand holds the Saya at the Koikuchi in preparation to take Sayabiki action.
The edge of the blade is gradually twisted to the left with the right hand.
The right shoulder is unavoidably pushed forward.
Metsuke is towards the eyes of the opponent.
On these conditions Nukitsuke is taken stepping forward with one foot.
The posture at the end of Nukitsuke is to put power and strength on the left knee. Keep the
knee, hips upper body an head upright. The Kissaki is slightly lower than shoulder level. The
angle of the knee at about 90 degrees. Metsuke is kept upon the opponent with the head upright
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and the chin pulled in firmly. Maintain the body weight on the left toes, knee and front foot.
Points to check in this posture are;
• The toes of the back foot touch the ground firmly.
• The left knee holds the body weight. Therefore the Tanden must be pushed forward and
downward to support the correct body posture.
• The left knee, body and head must be kept upright.
• If the right foot is placed too far forward or the body is leaning forward, the back knee cannot
support the body weight and it will slip backward. To produce good results in performance and
achieve technique it is essential to look after the floor of the Dojo. Try to keep it clean but not
slippery.
• The complete sole of the front foot must not touch the ground. Weight is put on the heel.
This is explained in Gorin no Sho by Miyamoto Musashi. It says The heel of the front foot holds
the ground firmly and the toes are almost floating. It is indeed logical and understandable that if
the body weight is placed on the front of the foot and toes, The knee will bend deeper and the
body will lean forward making it difficult to do Nukitsuke. The blade control with both hands is
important, but the right foot move is even more so. Repeated experimentation will yield results.
Weight on the toes or on the heel? From a practical point of view it will be best to keep the
weight between the heel and toes. Not withstanding there is a difference between Iaido and
Kendo. In Kendo the right foot steps forward to strike. In Iaido this foot goes forward to cut. The
aim of hitting and cutting is different.
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THE SOUND OF THE FOOT IN SEIZA ACTION

There are two different types. One is to make a noise and the other is to step forward without a
sound. Both have their reasons, but the silent footwork was the original one, so as not to attract
the opponent�s attention. From a training point of view it is difficult to use the sliding footwork
and gain good results. In fact some schools are teaching people to deliberately make a
stamping sound in Seiza techniques. This way it is physically easier for beginners to learn Ki-
ken-tai-ichi.
Regardless of other people Master Oh-e told us to make a sound for Seiza techniques. When
students reached the Oku Iai stage he taught silent footwork. I can clearly recall many senior
high graded Iaidoka intentionally stamping in Kochi 30 or 40 years ago. My teacher Yamamoto
Takuji Sensei used to tell me, Stamp the foot as strong as the floor boards are in the hall.
Making a sound seems to be powerful, on the other hand silent footwork is graceful. Both ways
are correct. It is for the individual to choose depending on ones experience and technical ability.
� Direction of extending the front foot: The placement of the right foot on Nukitsuke is of major
importance. Some practitioners step widely to the forward right to keep the body balanced and
steady.
Stepping as in 1 is adequate. Position 2 is too wide from the centreline, even

if it looks steady it does not target Kirioroshi.
Moving the foot directly forward, one can lose balance. On the other hand, if
it is too wide a step the target will be missed in Kirioroshi. Adequate footwork
should be acquired as a result of experimentation.
THE IMPORTANCE OF FOOTWORK

In Iaido, Ashi (feet), Koshi (hips) and Chikara (power) are too be treated as
the essence, especially the feet. As the lowest part of the body they produce
the energy to attack. To find the right foot position is important to achieve
correct posture and attack with intensity.
NUKITSUKE AND TWISTING THE HIPS

When employing a single handed cut or thrust in Iaido, hip twist is required to get full results.
Without a counter hip twist one cannot produce enough power for single handed techniques. It
is the same in Nukitsuke. Keep the body square until the Kissaki leaves the Koikuchi. Then twist
the hip as Nukitsuke action is taken. Although the degree of the twist does differ between
Shimomura Ha and Tanimura Ha. Connecting the body twist with the knee and foot position:
When Nukitsuke action is taken twisting the hips, the body faces slightly to the left.
To hold the body weight on the left knee, the left foot moves to the right to keep
the body balanced. How far one moves this foot is a personal choice. However,
if it is moved over too much. It is uncomfortable in keeping the body square.
Oe Sensei’s direct student Mori Shigeki Sensei has explained about the Hanmi
posture at Nukitsuke. The hips are kept square at Nukitsuke. However drawing
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the sword inevitably turns the body into Hanmi. Except twisting the hip at the
same time closely resembles the Shimomura Ha technique.
COMBINATION OF FOOTWORK AND THE BODY TWIST

Stamping with the right foot or sliding it smoothly forward will make a
substantial difference in the body twisting action.
Taking action facing the opponent square on with Ki-ken-tai-ichi and stamping is not so
difficult. But it is not so easy twisting the body at the same time.
In comparison, Nukitsuke with silent, smooth footwork, it is easier to control forward

movement and twisting the body. The first one is useful for practising Ki-ken-tai-ichi and the
second for flexible body twisting exercise. To make a stamping sound or not is a personal
choice, therefore outsiders have no right to criticise this point. The stamping technique could be
beneficial for beginners in learning timing.
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THE MOVEMENT OF THE KISSAKI.

The circular line the Kissaki draws is shown on the left.
Example 1 is twisting the body left before drawing the sword. Neither method is
perfect for all practitioners. Individuals should choose the method to suit their
own achievement.
In the case of 2 the shoulders are square and the foot is stamped. Therefore
there is not so much body twist involved.
MERITS
As one is facing the opponent square on, balance can be kept reasonably steady.
After Nukitsuke, this posture gives one the capability of comfortably dealing with an ensuing
attack or defence.
DEMERITS - 1
As the upper body takes Hanmi, the left foot is placed under the hips. This makes it difficult to
follow with immediate action.
The Hanmi posture does not pressurise the opponent as much as the square shouldered
position.
An over emphasised twisting movement confuses the technique with Shimomura Ha.
DEMERITS - 2
Because one can only use the right hand to draw, the power is not as strong as 2
Because the shoulder is square, the Kissaki might not reach out enough to cut the opponent.
MERITS - 2
Nukitsuke action to be sharper because the hip is pulled and twisted as the Kissaki is
dispatched from the Saya.
The Kissaki movement is wider than in 1 as a diagonal shoulder covers a longer distance.
DYNAMIC APPLICATION.
The techniques are outlined above. The question is how can one increase the power of the
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sword? The points to emphasise are; the toes of the left foot › left kneecap › hip and Tanden
power › force of the arm › right hand grip › hip twist.
These are all connected to perform a successful Nukitsuke.
The toes, left kneecap and right leg support the whole body weight. Balancing of these three
points must be studied carefully to ascertain the correct timing and accord.
The power of the hips and Tanden: From any movement the root of power lies here. The
same applies to Sado (tea), Buyo (dance), or Shodo (calligraphy). They are the main points of
physical movement. As stated the upper body and hips are supported by the front foot, back
knee and toes The abdominal power should explode with breathing control. The hips and
Tanden are the key points which connect the upper and lower half of the body in correct posture.
The muscle power of the arm, gripping and Kissaki power. There are four parts of the body
which achieve Nukitsuke.
1. The knees and feet supporting the body weight.
2. The hips and Tanden keeping the body balanced.
3. The upper body holding the correct posture.
4. The arms, hands and sword performing the actual action.
All of these parts must word together in a satisfactory combination to create a logical and
sensible movement. Fundamentals correct posture are the most significant characteristics of
Nukitsuke.
METSUKE
First of all Metsuke is the
act of checking and
appraising the situation
and surroundings. Then
concentrate on the
opponent with Enzan-no-
Metsuke. (The eyes
should not focus on one
specific point). Then
dispatch the sword to cut
the opponent before he
can begin his action. The
teachings about Metsuke
by Miyamoto Musashi in
Gorin no Sho are: 1.
Kan-no-Metsuke: Feel
the opponent with a sixth
sense.
2. Ken-no-Metsuke: Look
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at the opponent with your

eyes. Both of these are
wholly correct, but which
one to use depends
upon the time, place
and/or occasion. One
has to feel the opponents
existence and look at it,
then take action. This is
the standard for most
cases and forms.
Shinobu in Oku-Iai
(Tachiwaza No 5) is an
example of when one
should rely on Kan-no-
Metsuke as this form is
done in darkness. No
matter how one directs
these Metsuke one must
be mindfully and
mentally alert.
Kongen no Maki
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PSYCHOLOGICAL CONSIDERATION.
In studying and researching psychological reactions, it is very important to
understand the historical actualities that our ancestors have discovered
about Nukitsuke under critical conditions.
Without excuse, under any circumstances the sword should be drawn out in
a fraction of a second.To be able to do this Heijo-shin (a normal/natural
mentality) must be held all the way through Nukitsuke. Miyamoto Musashi
taught it as follows;
Under all circumstances, Heijo-shin must be held without change in

