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2006 Iaido Seminar 9/28/06 - 10/1/06

2004 Iaido Summer Camp Report

"Kendo and Iaido Exist together and relate to each other like Yin and Yang."

Ueno Satanori, 6/11/2004

2004 AUSKF Iaido Summer Camp
Report by Takeshi Yamaguchi sensei

AUSKF laido Committee Chairman Takeshi Yamaguchi reported that the 2004 AUSKF Iaido Summer Camp was successfully hosted by the SWUSKIF on June 10-13, 2004, at the University of Colorado in Boulder, Colorado..

The All Japan Kendo Federation ["AJKF"] sent two guest iaido instructors: Sadanori Ueno, Iaido 8 Dan Hanshi and Kiyofusa Takeda, Iaido 8 Dan Hanshi, to assist in conducting the 2004 AUSKF Iaido Summer Camp.
Due to a financial deficit which resulted after all income and expenditures were accounted for the 2004 AUSKF Iaido Summer Camp; the AUSKF board of directors requested that beginning in 2005, the AUSKF Iaido Committee is to submit a written budget proposal for the 2005 AUSKF Iaido Summer Camp for review and approval at the Spring, 2005 AUSKF Board of Directors meeting.

In addition, beginning with the 2005 AUSKF Iaido Summer Camp, it was requested that all seminar fees are to be made payable to the AUSKF, rather than to the hosting regional member federation, as this will provide the necessary financial records to assist the AUSKF Treasurer in reconciling the budgeted line items, to facilitate payment of expenditures when needed, etc.

Thanks to TK Gwin and the Yamakage Dojo. for hosting the 2004 AUSKF Iaido Summer Camp.

Results of the Taikai:
Mudansha Results
Shodan Results
KoDansha Results

Photographs:
Photographs by Aram kailian this is a large gallery of some very nice photographs of the taikai. Looking for one of yourself? It just might be here.
Photographs by Dennis Ralutin This is a 6 page gallery of photos.

Ueno Sensei and Takeda Sensei

Ueno Sensei gives a description of cutting angles in Zen Nihon Iaido Kata.

You can download a copy of this diagram.
8x11 inches. 20x26 cm 126kb .jpg format
8x11 inches. 20x26 cm 126kb .pdf format
18x28 inches. 46x72 cm 479kb .jpg format
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24x36 inches. 61x96 cm 772kb .jpg format
24x36 inches. 61x96 cm 772kb .pdf format

You can download a copy of this Katana diagram.
17x11 inches. 43x28 cm 340kb .jpg format
17x11 inches. 43x28 cm 340kb.pdf format
24x17 inches. 61x44 cm 627kb .jpg format
24x17 inches. 61x44 cm 627kb .pdf format
36x26 inches. 61x96 cm 772kb .jpg format
36x26 inches. 61x96 cm 772kb .pdf format

AUSKF 2004 Iaido Taikai Results (June 12th, 2004)

Mudansha Cup (Ikkyu and Below)
1st - Suzanne Rancourt (Capital District Budo)
2nd - Paul Tigh (DFWKIK)
3rd - Loren Nishmura (Alaska)
3rd - Jeffery Keffer (Memphis Iaido Club)
Fightng Spirit - Mike Murphy (Yamakage)

Yamaguchi Cup (1 Dan - 2 Dan)
1st - Frank Nieves (Shidogakuin Miami)
2nd - Paul Shin (Shidogakuin NY)
3rd - Koji Kurohara (Shidogakuin NY)
3rd - Andre Chen (Shidogakuin NY)
Fighting Spirit - Jonathan Corum(JSS Dojo).

Nakanishi Cup (3 Dan and Above)
1st - Pam Parker (Ken-Zen)
2nd - Debbi Farmer (Shidogakuin NY)
3rd - Dick Anderson (Everett)
3rd - Susan Sekreta (Ken-Zen)
Fighting Spirit - Isabella Church (Shidogakuin)

Study Questions for Iaido Shinsa

These questions are sample questions which have been used in the past. Future tests may use different questions. Please use these as study guides for answering future questions.

Each applicant testing for 1st kyu and above will be required to answer any two of the three test questions given for the rank they are testing for.

1st Kyu:
1. Name and briefly describe the five basic on-guard postures (kamae) in swordsmanship.
2. Discuss Metsuke.
3. What is zanshin?