either active movement or peaceful silence and must evenly exist within
each. Mental preparation in assessing a situation must be broad and honest
straight from the heart. This is indeed advice one should hold in high
regard.
Yamamoto Takuji Sensei
POSITIVE BELIEF IN VICTORY.
It is essential to maintain a positive will to attain victory. The attitudes of having a commitment to win
and a commitment not to lose are very close in appearance. Technically there are some differences
between them, but they should function together. The intention of I must not lose, should create the
spiritual necessity of winning. The combination of a defensive and offensive spirit is the psychological
preparation to save and protect ones own life.
NUKITSUKE FORM.
Nukitsuke posture has already been explained. Other additional advise is, Attacking is still defending.
This may sound contradictory but discernment in within correct body posture. An important part of this
movement is the route the Kissaki takes in reaching a stopping point. This is shown in the previous
diagram.
KISSAKI MOVEMENT IN NUKITSUKE.
There are two methods which both have merits and weak points.
1 Is rather defensive.
2 Is more offensive and powerful.
To study forms logically is basic common sense, but on the other hand practical movement are not always
logical. One must invariably consider replacing weak points in favour of strong ones.
Pull the left hip back when the blade leaves the Saya, but keep the upper body as square as possible.
When cutting the opponent’s neck the Kissaki must not travel too far to the right or try to stop out side
the neck. Adequately is the key word. Not too wide, too narrow, too high, low or fast. Not too slow, too
tight or loose etc., etc. Reading and studying is an easy task. Performing as one thinks and plans is not so
easy.
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THE PRINCIPAL POINTS OF POSTURE.
In taking any movement one must logically consider the important points A good performance is showing
is being able to show sufficient expression within movement.
Posture initiation: As I have already stated so many times, the upper body must be straight and upright
to support the sword and handwork of the Nukitsuke action. Support the upper body with strong a Tanden
and steady hips. To support the body it is essential to create stability on the toes and knee of the back foot
and front foot.
Good posture in Nukitsuke is; keeping the head, upper body and Tanden over on an upright left knee.
The cutting power of the Kissaki; must be transferred from the Tanden through the upper body and
squeezing the right hand.
With regard to the posture at the end of Nukitsuke; must look as if one has cut a real target. The aim of
Iai action is to eradicate the opponent with cutting action. Preparation of a strong positive posture with a
fully concentrated spirit will produce a satisfactory result.
Metsuke power; initiating Enzan-no-Metsuke, pull in the chin tightly, then forcefully fasten a sharp
Metsuke on the target. Of course a strong fighting spirit must be implemented before one starts to draw.
THE METHOD OF BRINGING THE SWORD INTO THE JODAN POSITION.
The Kissaki stops firmly at the end of Nukitsuke and the posture is held for a second before taking the
next action. There from, bend the right wrist joint inward at shoulder height. The Kissaki moves under
and towards the left ear and the sword swing is continued towards the left. When the right fist reaches the
front of the left eye, the left hand grips the Tsuka from underneath to bring the Tsuka above the head. In
this Jodan position the chest must be stretched wide and both elbows must be opened loosely. The eyes
must be focused on the target. Also because a large Furikaburi is essential, the Tsuba is hidden behind the
head and the Kissaki is lowered back at about 45 degrees. The finger grip is not too tight.
SWORD MOVEMENT.
When taking Furikaburi action:
Keep the right fist and arm horizontal from the outset.
Twist the right wrist inward. The Kissaki points under ones left ear and the sword is swung back wards
to the horizontal.
At this stage the Kissaki movement resembles a thrusting action. The main detail in taking Jodan
posture from Nukitsuke is to keep the right fist at shoulder height until it reaches the left side of the face.
Raising the right fist too soon ends up in a Kiritsuke action which cuts too low. Also dropping the right
fist instead of maintaining shoulder height relinquishes pressure against the opponent.
THE TIMING OF TAKING FURIKABURI ACTION.
The right fist moves to the left. When it reaches the left side of the face. Then the left hand grips the Tsuka
to push it upward. Because of this left hand support the weight of the sword in the right hand is almost
halved making Furikaburi easier
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THE TIME TO GRIP THE TSUKA WITH THE LEFT HAND.
When the right hand comes to the front of the left eye, swing up the Tsuka with both hands. The finger
grip should not be too tight. However the left hand grip is a little tighter than the right.
When the Tsuka reaches its maximum position above the head the Tsuba should be hidden behind the
head.
To avoid the Kissaki touching the back of the Hakama do not drop the angle below 45 degrees. Also a
reasonable left hand grip stops the Kissaki from dropping too far.
Expand the chest and open the elbows comfortably.
Keep the upper body straight and upright and firmly pull in the chin.
When the Kissaki is pointing toward the left ear, because of anxiety beginners tend to bend the neck
away from the blade. However this is dangerous as it could cause an accident.
In the Jodan posture flexible and relaxed wrist joints produce good Kirioroshi.
Delaying the left hand grip of the Tsuka creates bad habits, such as hold the Tsuka from the side, or
turning Jodan-no-Kamae into a pose. An adequate firm grip is very important. Good Furikaburi produces
a good body posture and effective Kirioroshi.
KIRIOROSHI
This technique is secondary to Nukitsuke. If the result of Nukitsuke is adequate, a hurried Kiritsuke
motion is not necessary. There is time to check the opponent’s deteriorating condition before executing
the final cut.
THE PATH OF KIRIOROSHI.
From the Jodan posture both hands come down as the elbows gradually straighten. The Kissaki inscribes a
large circular motion which traverses the opponent�s head. The cut continues down strongly through the
forehead and body until the Kissaki reaches Suigetsu (pit of the stomach). When the Kissaki reaches a
stopping point (about 25 cm from the ground). Te-no-uchi should be naturally released. This should not be
too loose a grip. To complete Kirioroshi the main element is the position and strength of the right foot. To
stop the body from leaning forward at the end of Kirioroshi the weight of the body should be supported
with the right foot and heel rather than relying on the toes too much.
GRIPPING THE TSUKA.
The technique of gripping (not grabbing) the Tsuka has been specified before. I will reiterate. The right
hand grips the Tsuka near the Tsuba avoiding the Fuchigane. The grip with both hands is diagonal as a
square grip loses control. The third and little finger must squeeze tightly, the index fingers completely
relaxed. The gap between the two hands on the Tsuka is about the width of two fingers in width. The
standard length of the Tsuka is about 25 cm. The hand position on the Tsuka differs between Kendo and
Iai.
A Shinai has a longer mono-uchi and a longer Tsuka to grip. Therefore the gap between the hands is
wider.
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As the Katana is much shorter, two hand combination work can be done comfortably with the closer
grip. The length of the Tsuka is dependent upon the total length of the weapon.
GRIP CONTROL AND USE OF THE TANDEN
The motivation of Kirioroshi by Tanden power and the grip control of both hands makes a positive
difference to the outcome. The cutting power and energy must be transferred to the Kissaki through a
stable upper body, arms and controlled grip with both hands. This Te-no-uchi control is of the utmost
importance and is intricate in both Kendo and Iai.
KIRIOROSHI METSUKE.
In Seiza or Tatehiza Metsuke is on the opponent’s eyes until Nukitsuke action starts. However as soon as
Kirioroshi is complete, Metsuke moves to the far side of the opponent (2~3 meters forward) for the
purpose of widening the vision. If Metsuke is kept on the opponent for too long, it delays the preparation
of body posture and Metsuke for the following movements against impending attackers.
FUNDAMENTALS
The face must not be averted downward, only Metsuke is on the fallen opponent. Therefore the head
must be upright in Kirioroshi action.
Metsuke changes to Enzan no Metsuke as soon as Kirioroshi is finished.
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BODY POSTURE AT THE END OF KIRIOROSHI ACTION.
One of the Iaido proverbs says Iaido techniques related to Nukitsuke are
done with the Tanden and Noto is with Tanden. The actual meaning of
this seems to be;
To use Tanden power when an explosive action is required, not only

in Nukitsuke but also in Kirioroshi. Tanden power - Hara - Lower
abdominal power is a physical potency that only human beings can
produce with an intention to take sudden and powerful action. If Tanden
power is to be produced correctly, shoulder joints and arms can be
moderately relaxed in Kirioroshi. A straight upright posture is required
to enable the Tanden to transfer power into the sword. In other words
the knee, hips, upper body and head must maintain a straight line. Also
the body must not lean forward. In the case of the right foot accidentally
having taken too large a pace forward, bring the knee forward smoothly
to maintain balance.
Mori Shigeki Sensei
Above all things Iaido practitioners should be more concerned about body posture than hand technique.
GRIPPING THE TSUKA The method of holding the Tsuka and movement of the sword have been
outlined. The gripping and squeezing control with both hands produce either a sharp or mild action
depending on requirements and different situations. The method of gripping the Tsuka is expressed in
Japanese as Chakin Shibori (wringing out a tea-towel). This method is often used in Kendo because the
Shinai Tsuka is round. Also there is no actual top bottom or side to grip. Fortunately in Iaido we use an
oval Tsuka. Therefore it is not so difficult to discern a natural grip.
Chakin Shibori is to squeeze both hands slightly inward. At the same time the third and little finger must
grip the Tsuka tighter. However over squeezing will be uncomfortable as the wrist joints will lock.
KIRIOROSHI FROM JODAN POSTURE.
The sword must follow the centre line. Some students take Nukitsuke action holding the sword off
centre. If there is too much power in the right hand the sword will pull to the right. It is essential to cut
through the centre line by balancing the gripping power of both hands.
When the right foot is placed too far to the right ones own body moves off the centre line to the right
this will lead to miss cutting centre of the target. Any bad habits including this particular one should be
corrected at an early stage in practice.
CHIBURUI The original classical pronunciation is Chiburui (see note). Nowadays some people especially
the younger generation say Chiburi. Both are acceptable in Iaido. However Oe Sensei always used the
term Chiburui For this reason I shall use this pronunciation. Chiburui is the action which shakes the blood
off the blade before putting it back in the Saya. In Seiza forms Chiburui movements are remarkably large
and industrious.
From the end of Kirioroshi; Stretch the right arm upwards to the right. Bend the right elbow bringing the
fist to the right temple. Then swing the sword forward to the left and continue until the Kissaki reaches
out in front of the right foot. In Tatehiza, Chiburui is not so big
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Unfortunately there are no writings to explain the necessity of having two different types O-Chiburui
(Seiza section) and Yoko Chiburui (Tatehiza section). Why is it necessary to have two different types of
chiburui in one school? This is a question that many people ask. My personal opinion is that the original
Chiburui was smaller. However with the influence of Oe Sensei and Mori Shigeki Sensei the large
Chiburui was retained for teaching beginners fundamental movement. Next it is vital that I analyse
differences from a physical and psychological viewpoint.
(Note: The word “Buri” in Chiburi is singularly pronounce as Furi from the verb Fureru; to shake, oscillate, swing or lean to.
Another term Chinugui is sometimes use which has another completely different meaning In Chinugui, Nugeru or Nuguu refers to;
come off, slip off, wipe off, mop etc.)
HOW TO BEGIN CHIBURUI?
As the right fist is brought to the temple directly from the Kirioroshi position, it must simply be a formal
movement without containing any hidden meaning. This movement does not show any Zanshin or
spiritual awareness.
It is essential to check the result on the opponent even if it is for a fraction of a second.
Because of the necessity to check the opponent’s reaction after Kirioroshi, one cannot rush too soon
into the next movement.
Pressure must be maintained on the fallen opponent for a time in case he counter attacks.
Even whilst paying full attention to the opponent, the power in the Tanden must be maintained to control
the opponent if the need arises.
My teacher Yamamoto Takuji explained as follows;
• To start with observe and check the injured opponent for a moment holding a good posture with full
power in the Tanden.
• Push the sword and body towards forwards right with spirit.
• For a second maintain the position of Kissaki with the right hand.
• At the same time the left hand moves to the left hip.
• Raise the Kissaki a little a turn the blade to the right. Without stopping this movement, bring the right
fist up to the right temple.
• At this point the Tsuka-gashira is pointing left forward and the Kissaki is pointing right behind. The
fingertips are almost touching the right temple.
• Proceeding with these actions one by one takes a certain amount of time. However it is not a matter of
speed. Careful movements are essential.
THE METHOD OF BRINGING THE RIGHT FIST TO THE TEMPLE.
This movement seems in one sense to be very unnatural and illogical. But there is an alternative analysis
which seems to make sense to beginners.
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Moving the right fist to the temple;
As stated, strengthen Zanshin and spirit after Kirioroshi, Then gradually raise up the sword. When the
fist is raised up to shoulder height, bend the elbow and bring the fist to the right temple. This posture looks
like a soldier doing a military salute.
At this point the Tsuka-gashira should be pointing left forward and the Kissaki right backward.
The right elbow is pointing out to the right, The chest is stretched wide and the chin pulled well in to
keep correct posture.
FURIOROSHI (DOWNWARD SWING) OF THE SWORD.
The right fist next to the temple raises and starts to pass over the head and the left side of the face. It then
drops down diagonally to the right.
At the same time the back foot is pulled forward to meet the front foot and rises to Iai-goshi.
Both knees are opened and bent a little. The hips are dropped slightly and the upper body is kept
upright.
The right grip of the Tsuka stops in front of the right leg (rather close to the foot).
The body must not lean forward too much.
In this posture the face and Metsuke can be observing form a closer point. The head must be kept
upright.
Up to the end of the Tokugawa era, the Samurai (Bushi) used to wear their hair in a knot on top of their
heads. This is the reason that Chiburui must be done carefully, so as not to cut ones own hair. Some other
Schools do a narrow Chiburui so that the blade does not traverse the top of the head in doing Furioroshi.
However within any school the angle of the edge must be correct to shake off the blood properly.
FINISHING POSTURE OF FURIOROSHI.
Open and bend the knees a little.
Try to keep the body as upright as possible, (leaning slightly forward is inevitable).
The hips are dropped a little.
Metsuke is focused further forward than the fallen opponent.
The sword is to the right front of the body with the Kissaki inclined downward near ones own right
foot.
At this point the right hand must grip the sword firmly.
The Kissaki must not be too high.
The blood should be shaken off on the ground near to ones own body. Shaking the blood off all over
the place is not a Tanimura concept.
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The right arm should be reasonably straight and directed downward right almost parallel to the body
line.
MENTAL PREPARATION APPROPRIATE FOR CHIBURUI.
Pay full attention to the injured opponent before Chiburui action. Pressurising with forceful strength of
pressure and a dignified posture is imperative.
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THE MEANING AND MOVEMENT OF CHIBURUI.
Hori Toraji Sensei of Osaka commented; There are many practitioners who do Chiburui as if
are spreading blood all over the place. Because they hold the Kissaki too high during Chibur
action. The blood should be shaken of on the ground near ones own feet. Try not to throw th
too far from ones own body.
The 19th Master Fukui Harumasa of Kochi Put a great deal of effort into this movement. At
of Chiburui the back of the right hand is to face straight forward and the Kissaki is almost di
under the right fist. According to this high Kissaki method the Chiburui seems to be an attac
action rather than blood shaking. The main reason why the Kissaki does not come near he fe
because of the angle of the right wrist joint. When bringing the right fist to the right temple i
not be twisted inward.
Fukui Harumasa Sensei
At this point the edge of the blade is not pointing upward. The angle of the twisted right wrist dictates where the
Kissaki will stop at the finish of Furioroshi.Bring the right fist no further than the left eye before swinging the sword
downward. Results will show what is a Tanimura-ha Chiburui. If the angle of the right fist is held up until the end of
Chiburui the result will obviously be a blood spreading action. This method is clearly different to Oh-e Sensei's
original method.
EXPRESSIONS OF OH-E SENSEI.
Chiburui is one of the most difficult techniques. Especially in Tatehiza Chiburui being done in such a confined space.
It is impossible to effect a satisfactory performance just using the strength of the arm. Essential power must come
from the Tanden.
NOTO. Noto movement is taken after completion of attacking movements. Therefore it does not require an awareness
towards the opponent as much as Nukitsukeor Kirioroshi. However Zanshin must be maintained until Noto is
completed.
METHOD.
After the Chiburui posture with hips lowered;
Take a large pace backward slightly to the right with the right foot.
At the same move the left hand top the Saya and grip the Koikuchi with the middle finger.
Twist the joint of right hand inward as the Kissaki moves automatically pointing upward left.
The Mune of the blade about one third from the Kissaki meets with the Koikuchi and the remainder of the Mono-
uchi part of the Mune rests on the index finger of the left hand.
Therefore as the edge points upward the V between the index finger and thumb joint receives the Mune.
Pull the blade for the Kissaki to meet with the Koikuchi.
When the Kissaki meets with the entrance of the Saya (Koikuchi), the curves of the Saya and blade are brought
into
As the right fist nears the Koikuchi, gradually lower the hips until the left knee touches the ground at the same time
when the Tsuba meets with the Koikuchi.
Place the left thumb over the Tsuba on making sure than Noto is complete.
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The sole of the right foot must be upright, toes touching the ground.
NOTO SPEED.
There are two different speeds within Noto. A fast one and a slow one. As Noto is taken after cutting action there is
theoretically no necessity for fast movement. A careful smooth Noto is more respectable than an overly fast one.
However after you have made reasonable progress in experience and technique, the length of time the Mune rests on
the left index finger should become shorter. With this action will automatically become faster. Noto speed should be
matched with the speed of Nukitsuke, Kirioroshi and Chiburui. A fast Noto can be done after many years of practice
and experience. Flexibility of the right wrist, left hand Sayabiki are major points to do a fast and smooth Noto
successfully.
Types of Noto.
There are a few different ways of bringing the sword to the Koikuchi.
One way is; Keep the right fist as it is, then bend it inward sharply and swing the blade horizontally to the left. The
index finger of the left hand takes the weight of the blade. The left hand takes the Sayabiki movement to put about 10
cms of the Mono-uchi into the Koikuchi. Then gradually start Noto action.
Place the Mune of the Mono-uchi on the left hand and over the Koikuchi. The Kissaki reaches back out over the
left arm. Next pull the Tsuka right forward to commence Noto.
Almost the same as above, but the difference is when the Tsuka is pulled forward, lift the Kojiri and lower the
Tsuka to start Noto action. The diversity of these actions is developed from different situations of each movement at
that particular instant.
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Diagram (1) is using only the hand only to do Noto. Diagram (2)is describing
an oval line with the right hand to make a mild circular movement of Noto.
Sayabiki has to be done sharply and clearly.
Diagram (2) has one good point in displaying Zanshin towards the opponent
with the Tsuka-gashira. To effect this the movement of the right hand must
not stop during Noto action. A smooth continuous movement is a requisite.
NOTO POSTURE.
Good posture in Noto is combination work of positive foot position, settled

hips and the twisting and turning action of both arms.
Balancing both hands and steady control produce successful results.
After Chiburui action when pulling the right foot backward one pace slightly towards the right one must
maintain a steady balance. The front knee is slightly bent and the back leg is almost straight. The waist
sinks a little and the Tanden is alert and full of energy.
It is not so easy to twist the waist and hold this posture but it is a crucial part of the technique that some
people seem to be able to do and others can’t. One pointer is keep both heels firmly on the ground and put
the body weight on the heels instead of the toes.
There are several occasions when one uses a waist twisting movement in Iaido. However this twist
must only be done horizontally. It is inhibitive to move the waist up and down during action, because it
interferes with sharp movement forwards or backwards. Also it is difficult to take continuous movements.
In Iaido once one has begun a sitting or standing posture one must keep an invisible contact on the
opponent until returning to the original position.
Whilst the right hand is moving forward, The Saya-te (left hand) pulls the Koikuchi backwards. When
Kissaki reaches the Koikuchi lift the Kojiri to align the Saya and the blade. Then bring the right fist back
to the Koikuchi. The right knee smoothly descends to the ground and the left thumb secures the Tsuba
against the Koikuchi. Standing up bring the back foot forward to meet with the front foot. Noto technique
finishes at this point, but body posture is still in Iai-goshi and Metsuke is on the fallen opponent. Finally
release the right hand from the Tsuka, straighten up the body and disengage Metsuke.
There are two reasons the left thumb touches the Tsuba.
• One is to move the Tsuba secured against the Saya.
• The other is to make sure they are firmly secured together. These are the two major reasons. Place the
middle joint of the thumb softly on top of the Tsuba to enable one to make a sudden movement.
The timing of touching the right (back) knee on the floor and securing the Tsuba and Koikuchi together
must be at the same time.
If one is not careful the right knee will touch the ground before Noto is complete. Technically it is better
to delay the back knee bend until half of the length of the blade is in the Saya. The posture at the end of
Noto is very similar to the posture just before Nukitsuke action.
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The rising movement after completion of Noto: This should be done in a dignified manner. It means
showing correct Metsuke, posture, confidence and satisfaction. Push the Tsuka downward a little with the
right hand before releasing it.
OBSERVATIONS ON NOTO MOVEMENTS.
Teachers and instructors often say to students, When you do Noto do not put back the sword in the
chest, put it into the left hip. These words refer to the control of the left hand when taking Noto action. In
other words, to bring the left hand forward and lift in Noto action. If the Koikuchi is lifted when the Mune
meets with the Koikuchi at chest height it is described as Noto into the chest which is a rather
disrespectful movement within our school. To put the sword back in the hip. The left hand must be pulled
back as far as possible. At this instant the Kumogata (Note) is almost digging into the Obi.
Note: Kumogata; Cloud-shape, referring to the Sageo knot which keeps it evenly doubled through the hole in the Kurigata.
At this time a combination of right and left handwork produce a smooth and natural Noto. If the Saya-te
(Saya hand) is too high the Tsuka-te (Tsuka-hand) is automatically too high to take Noto.
Most of the direct students of Oe Sensei have followed this method. There is one exception, which is Noto
in Oku-Iai Tachiwaza No 9 Kabezoe.
Is it not necessary to intentionally push the Tsuka downward too much. However the Tsuka-gashira is held
no higher than hip level. The Saya-te must be efficient of moving the Saya upward, downward, to the left
or right at any required time.
REGARDING OTOZASHI.
The Otozashi technique is a style of Noto when the Tsuka-te is raised above the head to connect the
Kissaki with the Koikuchi. Our Oe Sensei did not teach this method. He usually pushed down the Saya for
Noto.
In one sense it might seem natural that the Kojiri drops as it is usually worn in a Kaku Obi (stiff sash).
However if Metsuke and Zanshin spirit is alert, the Tsuka-gashira should also be inclined towards the
fallen opponent to be specific. I am concerned with this element when I do Noto. In my opinion it is
wrong to make excuses because an Obi is too stiff. Every one should an Obi that is suitable for ones
individual requirement. Also there is more than one way to wear an Obi. If it is difficult to find a suitable
Obi or one has difficulty in tying one.
• Try and reason it out yourself.
• If not seek the advice of a teacher or senior. What kind of Obi to choose and how to wear it is very
careful precise individual study. After this comes the determination of which is the most suitable method
of Noto.
There is a very close connection between the height of the Tsuka-te and the finish of Chiburui and
Noto. If the Tsuka-te is high, Chiburui will end up high. If the Tsuka-te is low, Noto will finish low. This
is very curious however every time we perform, the results with manifest this connection. I cannot explain
why, perhaps some kind of sense or feeling might be involved.
Begin with these points of view;
The correct result in Chiburui will not be attained if the right fist is too high because blood will be
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spread all over the place.
If the hand is too high in Noto it does not fit in with Jikiden method as the posture does not show
Zanshin. Also it is difficult to take emergency action from this position. It is illogical. Therefore there are
a few different methods of Noto. As far as I am concerned, I think it is best to follow the path of Oh-e
Sensei.
Last page
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TEACHERS PRECEPTS.
RIGHT FIST POSITION IN SEIZA NUKITSUKE. (Hokiyama
Namio)
The height of the right fist should be the same as height of both
shoulders.
POSITION OF THE RIGHT FIST IN NUKITSUKE. (Hokiyama