Shodan
1. List the names of all 12 All Japan Kendo Federation Iaido kata.
2. Define Mono-uchi and describe its function.
3. What is Jo-Ha-Kyu?

Nidan
1. What is the purpose of chiburi?
2. Draw a simple diagram of a katana and identify the following:
a. habaki
b. kisaki
c. tsuba
d. fuchi (fuchi-gane)
e. tsuka
f. mune
g. mono-uchi
h. kashira (tsuka-gashira)
i. shinogi
3. Explain ki-ken-tai-ichi and give two examples of its application in the All Japan Kendo Federation Iaido kata.

Sandan
1. What do you hope to gain through the study of Iaido?
2. What is suki and why should you avoid its occurrence in your practice of iaido?
3. What is kirioroshi? Describe its use in one All Japan Kendo Federation Iaido kata.

Yondan
1. Is it important, or is it not important to participate in Iaido Competitions? Explain your rationale.
2. Write what you know about kokyu (breath control) in Iaido.
3. Describe the three kinds of sen.

Godan
1. Discuss the concept of fudo-shin.
2. Tsuki (thrusts) occur in five of the All Japan Kendo Federation Iaido kata. Name the five kata and identify the target area of the tsuki.
3. Discuss the importance of rei-ho in the practice of Iaido.

Rokudan
1. Explain the philosophy of shu-ha-ri.
2. What are ma and maai? Describe their application in one or two All Japan Kendo Federation Iaido kata.
3. There are key points to watch for when judging iaido. List the key points for two of the All Japan Kendo Federation Iaido kata.

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5 Kamae

Gedan-no-kamae:
The posture in which the tip of the sword is lowered from chudan-no-kamae (middle guard position) down to the level of the opponent’s kneecap. This posture is considered suitable for defense.

Chudan-no-kamae:
The posture in which the right foot is forward, the sword is held with both hands so that the tsuka-gashira is in front of the tanden and the sword is aimed so that the extension of the sword points to the opponent’s throat/face. This posture is suitable for both offense and defense. It is sometimes also called seigan-no-kamae.

Waki-gamae:
Posture in which the right foot is behind, in a hidari-hanmi (left side forward, half turned) position and the sword is held below the right armpit, with the tip of the sword pointing backward and the edge of the blade facing diagonally down to the right. The level of the tip is a little lower than it is in gaedan-no-kamae.

Jodan-no-kamae:
The posture where the sword is held above the head. The most offensive posture among the kendo postures. The posture where the sword is held with both hands and the left foot is forward is called morote-hidari-jodan-no-kamae. The posture in which the sword is held with both hands and the right foot is forward is called morote-migi-jodan-no-kamae.
There are katate (one hand holds the sword) versions of both jodan kamae.

Hasso-no-kamae:
The posture where the sword is held with both hands near the face. The left hand stays on the body’s center line, and the right hand is about one fist width away from the mouth. The kissaki is pointing upward to the right rear, and the edge faces the opponent. The left foot is forward and the body is in hidari-hanmi (left side forward, half turned) position.

Metsuke:
Positioning of the eyes. The act of paying attention to the opponent’s whole body while looking into his/her eyes.

Enzan-no-metsuke:
A term meaning it is important to look at the figure of the opponent as a whole rather than at a particular point, as if looking at a far away mountain.

Kan-ken-no-metsuke:
Kan-no-me is the way of seeing with which one sees the essence of things, while ken-no-me is the way of seeing with which one sees only the surface phenomenon. In Gorin no Sho (The Book of Five Rings) swordsman Miyamoto Musashi said, “Kan-no-me is strong, ken-no-me is weak.” As this teaching implies, the term kan-ken-no-metsuke emphasizes the importance of having a keen eye which can not only see the opponent’s appearance but which can also perceive the opponent’s abilities and state of mind through his/her posture and appearance.

Zan-shin:
The body posture and state of mind in which even after striking, one is alert and ready to respond instantly to any counterattack by the opponent. Zanshin is the state in which, after striking with full power and without hesitation, one faces the opponent with full spirit and with the ability to respond naturally.

Mono-uchi:
The part of the sword which exerts the most force upon contact. This part of the sword begins from the kissaki and extends for approximately 6-8 inches toward the other (back) end.

 

12 Sei Tei Kata Names

1. MAE
2. UESHIRO
3. UKE NAGASHI
4. TSUKA ATE
5. KESA GIRI
6. MOROTE TSUKI
7. SANPO GIRI
8. GANMEN ATE
9. SOETE TSUKI
10. SHIHOU GIRI
11. SOU GIRI
12. NUKI UCHI

 

Jo-Ha-Kyu:
Jo-ha-kyu is the continuous acceleration applied to the execution of most sword drawing techniques. Each movement of a kata begins slowly, gradually gets faster and until maximum speed is attained. This increase of speed produces sharp technique. The first technique of the first kata (nukitsuke in Mae) is a good example of the use of jo-ha-kyu.

Chiburi:
The purpose of chiburi is to clean the end of the blade of anything left on it from cutting. Chiburi also has a spiritual meaning of cleaning one’s soul.

Ki-ken-tai-itchi:
A term which expresses an important element in moving for offense and defense; it is mainly used in teaching striking moves. Ki is spirit, ken refers to the handling of the sword, and tai refers to body movements and posture. When these three elements harmonize and function together with correct timing, they create the conditions for a valid strike. Also called Shin-ki-ryoku itchi.

Suki:
A weakness of the mind caused by astonishment, fear, doubt or hesitation. Also a weakness in one’s action or posture which results from losing control of the center.
Suki provide an opening for attack by one’s opponent.

Kiri-oroshi:
The term kiri-oroshi means cutting down. Usually it is a 2-handed cut down from over the head. Many, though not all, of the All Japan Kendo Federation style kata have kiri-oroshi.
Kiri-oroshi is contrasted with nukitsuke, the cut made, in one continuous motion, from drawing the sword. Kiri-oroshi requires that the sword already be drawn.

Kokyuu:
The act of inhaling and exhaling. In kendo this term also means to predict the opponent’s movement and adjust one’s moves accordingly as part of the interaction with the opponent.

Kokyuu-hou:
There are two ways of breathing. One is chest breathing by the motion of the ribs and the intercostal muscles and the other is abdominal breathing by the elasticity of the diaphragm. One type of abdominal breathing is tanden-kokyuu in which one exhales and expands the abdomen and then maintains this state with exhaling. This tanden-kokyuu breathing is considered very important in kendo and iaido.

In Iaido, as a general rule, you begin to move on the third breath’s inhalation. It is desirable to complete each technique as you finish a breath. Breathe silently, without raising your shoulders, so as not to alert your opponent. Don’t wait too long between techniques, but don’t go too fast either. For beginners, this is difficult, Continued practice using the 3 breath timing will lead to improvement.

Mittsu-no-sen:
The three sen. In kendo it is of paramount importance to suppress the opponent’s move at the moment it begins. It may be said that the competition to take sen decides the match. There are said to be thee sen (mittsu-no-sen) in sen. In the book titled Kendo written by Sasaburo Takano, the mittsu-no-sen are explained as sen-sen-no-sen, sen and go-no-sen. These three can be summarized as follows:

Sen-sen-no-sen: When facing an opponent in a match, having the keen insight to quickly recognize the opponent’s start, and then attack immediately, thus forestalling the opponent’s move. This act of attacking faster than the opponent’s sen is the most important in kendo. Also called kakari-no-sen.

Sen: When the opponent sees a suki (weakness/opening) and initiates an attack, winning by striking in turn before the opponent’s strike is successful. Also called tai-no-sen.

Go-no-sen: When the opponent sees a suki and initiates an attack, winning by first striking down the opponent’s sword or parrying, then attacking strongly when the opponent has become discouraged. Also called tai-no-sen.

Fudou-shin:
A state of mind which is not moved or distracted by anything; a flexible state of mind able to respond to various changing situations.

 

Five All Japan Kendo Federation kata use the technique of thrusting (tsuki).
They are:
4. Tsuka ate: thrust (blade is horizontal, edge faces away from your chest) to the rear opponent’s sui getsu/ mizu ochi/ solar plexus.
6. Morote tsuki: thrust (blade is vertical, edge faces down) to the front opponent’s sui getsu/ mizu ochi/ solar plexus.
8. Gan men ate: thrust (blade tilts upward from horizontal, edge faces to your right) to the rear opponent’s sui getsu/ mizu ochi/ solar plexus.
9. Soete tsuki: thrust (blade is vertical, edge down) to the (single, on the left side) opponent’s abdomen at about waist level.
10. Shihou giri: thrust (blade tilts slightly downward from horizontal, edge faces away from your chest) to the second (to the left rear) opponent’s sui getsu/ mizu ochi/ solar plexus.