Namio)
The best position of the right fist in Nukitsuke action is to keep the fist
the same height as both shoulders. Put it about 20 cms in front of the
body. This movement is very similar to Kendo in going forward to
attack the opponent’s Men (forehead)
STEPPING FOOTWORK IN NUKITSUKE. (Hokiyama Namio)
The inside angle made by the bent right leg. It is better to keep the angle inside 90 degrees. This does not
mean that the entire body should lean forward. Put the weight in the Tanden and push a little forward. It is
inevitable the upper body leans forward a little. The body weight should be supported by the top part of
the foot and the kneecap of the back foot.
A QUESTION TO HOKIYAMA NAMIO SENSEI FROM A STUDENT.
We have been taught to keep the right fist horizontal at shoulder height. How about height of the Kissaki
in relationship to this fist?
Answer; Your knowledge sounds logical and sensible. Technically the Kissaki can be a little lower than
the fist. Fundamentally if the blade is kept horizontally the lower side of the blade must not be seen by the
opponent.
THE MANNER OF DRAWING THE SWORD. (Kubota Kiyone Sensei)
The attitude of drawing the sword should be not too fast or slow.
Bring all concentration to the Tanden.
Pull the Tsuka forward smoothly and naturally.
Dispatch the blade from the Saya. These three stages are called Jo, Ha, Kyu.
MEANING.
Jo - Quietly in the beginning
Ha - Faster
Kyu - Sudden draw (action)
In doing Noto, Jo, Ha, Kyu should work in the reverse manner.
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Nukitsuke action must not be taken until the target is positively discerned. The target to aim for is either
the opponent�s neck or arm. (Master Oe Masamichi)
THREE DIFFERENT METHODS OF FREEING THE BLADE FROM THE SAYA. (Kubota Kiyone)
Uchigiri (Kakushigiri) Push the Tsuba with the left thumb. This thumb must be hidden behind the Tsuba,
so that the opponent is not aware that the sword is being released.
Sotogiri (Arawagiri) Place the thumb tip on the Tsuba to push forward and release. Consequently the
opponent will clearly notice it.
Hikaegiri. The thumb is placed on top of the Tsuba. At the same time the index finger supports the Tsuba
from underneath.
MENTAL PREPARATION FOR ATTACKING INERTIA. (Kubota Kiyone)
To get the full attacking effect one must use a full spirit and Tanden power. There is not enough strength
in only using the arms, hands and the sword. The arms and sword only have limited power. It is easy to
discuss logic but not so easy to put into practice Only repeated drilling will encounter real feelings.
SEIZA NOTO TECHNIQUE (Hokiyama Namio)
When I instruct beginners my explanation is;
From the right fist position at the end of Chiburui, bend the right wrist and elbow a little.
Place the Mune on Koikuchi and begin Noto. Practically this method looks hard, tight and unnatural.
From the end of Chiburui posture turn the right fist to the left so that the edge faces upward and bring it to
the Koikuchi. The action time is very brief.
Consequently;
This action is very difficult for beginners.
The opponent is not aware of this action.
MA BETWEEN TECHNIQUES. (Hokiyama Namio)
There is always Ma between techniques. After completing each technique a fraction of Ma should be
present. A form executed in a series of non-stop movements is very monotonous. A fraction of Ma does
not infer a time gap. Put in positive Te-no-uchi at the end of each action, then go on to the next
movement. For beginners it would be better to take things step by step.
LOGIC AND TECHNIQUE AND THE ART. (Kubota Kiyone)
Foremost the arts requires technique, followed by logic. It should be declared after the completion of
technique. Discussing logic without technical ability does produce good artistic results. An old truism is;
�A person who is good at technique does not understand logic, and people who are logically clever do
not have much technique�. These two things must concur and work together to produce a respectable art.
SEI (SILENCE) AND DO (ACTION) (The Priest Sagawara Unka)
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Initially Sei exists for Do. When Do is active, Sei comes onto the locality to prove existence. Do does not
commence on its own. It relies on Sei and becomes active from Sei. These two things can be likened to
the front and back of a piece of paper. One side can never be present without the other.
SUPPLEMENTARY COMMENTS. This is the end of the Seiza Ippon-me. It has taken a lot of pages to
explain about the logic and technique of each movement. However this IPPON-me MAE is a basic
technique to be used in all of the Seiza forms. Because within it is contained many important elements
which are required to execute Seiza forms. Many people misunderstand IPPON-me as being too simple to
practice for many years. This form is not for beginners only. It is also for experienced practitioners. In
Kendo prior to Keiko (practice) everybody does Kirikaeshi. In Iaido IPPON-me is the most important and
beneficial form to do before going on to other forms. However in Tosa Eishin Ryu the practice of Seiza
Nukitsuke has always been done with a front foot stamp for all ranks and all age groups.
NIHON-ME MIGI HOME
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MOVEMENTS
NIHON-ME. MIGI
SITUATION AND INTENTION.
An opponent who is sitting on your left side shows harmful intention. Turning 90
degrees to the left take Nukitsuke as in Ippon-me.
Diagram shows the sitting position in relation to the opponent
A This position is taken in Seiza. However the original position was in B sitting
on the same line facing right.
MOVEMENTS
A] Sitting in Seiza facing 90 degrees to the right.
B] Start drawing the sword and rise onto the toes on both feet to grip the ground. Then turn 90 degrees to
the left using the right knee and left foot as an axis.
C] As soon as the body is facing Shomen take one pace with the left foot and immediately execute
Nukitsuke.
D] The swing then swings up to Jodan posture then proceed with Kirioroshi on the centre line.
E] Zanshin is the same as Ippon-me. Take Chiburui and stand up bringing the back foot to meet with the
left.
F] Pull the left foot one pace backward and begin Noto the same as in Ippon-me, but with the foot in a
reversed position.
EXPLANATION OF MAJOR POINTS
TURNING TO THE LEFT
This technique is with the intention of executing Nukitsuke at an opponent sitting on the left side. The
most important point in Nihon-me is turning to the left.
TURNING DETAILS
In turning to the left;
Put the left hand around the Koikuchi and the right hand on the Tsuka.
Lightly draw the knees together.
Move the Metsuke gradually towards the opponent who is sitting on the left.
Turn the body 90 degrees to the left using the right knee as a centre pin. At the same time the right foot
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with toes up is moving to right back. Whilst the body is turning the left foot lifts a little and is brought
near the right knee. These five movement must be done simultaneously in turning to the left. The diagram
displays further details.
Metsuke on the opponent is with the eyes only. The head (neck) must
not turn to the left. Metsuke with eyes only leads to body movement.
Put both the hands on the Tsuba and bring both knees together.
(Diagrams a, b, to d, e).
Start to raise the hips. At the same time start to draw the sword
then turning to the left, rest the body weight on the right knee (d)
Bring the right toes lightly to (f) and move the left toes to (g).
When all parts of the body have turned 90 degrees to the left, Nukitsuke action is taken towards
Shomen.
The left foot moves one pace forward as Nukitsuke is taken.
TURNING LOGIC.
Speed in turning is not so important. Proceeding with caution against adversaries from any direction is
more important when commencing action. Paying full attention is one thing, but turning with full spirit
and Tanden power is more competent. To express this feeling an appropriate maxim is, Just like a cat
weighs up a mouse. Metsuke, spirit and form must work together.
One element of doing this form properly is to make sure that all the toes are on the ground. This is an
essential part of the technique. Another element is to analyse each component of the action part by part to
understand its logic, movement and technique. Metsuke etc. etc. An experienced Iaidoka who also teaches
should understand that every individual has their own skills and weak points.
POSTURE IN TURNING
As stated Shin, Ki, Ryoku (heart, spirit and power) and Tanden power must be present when the body
turns. A flexible posture is required to react towards any demanding situation. Posture during a turning
movement should suit each individual situation. In particular bending the upper body within this action
looks inadequate and inappropriate.
The most significant concern is the relationship between turning and Nukitsuke. At what point of the turn
should one begin Nukitsuke? When the body is at ten, twenty, eighty or ninety degrees? The best point
equals Shomen and stepping forward with the front foot. The harmony and combination work of:
1, Turning the body.
2, Facing Shomen
3, Stepping forward with the front foot are the main matters for everyone. The execution of Nukitsuke
depends on the turning speed. If one commences before the body comes to face the opponent the Kissaki
will not reach out far enough to cover the target. On the other hand if Nukitsuke begins after positively
facing Shomen the attacking opportunity will be too late and could be advantageous to the opponent. The
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ideal timing to draw the sword could be;
Nukitsuke just before reaching 90 degrees or,
The moment the turn reaches 90 degrees. Both these methods seem sensible and logical because the
drawn out Kissaki appears to be aiming for the side of the neck. Yet practically at this point the body is
still turning to the left. Therefore when the blade comes out of Saya completely the body angle and hips
are almost facing Shomen. As a result of this technique Nukitsuke is almost the same as Ippon-me. It is
rather difficult to experiment with this movement. It could be useful to try doing it slowly.
NUKITSUKE and THE HIP TWISTING MOVEMENT
As mentioned this is a rather difficult movement as turning the body and Nukutsuke must be embodied
together. It is important to twist the hip to the left when the body starts to turn to the left. When taking
Action be sure that the sword encounters the target correctly. If body turning energy still exists at the
target point the body will perhaps turn more than is required. Nukitsuke after the completion of the body
turn is exactly the same method an technique as Ippon-me. Therefore there is no effectiveness in
practising Nihon-me, Sanbon-me or Yohon-me as separate forms. Additionally it could be a useful study
to practice these forms with a Bokuto/Bokken (Editors Note) to avoid any unnecessary accidents. Even
better use a dummy on the floor as an opponent.
TURNING, ATTACKING AND PROJECTING THE SPIRIT FORWARD
Performing Nukitsuke and turning is a very difficult manoeuvre indeed. If mental preparation is
insufficient the result will be a drab uninteresting performance. To avoid this it is necessary to clearly
move forward in action to fully cover the target even if it is moving.
FURIKABURI (SWINGING THE SWORD UPWARDS)
To take Jodan, Kirioroshi, Chiburui. These actions are the same as in Ippon-me. Noto is almost the same
as well apart from the opposite footwork. Right foot in Ippon-me is left in Nihon-me.
Note: Bokken refers to a wooden sword whereas Bokuto refers to a Japanese wooden sword.
SANBON-ME
HOME
YONHON-ME
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SANBON-ME - HIDARI
An opponent who is sitting on your right side shows harmful intention.

Turning 90 degrees to the right and take horizontal Nukitsukeat the
opponent.
Position yourself in relation to the opponent.
A In this case the opponent is sitting facing you. This position is Henka-
waza/KaeWaza (alternative technique).
The original siuation, with the opponent sitting on the same line as yourself.
Both you are facing left from Shomen.
MOVEMENTS
The same as you the opponent is sitting facing left of Shomen.
In conceiving the opponent’s harmful intention use the left knee as a centre pivot.
Turn the both feet forward to touch the floor.
Start to draw the sword.
Start turning to the right with a full spirit.
Take Nukitsuke action just before the whole body comes to face the front. The right foot
moves forward.
Swing the sword in a continual movement upwards to take Jodan posture, then take
Kirioroshi action.
Hold Zanshin after completion of the above movements. Take Chiburui and Noto action which
are in almost the same manner as Ippon-me and Nihon-me.
EXPLANATION OF MAJOR POINTS.
TURNING TO THE RIGHT.
This is the reverse action to Nihon-me, however technically it is almost the same apart from the
movement of the feet and directional body turn. As the body and the sword draw are both to the
right, this movement is easier than Ippon-me and Nihon-me. For this reason this action can be
performed, too fast. Therefore the earlier Jo, Ha, Kyu rule should be kept in mind.
OTHER TECHNICAL MOVEMENTS
Are the same as in Nihon-me. The back foot meeting the front is the same as Ippon-me. On
Nukitsuke the first foot movement should make a sharp stamping sound.
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Details of the turning movement are;

As explained in Nihon-me and (2) Movement.
TECHNICAL POINTS ON THE RIGHT TURNING MOVEMENT
As stated the right turning action is not so difficult and could be performed too easily. The
same as in Nihon-me, turning, Nukitsuke, must be done in a dignified manner with full spirit.
Also because of the rather easy movement, the sword could be drawn with the edge at an
angle that is too flat. It is important to draw in the same manner as Ippon-me.
As repeatedly stated; Easier forms must be practice and performed with special care.
YONHON-ME. USHIRO
The opponent is sitting directly behind you on the same line. When he shows harmful
intent, turn 180 degrees to the left using the right knee as a pivot and take Nukitsuke
action.
1, Both of you are sitting on the same line with your back to shomen.
2, You are both sitting in Seiza. Conceiving the opponents harmful intention, turn to
the left with the same technique as Nihon-me Migi. Thus difference being the turn is
108 degrees instead of 90 degrees
3, Take one step forward with the right foot just before the body squarely faces
Shomen. Then take Nukitsuke action.
MOVEMENT
Swing the sword up into Jodan posture and take Kirioroshi action.
Take Chiburui and Noto action with Zanshin and spirit as in Nihon-me.
EXPLANATION OF THE MAJOR POINTS
TURNING AROUND LEFT TO THE REAR
Basically this turn is very similar to Nihon-me. However because a turn through 180 degrees is
required, full commitment is imperative. The way to do this is to concentrate power into the body.
In turning 180 degrees it is very difficult to maintain body balance. Therefore the upper body
tends to lean forward. To stop this reaction the Tanden power must be strong to push the body
forward and encompass the target at the correct distance.
There are two main points of advice; As turning 180 degrees to the left is very difficult, one point
is to reserve the intention of turning even further. Secondly it is important to understand the
relationship between the turn and drawing the sword. The sword draw must start to leave the
Saya during the body turn. If the draw is too soon it will interrupt the body turn.
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The ideal speed is;
Just a little before the beginning of the turn.
Gradually draw more.
Just before Nukitsukethe blade is drawn almost out to the Kissaki.
NUKITSUKE.
At the moment of Nukitsukethe body must be in adjusted to a straight upright posture. Don’t
draw the sword with the hand and arm. Draw with Hara (Tanden) is the advice.
TURNING.
Must not be done only for the sake of the form. The fighting spirit must be strong to push
towards the opponent and reach the target within the correct distance.
GOHONME HOME
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GOHON-ME. YAEGAKI.
As in Ippon-me the opponent is sitting in front. When feeling the opponent’s intention one takes
Nukitsuke, but falls short of the target because the opponent has moved backward. Therefore
step forward immediately with Kirioroshi. The result of this second dispatching cut is not
instantaneous. The fallen opponent tries to cut your right leg. Finish him with another Kirioroshi.
SITTING POSITION IN RELATION TO THE OPPONENT.
The conditions are the same as Ippon-me. From this position start the next action.
a] As in Ippon-me-Mae, face the the opponent in the Seiza posture.
b] As in Mae, Nukitsuke against the opponent with the right foot moving forward.
c] As the opponent moves backward, immediately take one more step forward
with Kirioroshi to the opponents forehead.
d] The opponent falls down forward. Horizontal Chiburui and begin Noto bringing
the left foot forward to meet the right one.
e] Almost at the moment Noto is being completed the surviving opponent attacks
ones right foot with a sweeping action.
f] Immediately pull the left foot backwards. At the same time draw the sword to cover ones own
right foot with the blade. To emphasise this action the body is twisted to the left to increase the
power of the protective movement and catch the opponent’s strike with blade.
g] Then bring the left foot forward a little. Swing the sword up to take Morote Jodan (both hands)
and take Kirioroshi.
h] Maintain full Zanshin spirit and finish with Chiburui and Noto in the Ippon-me manner.
EXPLANATION OF THE MAJOR POINTS.
NUKITSUKE.
Nukitsuke in Yaegaki seems to be rather contrived. Perhaps because a chasing Kirioroshi

comes right after it. However this attitude is practically or logically correct. It is essential to draw
the sword exactly the same as in Ippon-me, with full power and intention. Except is this
particular case Nukitsuke is not good enough. As a result the second movement Kirioroshi
becomes warranted. This is the reason one takes Kirioroshi from a standing position.
Logically the second movement (Kirioroshi) must not be contemplated from the outset.
Otherwise the first movement will look rather artificial.
ATTACKING FROM THE HALF STANDING POSTURE.
The difference in speed of the Kirioroshi movement from the half standing posture is dependent
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upon the result of the Nukitsuke action. If Nukitsuke was extensive a few moments can elapse
between the first and second actions. Also it will not be necessary to maintain the half standing
posture. If there was a long time lapse between moves a full standing posture could be feasible
to complete ones intention. Unfortunately emergency situations like this and Gohon-me arise. If
it was necessary to take the second action immediately there would be no time to raise the body
to have to take the next inevitable action.
Taking Kirioroshi from a full or half standing posture depends upon the result of Nukitsuke and is
the choice and decision of the practitioner. From a fundamental point of view beginners should
take enough time to stand up properly before taking Kirioroshi action.
YOKO CHIBURUI
This Chiburui taken after the first Kirioroshi is mainly used in the Tatehiza forms. The fact that it
is used in Seiza Yaegaki is exceptional.
METHOD
It is a Chiburui in which the fist is twisted horizontally towards the right. It should be kept at the
same height and a little outside the right knee. The blade should point slightly outside the centre
line with the Kissaki lower than the Tsuba.
From the Kirioroshi finishing position this Chiburui must be done very sharply. The significant
point is do not allow the Kissaki to move to the left when shaking to the right.
There are two different ways to do this Chiburui;
Push the right hand adequately forward in Chiburui action.
Pull the right hand a little backward.
The first one of these could induce the body lean forward and the second one could cause the
body to twist to the right. An important detail is maintain a correct body posture.
CHIBURUI PRACTICALITY
The technique of doing Chiburui to the right side without the Kissaki moving to the left is very
difficult. The main function is a combination of twisting, squeezing and shaking of the right hand.
It could be beneficial to experiment by applying a liquid on the blade and shaking it of to observe
the practical results.
In Muso Jikiden Eishin Ryu the blade must move horizontally to the right and the edge must
point to the right. However Master Nakayama Hakudo of Muso Shinden Ryu used to instruct
that the Kissaki should be dropped a little. Practitioners should understand the differences
between these two schools.
NOTO AFTER YOKO CHIBURUI
The left foot must be brought back to the right as Noto action is taken. However the body
posture must not alter.
Chiburui after a second cut Therefore it is not necessary to do a hurried Noto. However one
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should retain sufficient Zanshin.
Put about 10 cms of the Kissaki into the Saya at the beginning of Noto, then bring the left foot
backward gradually corresponding to the speed of the blade movement. During this action the
there must be no movement from the hips or body. Also the left foot must not extend back
behind the right foot level. Because the body must be squarely facing Shomen when Noto is
completed in order to be able to take emergency action if need be.
SUNEKAKOI
When Noto is nearly completed the fallen opponent starts to swing his sword aiming at the right
shin from the outer right side. Immediately pull the left foot one pace backward, draw the sword
and cover your right shin with the mono-uchi part of the blade. In this posture the left hip must
be pulled back sharply.
a] Finishing position of the left foot.
The left foot does not fall directly behind the right one. It stops a little to the left side of the right
foot line. Careless left footwork will cause the body to over twist to the left.
As the diagram shows, the left foot (2) should be moved to position (3) rather
than (4).
If the left foot moves to position (4), the stability of the body will be insecure.
The distance between the feet in Sunekakoi should be about shoulder width, to
hold a reasonable and comfortable balance. In taking Sunekakoi, the hips are
inevitably raised. There are two different ways to shift the body backwards.
One way is to start to lift the body when starting to draw the sword to cover the
shin, and drop the body at the same time as the Sunekakoi action.
The other way is to try to keep the body height on the same level without raising
or dropping drastically.
From a logical point of view the second option seems to be more natural and reasonable. In
other words try not to lift the body high from the outset. Keeping a low hip and body position
within all kinds of practice is the general concept of Japanese Budo.
It is said that forceful action comes from rough mentality. On the other hand controlled and
peaceful power creates a natural reaction and result.
b] The posture when arresting the opponent’s blow with Mono-uchi is as follows;
Drop the waist/hips.
Bend both knees a little lower than the Iai-goshi posture. The toes should be pointing slightly
inward towards Shomen.
Twist the hip adequately to the left.
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The upper body must be held upright and the tanden is pushed forward with
a full spirit.
Metsuke should be on the fallen opponent, not on the sword connecting

point. Also at this moment, Metsuke should be extended for the next action.
In this action the left hand can be on the Koikuchi or placed on the left hip.
TECHNIQUE OF DRAWING THE SWORD FOR SUNEKAKOI
The object of drawing the sword is to protect ones right shin.
When about 5 Cms of the Kissaki is left in the Koikuchi;
Concentrate full power on the Kissaki to draw out the blade and cover the right shin.
There must be continuity between the two actions of drawing the sword and covering and
protecting the shin to perform this technique efficiently.
TWISTING THE HIP
As stated, the degree of hip twist can effect the result of the action.
When the hip twist is small the shin protecting action has to rely on the strength of the right
hand. The result will perhaps not come up to expectations. However this style looks quite
impressive, but is not so steadfast from a technical point of view. It is perhaps representative of
Kendo or Iaido footwork.
When the hip twist is too big.

If the upper body is twisted too much to the left it is in contention with Shomen body balance is
lost. Also both feet will be pointing to the left too much. Under these conditions it is almost
impossible to effectively take the next action. Bearing these two situations in mind it is perhaps a
good idea to compromise between the two. The degree of hip twist is one thing. However
dropping the hips and body weight is another. It is essential that this condition does not change.
The power of action can only be derived from a hip twisting action.
THE METHOD OF MOVING FROM SUNEKAKOI TO JODAN POSTURE.
Methods continuing from the position of covering and protecting the right shin from the
opponent’s strike are;
Turn the body to face Shomen.
Remove the right fist towards and above the forehead.
When the right fist starts to move and reaches the centre of the body line, ones own body
should move under the right hand which is almost mobilized to cut. In this action the Kissaki
automatically moves left and backwards. This method of bringing the sword up (Furikaburi) is
the fastest.
There is a slightly different finger a wrist control technique. It is a method that can be used quite
Yae 2023/4/8 下午5:56
easily and seems to be sensible and practical.
In this Furikaburi some practitioners drop their hands to lift the Kissaki above the head. This
method is not recommendable because the right hand has to respond to all the weight and
pressure coming from this movement. Therefore this action is not logical.
SPEED
The real intention of Sunekakoi action is how to arrest and guard against an opponent’s attack
and the speed of the withdrawal. If arresting the opponent’s action is successful and the body
position is inadequate, it is impossible to take the next action immediately and efficiently.
Bringing the sword up to do Kirioroshi is critical requirement.
Unfortunately the pause that many practitioners take between these two actions is too obvious.
This scene happens because of a misunderstanding or misinterpretation of this difficult
movement. It is essential that the right shin is guarded and Kirioroshi is done immediately
without wasting any time.
CHIBURUI AND NOTO
Is exactly the same as in Ippon-me.
ALTERNATIVE TECHNIQUES
a] If by chance the opponent’s strike does not connect with the foot or shin, it will not be
necessary to guard and protect it and withdraw. According to Mori Shigeki Sensei, Master Oe
often used to teach the method to experienced students. Generally speaking this method seems
to be popular in Muso Shinden Ryu although the basic situation may not be the same as Jikiden
Ryu.
b] Shigeki Sensei also informed me that Oe Masamichi Sensei also used to Sunekakoi
technique with the edge of the blade pointing forward and guard off the opponent’s strike with
the Shinogi (side of the blade).
THE MOVEMENT OF YAEGAKI. (Hokiyama Namio Sensei)
a] Horizontal Nukitsuke with the right foot moving forward, Then take a pace forward with the left
foot with the right knee on the ground. This must be a simultaneous movement. During this
action Furikaburi is included. This is the reason that the right knee touches the ground. Noto
action can be continued without having to alter the body posture too much.
b] Comments on Yoko Chiburui (Hokiyama Namio Sensei) In Yoko Chiburui it is recommendable

to keep the edge pointing slightly downward and the Kissaki slightly lower than Tsuba height.
COMMENTS ON YOKO CHIBURUI. (Nakayama Hakudo Sensei Toyama Military School. Tokyo
16th May 1922.
Batto (Nukitsuke) should be done exactly the same as Ippon-me (Batto in Shinden Ryu). Raise
the sword above the head and bring the left foot forward at the same time, then take one more
pace forward and take Kiritsuke action. Next bring the left hand to the left hip and carry on as
stipulated in any school that performs Yaegaki. (In Eishin Ryu this form is called In-yo-shintai).
Yae 2023/4/8 下午5:56
ROPPONNME HOME
Tosaroponme 2023/4/8 下午5:56
ROPPON-ME UKENAGASHI.
This is a technique where an standing