Reihou:
Reigi sahou is very important. Budo begins and ends in reihou.
Reihou is the form we use to express respect—for our teachers, our dojo, for our fellow students, and for our own practice.

Shu-ha-ri:
A teaching which explains the levels of training in kendo. Shu is the level where one obeys the principles of one’s master and learns them solidly. Ha is the level where one adds one’s own ideas to what one learned in the previous level and develops one’s technique. Ri is the level where one rises above what one learned in the previous two levels, further develops one’s technique and establishes a new personal style.

Ma:
The space of distance between two objects, events or times. An important and distinctive concept focusing awareness on time and space; the term which expresses this concept. In kendo, ma more or less refers to temporal distance, and ma-ai is used in contrast when referring to spatial distance. The term ma-zumori refers to the proper creation and measurement of ma in time and space. The act of missing the proper distance or a chance to attach is call ma-hazure, while the act of intentionally avoiding the opponent’s attacking distance or chance is called ma-hazushi.

Ma-ai:
The spatial distance between one’s self and the opponent. The gap between two opponents. The establishment of ma-ai through the relationship with the opponent is a subtle and important matter.

Chika-ma:
Generally called chikai-ma-ai (closer distance). A smaller distance than issoku-no-ma-ai. At this distance one’s strike can easily reach the opponent, but the same holds for the opponent’s strike.

Issoku-itto-no-ma-ai:
This is the distance which enables a player to strike the opponent by taking one step forward and to evade the opponent by taking one step backward. The fundamental spatial distance in kendo.

Tou-ma:
Generally referred to as tou-ma-ai. A distance which is farther than issoku-ittou-no-maiai. A distance from which the opponent’s strike cannot reach you, and, at the same time, your strike cannot reach the opponent.

Iaido Judging Points:

 

In this listing, the numbered points are more basic, and more important, than the lettered points. (For #11 and 12, only numbered points are given.)

MAE
a. Is the player imagining a front opponent as s/he sits down?
b. Is the nukitsuke executed at the same time the sword leaves the saya?
1. Is sufficient sayabiki shown during nukitsuke?
c. Are the positions of the kissaki, right hand, elbow and shoulder correct?
2. Is the furikaburi made with a backwards thrusting movement past the left ear?
3. Does the kissaki drop below the horizontal when the sword is above the head?
d. Does the left knee pass the right heel as it is slid forward?
4. Is the cut executed without pause?
5. Does the cut finish a little lower than horizontal?
e. When initiating the chiburui action, is the right palm turned upward and is the cutting edge of the sword pointing to the left?
6. Is the posture correct during chiburi?
7. Is the noto executed correctly?

UESHIRO
a. Is the player imagining a back opponent as s/he sits down?
b. Is the head turning with the body?
1. Is the player drawing the sword as s/he is turning and is the left foot being placed a little to the left on the nukitsuke?
c. Are the positions of the kissaki, right hand, elbow and shoulder correct?
2. Is the player cutting correctly to the temple of the opponent?
d. Does the right knee pass the left heel as is it slid forward?
e. When initiating the chuburi action, is the right palm turned upwards and is the cutting edge of the sword pointing to the left?

UKENAGASHI
a. Is the player imagining a left opponent as s/he sits down?
b. Is the ukenagashi movement expressed clearly?
1. Is the upper half of the body covered by the sword in the ukenagashi position?
2. Is the left foot drawn back behind the right and is the cut diagonal?
c. Are the ukenagashi action and the cut executed as one continuous movement?
d. Is the right hand above the shoulder as the cut begins?
e. Is the kissaki upright over the shoulder as the cut begins?
3. Is the left fist in front of the navel and is the kissaki slightly down on completion of the cut?

TSUKAATE
a. Is the player imagining the opponents as s/he sits down?
1. Is the player aiming the tsuka correctly at the solar plexus of the opponent?
b. Is the first opponent still being pressured by the tsukagashira as the sayabiki is performed?
c. Is the ridge of the sword near the monouchi touching the left chest and is the edge turned outward?
2. On the thrust to the rear, is the left hand holding the saya turned inward in front of the navel and is the right elbow extended on making the thrust?
d. When turning again to the front, is the head turning before the body?
3. As the body is again turned to the front, is there a pulling movement as the sword is raised above the head and is the cut itself vertical?
e. When sitting, is zanshin shown as the left knee is placed on the floor to the sonkyo position?