opponent on the left side (about 15 to 30
degrees) attacks your head. Intercept the
strike and counter-cut to the opponent’s
neck.
MOVEMENT.
a] Whilst sitting 15 to 30 degrees to the

diagonal right of Shomen, a standing
opponent closes and cuts to the head.
b] When the opponent’s Kamae is close;
Turn the toes up to touch the ground.
Take hold of the Tsuka with the right

hand.
Lift the left knee (the right knee is still

on the floor).
Move the right foot one pace towards

forward right.
Start to draw the sword taking A

correct defensive posture with Metsuke
focused upon the opponent’s eyes.
c] Stand up with the left foot. Draw the sword simultaneously covering the head with the blade.
The right fist is above and a little to the right side of the head when intercepting the opponent’s
Kirioroshi.
d] As soon as the opponent strike is parried above the head, remove the right foot to the right
rear with it pointing slightly inward. Then twist the body to the left. At this time the left hand is
either on the hip or gripping the Koikuchi.
e] Bring the left foot close to the right foot pointing at the opponent and take Kirioroshi action.
The time to grip the Tsuka with the left hand is half way through Kirioroshi action. The posture for
this action is Iai-goshi with the knees separated. Both arms are moderately stretched and the
lower abdomen is pushed forward to maintain correct body balance.
f] Pull back the left foot with a large pace, dropping the Kissaki.
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g] Chinugui: Rest the mono-uchi part of the blade on the left knee, edge pointing downward front
for Chinugui. The right hand grip is softened and the left hand is straightened moving left forward
to wipe the blood.
h] Noto: The right hand is turned to re-grip the Tsuka. The left hand grips the Koikuchi. Swing the
Kissaki backwards for Noto. Smoothly lower the left knee to complete.
EXPLANATION OF THE MAJOR POINTS.
DIRECTION OF THE SITTING POSITION.
PREPARATION AGAINST THE OPPONENT’S ATTACK FROM JODAN
The opponent and draws his sword to take an attacking Kamae. In reaction to this
situation, take one pace forward and draw the sword horizontally about half way
out. Focus Metsuke upon the opponent�s eyes with an upright body posture to be
ready to counter attack if need be.
At this point ;
Eyes are on the opponent.
The blade is half drawn towards forwards right.
The upper body is straight and upright.
Turn the body to the left into Hanmi (half turn)
This is the preparation against the opponent’s attack.
a] After drawing the blade half out, drawback from the opponents
attack in a flexible posture. Standing up, cover your heard and
shoulder with the blade held by the right hand. The left hand is
holding the Koikuchi, or is placed on the left hip.
Moving the right foot, 3 to A, behind the left foot 2 to catch the
opponent’s strike. Then move the left and right in that order to
position 4 and 5 to take Kirioroshi action. Metsuke must be on the
opponents eyes during these movements. The timing of the feet
landing on position 4 and 5 is left foot first, then the right with
different timing. The sound of the feet landing is essential. Next,
take Kirioroshi action the left hand takes hold of the Tsuka halfway
through the technique. It is completed in Iaigoshi with straightened
arms.
THE TIMING OF UKENAGASHI ACTION.
In this technique the following three points must be studied

carefully;
The timing and deflection of the opponent’s strike.
The standing and receiving motion.
Catching the rhythm and flow. The left foot takes one pace forward to the front of the right
knee from the Seiza posture. As the counter action, draw the sword halfway with Metsuke on the
opponent’s eyes. Continue to draw the sword and stand up to protect the head and left shoulder.
At this moment the left foot is in front with the other foot directly behind it. The practical
movement is shown in the diagram.
These movements can be analysed as follows.
The moment of the opponent’s decision to attack the left foot moves one pace forward as
preparation for the protective action.
Consequently the movement of the right foot is not the correct time to receive the opponent’s
strike. After all, these actions are taken a limited moment regardless of exact logic.
An important point is how on can perform this technique safely and practically.
Sword control for covering the head and left shoulder.

When taking Ukenagashi action the right hand should be to the right and above the head
protecting it and the shoulder with the blade. If one is not careful this right hand could become a
target.
Details and techniques of Ukenagashi are;

Deflect the opponent’s strike with the Shinogi and at the same time use this energy. Bring the
right foot behind the left to deflect the strike. Bending the upper body backward at the same time
swing the sword backward.
A theoretical explanation is included in the following three points:

a] There is no danger because the blade is covering the head and shoulder held diagonally to
deflect the opponent’s strike.
b] The moment of receiving this Kirioroshi the right foot moves forward and outward in a curved
path. This is the reason why the opponent’s strike ends in flowing off and missing the expected
target.
c] Also using the opponent’s Kirioroshi power assists the body in turning to the left to face the
target in a square on body posture.
These three points have to fit together to make sensible harmony. One can only perform a
precise Ukenagashi by harmonising these three points.
There is another method of deflecting the opponent’s strike. This is holding blade above the head
in a more horizontal position. However because of the power of the downward strike, the blade
involuntarily drops after the two blades connect. As a result of this the blade safely covers the
head and left shoulder. Not being able to pull back the left foot in a sweeping curve is the main
disadvantage.
Flowing off the opponent’s strike with turning body work.
A more detailed explanation is perhaps necessary on technique and strategy.
a] Assume the Kamae protective posture.
b] The moment the opponent attacks move the right foot immediately behind the left foot.
c] Bend the body back to avoid the opponent’s Kirioroshi. As to this element; Some people say
that it is unnecessary to bend the body backwards to avoid the attacking stroke if the footwork
and body twist is properly controlled. This sounds quite straightforward, but practically it does
not’t seem to be suitable.
Passing off the opponent’s attack with a flowing action.
Avoiding the attack with the body turn.
Shaking off the opponent’s strike with the motion of the body turn.
Using these three points together in timing and control is of great importance.
The second form of Nihon Kendo Gata is a good example of this type of technique.
Drop the Kissaki to avoid the opponent’s kote.
The left foot is pulled to back left.
Avoid the opponent’s Kirioroshi by footwork that withdraws away from the Kote cut.
These above actions must be done as smooth as possible. To be exact, the right hand is relaxed
when the opponent makes his attacking move. Ukenagashi technique is almost the same as this.
The diagonal sword covers the head and shoulder, also the bends back and spins to the left.
I was taught this technique by Yamamoto Takuji Sensei and the 19th Master Fukui Harumasa.
I was particularly given firm advice by Master Fukui. He advised me to lift the left knee with a
feeling of trying to hit ones own face with it whilst bending over backwards before spinning the
body to the left. He demonstrated this especially for me.
According to Inoue Tsuchiro Sensei, Master Oe’s private student Yamauchi Toyotaki Sensei also
performed in this method. These three previously mentioned points of Kamae, foot position and
dynamically bending the body back and three unavoidable requirements to successfully perform
Roppon-me Ukenagashi. These techniques are performed from Seiza which means they are
fundamental moves. There is great difference between the techniques used Seiza and Oku Iai.
In Muso Jikiden Eishin Ryu there are basic differences between Seiza, Tatehiza and Oku Iai
depending on individual experience and technical ability. Tutors and instructors should bear this
in mind.
From the posture of holding the sword with a single right hand and beginning to twist the body it
is impossible to take Kirioroshi. This is the reason that both feet land on the floor making a sharp
sound. At that time the sword is gripped with two hands two immediately execute Kirioroshi to the
opponent’s neck. Following this action the hips are dropped into Iai-goshi. For beginners the
timing of the feet landing should not be too fast. The finishing position is in Iai-goshi, but the
upper body should be almost upright with the knees slightly open.
CHINUGUI.
METHOD.
a] After Kirioroshi focus Metsuke on the fallen opponent with full Zanshin. Drop the Kissaki a little
to rest the blade on the right knee. Then pull back the left foot with one large pace and rest the
mono-uchi part of the blade on the knee. Take Chinugui action by moving the blade from right
front to left front. The left grip ends up in front of a slightly lowered left shoulder.
b] Point to pull the left foot backwards. At this moment the right knee is kept in the same shape
as when Kirioroshi was completed. Pull the left foot backwards with a large pace without lifting or
dropping the waist.
c] When shifting the left grip downward in front of the left shoulder a clear blood wiping action
must be shown.
d] The position of both fists after Chinugui should be in front left of the chest with arms
comfortably straightened. Also hold the Tsuka with the mono-uchi still resting on the knee.
e] This Chinugui is not practical because only one side of the blade is wiped on the Hakama.
Therefore this movement is only a formality. However Zanshin and Metsuke must be strongly
maintained.
NOTO.
From the Chinugui position the right hand is released and turned to hold the Tsuka in a reverse
manner. The left hand grips the Koikuchi. The right hand swings the sword down to bring the
Kissaki to the Koikuchi.
Start Noto and bend the left knee gradually to quietly touch the floor. The hip and upper body
must be kept still until Noto is completed.
OPTION
a] After Kirioroshi action pull the left foot, turn the blade and bring the mono-uchi above the right
knee. Some practitioners do not rest the blade on the right knee when pulling to the left. However
if Zanshin is strong enough it is not so important to wipe the blade as it seems to be a formality.
b] When taking Noto action;
Pull the left foot directly backward facing the fallen opponent with direct Metsuke. Pull the left
foot back body squarely facing Shomen. Metsuke is directed slightly to the left. I am uncertain
which is the original function. Further study and research will be necessary.
NANAHONME HOME
TosaNanhonme 2023/4/8 下午5:56
NANAHON-ME KAISHAKU.
SITUATION AND INTENTION
A person who is preparing to commit Seppuku is sitting in Seiza 1.2 meters

away from you facing left.
MOVEMENT
Position (see diagram)
a] Sit in Seiza facing shomen
b] The person who is going to do seppuku is sitting in Seiza 1.2 metres in front
facing left
c] Taking up an unpretentious Metsuke on the person concerned. Place the right hand on the
Tsuka and raise the hips. The toes should be on the ground.
d] Survey the timing of the Seppuku. Start to draw the sword and stand up with the right foot
taking one pace forward. When you have stood up the sword should be drawn completely.
e] Bring the left foot behind the right and the sword above the right shoulder.
f] Up to this stage the left hand is kept on the right hip. Continually observe the other persons
actions.
g] When the Seppuku procedure is close at hand, step forward with right foot hand cut to the
neck. The left hand grips the Tsuka during Kirioroshi action.
h] After Kirioroshi adopt a straight Kamae a little lower than Seigan/Chudan.
i] Place the mono-uchi on the right knee,left hand pushing forward left.
j] Re-grip the Tsuka with the right hand in a reverse manner. Swing the sword downward to put
the Kissaki in the Koikuchi. Then finish Noto dropping the left knee to the floor.
k ] The Kaishaku technique must be done smoothly and quietly, because the target is not an
enemy.
EXPLANATION OF THE MAJOR POINTS - ATTITUDE
The Kaishaku technique is not against an enemy or opponent. It is to assist a close friend or
inoffensive person who is going to commit Seppuku. Therefore action should be kind, careful
and heartfelt. The Kirioroshi action varies depending upon the persons rank in society.
For persons of low rank or people that had been prosecuted, the cut was made from the Teito
position.
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For people of middle class the cut was taken from Hasso no Kamae.
For people of high rank the was cut from Jodan no Kamae.
Also the timing of the cut varied from;
When the prosecutioner leans forward to pick up the Tanto with his right hand.
When he puts the Sanbo the small wooden tray used for the Tanto behind his back to stop the
body falling over backward.
When the Kissaki of the Tanto is placed on the abdomen.
After the horizontal cut has been completed.
After the horizontal cut has been completed and the Tanto is being replaced on the Sanbo.
These methods were used depending on the differences of social rank, the determination of the
Kaishaku, special will or Clan Rule etc.
The skin of the throat must not be cut to stop the head rolling on the ground. Completely
severing the head is considered to be considerably impolite. This technique was used for
convicted criminals.
Completely cutting through the neck is a morally rude and degrading. However leaving thin skin
of the throat is not an easy technique to do. The 10th Master Hayashi Yasudayu’s records state,
It is inevitable to fail sometimes. Therefore it is good etiquette to refuse to someone as a
Kaishakunin. However if the prosecutee insists that you help him, it will be forgivable if the
Kaishaku is unsuccessful.
KAISHAKU AND UCHIKUBI
Uchikubi was a method used for prisoners which equals hanging. As stated Kaishaku is entirely
different. (See editors notes)
ELEMENTS
a] Kaishaku must be done without interfering with the prosecutioner’s mental commitment and
peaceful mind. It is important to administer respect, sympathy and kindness.
b] Cut from a high position to round about horizontal height. The Hasuji (edge angle) must be
used correctly to avoid touching the skull and jawbone.
c] Te-no-uchi control in Kirioroshi must be adequate. Too strong a grip will easily end up in
Uchikubi. Also the left hand control must be correct.
d] The movement should be performed gracefully and carefully rather than a strong and fast
action without mistakes.
e] The Chinugui technique is similar to Ukenagashi except for one distinct difference. In
Ukenagashi, Chinugui motion is taken immediately after Kirioroshi. But in Kaishaku hold the
Kirioroshi posture for a while to support and stabilise the body. Because the fallen head will pull
the body forward.
f ] As stated The Kaishaku must be performed peacefully. Therefore when I kneel on the floor at
the end of Noto I hold the same posture for a second to pay respect with a silent prayer. To
express their feelings, some people bow after completion of this form. I think it is condonable to
pay ones respects in this way, because this form does not exhibit Zanshin as much as other
forms.
(Note: As explained in Kiso Iai Koza The partially severed head of the deceased could be
resewn onto the body. The cut area would not show when redressed in a Kimono. The word
seppuku is an loose term used to describe the ritual action of taking ones life. The English
translation suicide hardly seems appropriate as it is is usually used to describe someone who is
mentally disturbed. The usual term in Japanese in Junshi (ending ones life with ones master)
and Saki or Maebaru departing before ones Lord more details can be found in Hagakure on this
site.) It should also be carefully noted by beginners to Iaido that this particular form is not done
in gradings, competitions or demonstrations. The latter also applies to Hayanuki).
HACHIHON-
HOME
ME
Tosahachihonme 2023/4/8 下午5:56
HACHIHON-ME TSUKEKOMI
Whilst sitting, a standing opponent advances and attacks with a cut to the forehead.
One step forward is taken to avoid Kirioroshi. Followed by a second step to counter
attack to the opponent’s forehead. However this cut is insufficient. Therefore the
opponent is chased with one more step to finish him with a second Kirioroshi. This is
followed by a strong Zanshin to complete the Tsukekomi form. Right foot to forward
right. At the same time start to draw the sword a little down and forwards. Standing
up fully, clearly draw the sword.
MOVEMENT
You are in a sitting position when an opponent walks forward and takes Kiroroshi action at your
head.
a] The opponent moves close. Therefore Metsuke must be on the opponent’s eyes. From the
outset, look up slightly.
b] Raise the body and take one step with the right foot to forward right. At the same time start to
draw the sword a little down and forwards. Standing up fully, clearly draw the sword
c] Step back with the right foot to the same level of the left one and cover the head and left
shoulder with the blade. This action has two meanings.
To avoid the opponent’s Kirioroshi which might reach your hand.
This move spontaneously turns into Jodan no Kamae enabling an immediate counter action.
Therefore the complete objective of this move is the opponent’s Kirioroshi, which ends up
cutting nothing and ends up lower than horizontal.
d] The moment Kirioroshi is avoided, take up Morote Jodan with both feet in line. At this moment
the upper body is rather stretched back and upward.
e] Immediately take ? steps forward sharply and quickly and cut the opponent’s Shomen
(forehead) which is slightly bent towards you.
f] Pause to check the result of the opponent’s reaction. Then adopt a second Jodan followed by
another Kirioroshi and step forward widely right foot, then left. The body posture of the second
Kirioroshi should be in Iai-goshi. Both feet must be in line.
g] At first maintain Iai-goshi. Then move the right foot one pace backwards gradually raising the
body into Hidari Jodan Kamae.
h] Kneel down onto the right knee and lower the blade quietly and carefully into a kneeling
Seigan position.
i] Holding the same posture turn the right hand to grip the Tsuka in a reverse manner and turn
the right grip over. At this moment the left hand is attached to the Mune to support the right
hand. The edge is pointing forward to take Noto action. Gripping with the right hand pull the
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blade to the right until the grip reaches the right shoulder line. The thumb of the left hand
pinches the blade to wipe away the blood.
j] Swing the sword front downwards to take Noto action.
k] Move the left foot a little to stand up. Then pull the right foot to meet the left and move back
one pace before starting the next movement.
CHARACTERISTICS OF THE TECHNIQUE
The opponent is the pacesetter in this technique. He attacks without giving one time to counter
attack. This is the reason that one steps back, inevitably drawing the sword to avoid the
opponent’s Kirioroshi, then a counter attack. Because the opponent’s attack is so sudden, the
only way to win is stepping back and drawing.
THE POSTURE WITH THE HALF DRAWN SWORD
Take a half step forwards right of the Seiza position.
Draw the sword half out with an upright upper body.
Metsuke is focused a little upwards towards the opponent’s eyes.
The sword edge is pointing upwards in preparation to counter attack under any situation or
circumstance.
The way to avoid the opponent’s attack by stepping back is:

Stand up with the sword drawn out. Cover the head and left shoulder to assume Jodan with the
Kissaki pointing back-upwards. At the same time bring the right foot backwards to meet the left
foot. In other words the position is close between the opponent and defender and resembles
Ukenagashi.
ATTACKING MOVEMENTS
Because the defender has stepped back the attacker has missed his target and has lost balance
and he is leaning forward. This is the moment to cut the opponent’s forehead. The injury
sustained from this cut is not acute. However the opponent hesitates for a second. This is the
moment that the second Kirioroshi is made. Nevertheless the first cut Kirioroshi should be quick
and sharp, even although it is not powerful enough. The second Kirioroshi does not need to be
so fast but should be a positive action with body balance fully primed including Iai-goshi.
ZANSHIN IN JODAN
After the second Kirioroshi, Zanshin is pulling the right foot backwards and adopting Hidari
Jodan. In a normal situation the Zanshin movement is taught as a rather quick movement after
Kirioroshi. The logic of taking Hidari Jodan to show immediate Zanshin is perhaps because of
the following reasons;
The first Kirioroshi was not good enough
The second Kirioroshi was good enough but one is not sure of the outcome.
Jodan is assumed to show Zanshin and at the same time is a Kamae in preparation to take
the next action if need be. However the opponent has fallen. So, start the next action carefully.
This method was taught and shown by Mori Shigeki Sensei.
SEIGAN (NO KAMAE) FROM JODAN ZANSHIN
a] Scrutinise the opponent from the Jodan position to make sure he is sufficiently injured. Then
carefully assume Seigan position by slowly dropping the right knee. Zanshin and spirit for
reassuming an attack must be held until the right knee touches the ground.
b] The spiritual Zanshin on this fallen opponent is below the horizontal. Therefore the physical
Metsuke should also be so. Mental, physical Metsuke and the Kissaki line should meet the fallen
opponent. The word Seigan is normally used in referring to equally facing an opponent from
either a Tachiai (standing) or Seiza position But this Tsukekomi Seigan should be different, as
the opponent is on the ground. Metsuke at the same height and the Kissaki pointing at the fallen
opponent contradicts logic. Also when finishing Noto, Metsuke only on the opponent and the
Tsuka-gashira pointing towards Shomen doesn’t make any sense at all.
CHINUGUI
After making sure that the opponent cannot continue with any further action, regrip the Tsuka in
a reverse manner, keeping the blade still. Releasing the left hand grip place it under the blade
near the Tsuba. The blade rests on the left hand palm. Twist the right grip inwards pointing the
edge toward Shomen. Then, pull the blade to the right until the right fist reaches out in front of
the right shoulder. The blade is pinched between the left hand thumb and index finger to wipe off
the blood. The position of this left hand is about half way in front of the left knee. Following this
the left hand grips the Koikuchi to do Noto. In doing Chinugui use the Tanden, pushing forward
and downwards to create extra force.
KYUHON-
HOME
ME
TosaKyuhonme 2023/4/8 下午5:57
KYUHONME TSUKIKAGE
Sitting in Seiza facing diagonal to Shomen. An opponent walks forward and

starts to take Kirioroshi from Jodan no Kamae. Draw the sword and cut upward
aiming for the opponent’s left or both wrists. As the opponent steps backwards,
pursue him taking a positive Kirioroshi.
POSITION
Whilst sitting in Seiza facing off Shomen (15 to 30 degrees) as in (A). An