KESA GIRI
1. Is the right hand above the shoulder as the sword is turned on the initial cut?
a. Is the kissaki pointing upwards and is the blade vertical as the initial cut is completed?
b. Does the monouchi reach out of the body side as the downward cut is completed?
2. Is the left hand gripping the saya as the left foot is moved back on the chiburi action?

MOROTE TSUKI
1. On the initial diagonal cut, does the cut stop at chin height?
a. Does the height of the kissaki in chudan correctly express the intent to thrust at the solar plexus?
b. Is the thrust executed with the correct body movement?
2. Is the rear foot tsugiashi as the chudan kamae is adopted and is the thrust made accurately to the opponent's solar plexus?
3. As the sword is drawn out, is there a feeling of ukenagashi as the sword is raised above the head?
c. Is the foot on which the body turns pointing forward, and is the heel of the rear foot lifted a little off the floor?

SANPOGIRI
a. Is the opponent in front intimidated with the spirit?
b. Is the right foot placed a little forward of the left pivoting foot on the initial cut?
1. When making the first cut to the right, does the cut stop at chin height?
c. Is the player conscious of the opponent in front as s/he turns to the left?
2. After turning to the opponent on the left, is the vertical cut made without pausing?
3. Is the sword raised above the head with the feeling of ukenagashi before the final cut?
d. Is the head turning towards the opponent before the rest of the body?
e. When making the second cut (to the left) is there sufficient vigor on the left foot?
f. Is the head turning towards the front opponent before the rest of the body?
g. Is sufficient concentration shown after noto?

GANMEN-ATE
1. Is the tsukagashira aimed correctly at the point between the eyes?
a. Is there a feeling of pushing with the tsukagashira against the opponent in front as the saya is pulled back to make the turn to the rear?
2. Is the right fist placed correctly on the top of the ilium when facing the opponent to the rear?
3. In this position, does the body turn round perfectly, and is the rear heel held a little off the floor?
4. Is the thrust made with the feet pointing forwards?
b. Is the right fist a little lower than the kissaki and in line with the right hip when making the thrust, and is sufficient sayabiki shown during the thrust?
c. Is the sword pulled out and raised above the head in an ukenagashi movement?
d. Is sufficient concentration shown after noto?

SOETETSUKI
1. When making the initial diagonal cut, is the right fist at navel height and is the kissaki slightly higher than the fist?
a. Does the monouchi reach out of the body side on the initial cut?
2. Is the blade gripped between the thumb and index finger of the left hand at around the center point, and is the right fist on the right hip?
b. Is the kissaki pointing at the abdomen of the opponent when making preparation for the thrust?
3. When making the thrust, does the right fist stop in front of the navel?
4. When showing zanshin, is the right arm straight, and is the right fist no higher than the nipple?
c. Does the kissaki remain still when starting the chiburi?
d. Is sufficient concentration shown after noto?

SHIHOGIRI
1. Is the tsukaate made strongly and with the side of the tsuka?
a. Is there the feeling of pushing the first opponent with the tsukagashira as the sayabiki is made on the initial turn?
2. When doing the sayabiki, is the ridge of the sword near the monouchi touching the left chest and is the right hand held away from the body?
b. Is the thrust to the solar plexus made without pause?
3. When making the thrust, is the saya pulled in front of the navel and are the left and right hands moved towards each other?
c. Is there the feeling of pulling the sword out as the sword is raised above the head?
4. Is the sword raised above the head for the final cut as part of the wakigamae action and not after wakigamae?
d. Is there the feeling of uke nagashi as the sword is raised above the head when pivoting on the left foot to turn to the right rear? Is the cut made on the right foot?
e. Is sufficient concentration shown after noto?

SOUGIRI
1. As the sword is begin drawn, does it pass through the overhead block (uke nagashi) as it is swung up?
2. For each cut, is the rear foot moved forward in okuri ashi?
3. When cutting the lower abdomen, is the line of cutting horizontal and is the edge of the sword also horizontal?

NUKI UCHI
1. When drawing the sword upward, is the left foot pulled back enough?
2. As the sword is drawn upward, is the right hand kept on the center line?