opponent walks toward you and starts to attack.
As in diagram (B), the angle from Shomen does not have to be 15 degrees. Up
to 90 degrees is acceptable.
MOVEMENT
a) Start to draw the sword focusing Metsuke on the standing opponent.
b) Take one step forwards towards Shomen with the right foot and take Nukitsuke aiming at the
opponent’s wrist(s).
c) On Nukitsuke action the left foot is just off the ground (floor).
d) The edge travels from left to right to cut the opponent’s wrist which is in the Jodan position.
e) At this moment, Metsuke is upon the opponent’s eyes. Not on the Kissaki or the target.
f) Next , bring the left foot to the level of the right one. Bring the sword up into Jodan to take a
large Kirioroshi to the opponent’s Shomen, stepping forward with the right foot.
g) Attack with the left hand on the left hip. Swing the sword right forward and bring the fist to a
position just off the right temple.
Next take a large Chiburui bringing the left foot to meet the right at the same time.
h) Pull the right foot one step backward and do Noto which is completed in a standing position.
EXPLANATION OF MAJOR POINTS
NUKITSUKE
1, When the opponent tries to attack from the Morote Jodan posture, take one step forward with
the right foot towards Shomen and draw the sword out as in Nukitsuke, aiming for the
opponent’s wrist(s) with the left knee slightly raised. The sword is drawn from a low position to
the upper right, an action similar to Gyaku-kesa-giri (reverse Kesa-giri). With the edge pointing
slightly right upwards.
In a single handed technique a minimum angle between the arm and the blade must be
maintained to produce a positive result. Also an essential hip twisting action in the opposite
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TosaKyuhonme 2023/4/8 下午5:57
direction is made at the same time. Consequently a single handed cut with the arm and sword
on a straight line is quite useless and lacks power practically and logically. This is because the
arm swing is generated from the weight of the sword. If a single handed cut is inevitable, it is far
better to cut diagonally.
In case where a standing opponent attacks a sitting target there is no time to prepare to take
satisfactory counter action under these conditions the left knee is slightly off the ground.
ATTACKING ACTION WHILST STANDING
Stand up with Kiritsuke action and aim at the standing opponent’s Kote (wrist) with the right foot
forward. Bring the left foot to the right at the same time Jodan Kamae is taken up. Then make
another double handed Kirioroshi stepping forward again with the right foot. The timing between
Nukitsuke and Kiritsuke is neither fast or slow. Nukitsuke with Kiritsuke catches the opponent’s
Kote. As he hesitates with the injuries incurred, one pursues and finishes with a large Kirioroshi.
Therefore it is not necessary to take a hurried Kirioroshi. Cut dynamically will full Tanden power.
If this action is too fast it will finish looking like the Kendo method of Ki, Ken, Tai, Ichi. In Kendo
the Ken (swordwork) and Tai (body and footwork) must meet together. However in Iaido the
upper body, hips, waist and foot position must be positively prepared before taking cutting
action.
Prepare a good foundation, ready the lower half of the body, then take Kirioroshi action. This is
the Iaido method. A combination of foot, hips, hand technique is Kendo method.
NOTO
In Tsukikage, Noto action is taken from a standing position. However the feel must be the same
as that of a kneeling Noto. A display of strong Zanshin and pride is a requisite. Also in any form
of Noto the hips must neither rise or fall during action. The hips must be held horizontal until
Noto action is complete.
The right hand (fist) movement in Noto should look like diagram (B)
Inscribing a big loop when the Kissaki meets the Koikuchi will result in a
loss of Zanshin power.
Sayabiki (pulling back the Saya) with the left hand in Noto and
Nukitsuke is also a very important point.
Not only Sayabiki but also left hand control in pushing the Saya down is important in making a
smooth Noto.
JUPPON-ME &
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JUIPPON-ME
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TosaJuJuippon 2023/4/8 下午5:57
JUPPON ME OIKAZE.
Pursue a running opponent and cut his back. The pursuing movement is done with
small steps.
POSITION
The position is shown in the diagram. Both are facing Shomen. The opponent is trying
to run away. So, pursue him and cut him from behind.
a] Stand facing Shomen in Iai-goshi in preparation for the chase.
b] The left hand is on the Koikuchi. Next push the Tsuba with the left thumb. The right
hand moves connecting with the Tsuka.
c] The opponent starts to run away. Pursue him using short steps to avoid up and down body
movements.
d] When you have closed the distance, draw the sword and take Nukitsuke action horizontally at
the opponent’s back.
e] After completion of Nukitsuke take a large step forward with the left foot moving into Morote
Jodan. Then take Kirioroshi with a large right step.
f] Showing an adequately strong Zanshin.
Bring the left hand to the left hip.
Swing the blade upwards right.
Bring the right fist to the right temple.
Followed by a large Chiburui and Noto.
BEFORE COMMENCING THE RUNNING MOVEMENT
Place both hands on the Tsuka. As the Tsuba disunites from the Koikuchi adopt Iai-goshi.
Metsuke must be fixed on the opponent. This is the posture in preparing to pursue.
THE RUNNING MOVEMENT AND BATTO (NUKITSUKE)
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Start the run on the right foot. At the outset take large steps. As you close on the opponent the
steps become smaller. Some people express this movement as that of a running mouse. To
make a positive Nukitsuke this short footwork is ideal. This method of running was originally
created to suit Iai-goshi. As Iai-goshi keeps both knees slightly bent it acts as a cushion to
absorb the jarring of the body. To run in this method, the heels must not touch the ground. Run
using the forward part of the feet, mainly the toes. The cushioned knees and spring of the toes
will absorb the shaking problem. It will also stop the sword shaking about in the Obi. Spacing the
knees, light running with small steps, running straight without twisting the body from left to right
are three closely connected points.
NUKITSUKE
Nukitsuke as stated is done with small steps. When taking Nukitsuke, a large step is taken with
the right foot with the heel placed firmly on the ground as in the beginning of the Seiza section.
The upper body must be held vertical when taking Nukitsuke. All this does not sound so
complicated but is difficult to perform as method and theory states, To perfect Oikaze repeated
practice is essential.
Beginners are excused in making a noise as they run!
ACTION
After horizontal Nukitsuke to the opponent’s back, take one step forward into Jodan. Then
perform Kirioroshi after another large step with the right foot. The step must be taken firmly and
the Tanden held strong. The hips are dropped slightly as a result of the large step. The method
and technique of Oikaze is exactly the same as Kyuhon-Me Tsukikage.
JUIPPON-ME NUKIUCHI
Whilst facing an opponent in the Seiza position an opponent shows harmful

intention. Subsequently draw the sword quickly and cut the opponent straight
away with the Nukiuchi technique.
Both people are sitting facing each other in Seiza. The attacker is in front at a
close distance.
MOVEMENT
a] Becoming aware of the opponents threatening intention, Take hold of the

Koikuchi with the left hand and separate the Tsuka and Koikuchi. Next place the
right hand on the Tsuka.
b] Draw the sword forwards and right as the knees and toes are prepared for action (knees
lightly together)
c] The drawn sword is taken back towards the left with a feeling of thrusting toward the left ear,
then swings up to become Morote Jodan.
d] At the is moment the body is bent slightly backward.
e] Push the knees forward using thrusting power from the toes. Also the knees are pushed
forwards and outwards to take Makko Kirioroshi.
f] Twisting the right hand to the right, take a sharp Yoko Chiburui action. At this time the left hand
is connected with the left hip.
g] Grip the Koikuchi with the left hand and commence Noto. Gradually lower the hips to
complete Noto resting on both heels.
It is essential to draw the sword quickly before the opponent has a chance to draw.
1, Put the knees together lightly. The toes of both feet are touching the ground and the sword is
drawn out towards forwards right.
2, When taking up Jodan move the Kissaki with a feeling of thrusting towards the left ear, then
swing up.
3, When taking Kirioroshi action the power of the Tanden must be used to hold the upper body
which tends to bend forwards.
POINTS OF THE TECHNIQUE
The theory of this method is;
Lightly put both knees together.
Turn the feet over to rest on the toes.
Straighten the hips and take up the Jodan posture.
Then take a large Kirioroshi with full power.
If there was a real target, centrifugal force would be absorbed in the target. However in reality
there is no target. Therefore in Iaido it is essential to balance the body to stop the upper half
leaning forward more than necessary.
My teacher Yamamoto Takuji Sensei explained to me how stabilize this leaning problem as
follows.
At the same time as taking Jodan with a large upward swing, drop the hips a
little and use the weight of the body as additional power.
From this posture , push the Tanden forwards and shift the knees as shown in
the diagram, A to B, C to D. Both knees move with a feeling of digging into the
ground. To be able to do this, all the toes on both feet must generate a
thrusting power to push the body forward.
If one does Kirioroshi using this method, the leaning forward problem will be
stabilised.
Also dropping the hips will maintain a strong posture preventing the body from
leaning forwards.
CHIBURUI
The Chiburui action of Makko is the same as Yaegaki.
NOTO
Because Kirioroshi has been done with the knees spread, the height of the hip
is lower than the usual sitting Kirioroshi.
Therefore the Noto movement has to be taken carefully. If the Koikuchi is lifted to do Noto, the
Kojiri will hit the ground. In this form the left hand controls and pushes the Koikuchi downward
and backward. If the knees are spread too wide it is possible to draw them together a little when
taking Yoko Chiburui. Also Noto can be done to the right hand side with preparation of the
Koikuchi with the left hand.
BENEFICIAL INFORMATION
Within Iaido there is a multitude of logicalities and methods. For example within Makko the
differences of drawing techniques depend upon the envisioned opponent’s speed and timing. A
direct student of Master Oe, Mori Shigeki Sensei explained as follows;
PRACTICAL BATTO TECHNIQUE
Batto means to draw and cut. The method of drawing and cutting quickly.
METHODS
a, Drawing the sword out upwards to the right to immediately cutting downwards. Therefore
most Batto techniques are done with a single right action.
b, Use the left hand to support the right. Drawing the sword with a single hand and cutting down
with both. This technique is used when there is more of a time margin.
c, When there is more time to act, draw the sword without any Sayabiki action then take
Kirioroshi. In the case of an opponent’s counter attack, this method is ideal to use as a Suriage
technique.
d, Cases of emergency when no particular method is applicable.
In Muso Jikiden Eishin Ryu devised by Master Oe Masamichi there are two ways to study.
1, That of positive fundamental technique.
2, Flexible techniques depending upon timing, distance, the situation, direction, the opponent’s
movement etc.
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師伝芥考土佐の英信流

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Tosa 1 2023/4/8 下午5:46

IN APPRECIATION OF FORMER TEACHERS

ATTITUDES TOWARDS TRAINING

I WAS EXTREMELY FORTUNATE TO HAVE GREAT TEACHERS SUCH AS:

Go straight to Seiza-nobu forms

PREPARATION FOR IAI TRAINING

CHOOSING A GOOD TEACHER IS ONE OF THE MOST

A LIFETIMES RESPECT FOR ONES TEACHER.

Possibly because of democracy coming to Japan after World War II , I

PRIDE AND RESPECT FOR LINEAGE.

To study Iaido the practitioner must have a knowledge of the lineage.

original style of Oh-e Sensei and the Shimomura Ha displayed a

IAI TRAINING SHOULD BE CONTINUED AS LONG AS

YOU MUST NEVER IN ANY WAY SHOW OFF YOUR SKILLS TO

Politeness and moderation are considered to be virtuous in Japan.

Recently I have noticed that some instructors are rearranging things to

Different Chiburui (Chiburi):

Reduction in Iai-goshi: To take the posture of Iai-goshi is to;

• Open both knees

• Drop the upper body

Reduction of hip twisting in technique: In the case of cutting a

• For the purpose of cutting (Iaido), a body twisting action is

In Kiritsuke the Kissaki position height has increased within our

• In the case of cutting down with a dynamic action, the Tsuba is

• On the other hand, in the case of an emergency (Nukiuchi, Makko ) a

Students of my generation were taught two different positions to be

In present day Iaido, the Kissaki stops in a horizontal position in

1, When Kiritsuke is performed to cut the head of the opponent i.e.

2, To cut as deep as possible until the Kissaki reaches knee height.

Recently as Shiai (match/contest) have become popular, the stopping

Referring to the above, many techniques have been changed in the

lessons can be digested without displaying overconfidence. In

The method of tuition nowadays is overindulgent.

In other words all movements are taught theoretically in detail.

SEIZA SECTION - PREPARATION FOR EMBU.

a] Initial action is taken from the Seiza position.

b] A long sword is worn.

c] One man with one opponent.

d] No difficult or complicated techniques are used.

1, Seiza is a reasonably comfortable sitting position for Japanese and

a] It teaches the association between the Tanden and breathing.

b] Controls mental unbalance.

d] Teaches basic form against an opponent.

2, Our school has a custom of using a long sword, even so;

a] A long sword is difficult to control.

b] Control the timing of Nukitsuke and settle the Tanden.

3, As to the one man one opponent situation. This position seems to be

4, Throughout these forms, movements are relatively simple. The

a, Ample Tanden power.

c, Power generated by the whole body.

e, Follow basic logic.

f, Full spirit in Zanshin.

Seiza Nobu Linkpage Home

Iwata Sensei demonstrating Shimomura-ha Oroshi for

EXPLANATION OF THE MAIN POINTS.

TECHNIQUE MUST BE STARTED AFTER SUBSTANTIATING THAT AN

BRINGING BOTH HANDS TO THE TSUKA.

DIRECTION OF THE TSUKA-GASHIRA IN NUKITSUKE.

Another important point in Nukitsuke is

a, In a bent over posture it is

b, If the upper body is bent forward the

c, In a bent over posture one also

Iwata Sensei winning the 6th All

BRINGING BOTH KNEES TOGETHER.