Observations on iaido techniques in gradings
(with thanks to Andy Watson, Seishinkan Dojo, Ealing for giving permission to republish this)

The following is taken from an article by Andy Watson published in BKA Online issue #22, February 2006. In it Andy highlights some of what is being looked for by a grading panel and by inference what an iaidoka should be looking for and checking in their practice. On top of the issues Andy raises regarding each Seitei kata, he also has a bit to say about the amount of physical strength and speed put into techniques, particularly by beginners. As Andy stresses, this article is not intended to teach iaido, but it highlights a number of important issues which students should consider.

“At this year's European Championships (indeed for the last three of four years running) more and more focus has been given to the ZNKR Seitei Iai manual. This is undoubtedly to acknowledge the efforts put in by the ZNKR central research committee who work to develop this book in order that a standard and improved level is seitei iai is realised both nationally and internationally.

I was fortunate enough to closely observe the grading in Darlington this year and was spot able some of the trends in behaviours for the various grading groups. What appears to be consistent is the need for grading participants to input quite a lot of physical strength into their techniques. Undoubtedly this is through a sincere effort to make one's cutting sharp but as explained later, a grading is not the place to exhibit unnecessary power.

So what is being looked for in gradings?

In order not to infringe any copyright laws I will hereby freshly translate the seitei iai manual's points around what to look for at gradings (I believe that Jock Hopson sensei made reference to these points at the Darlington seminar as do frequently the visiting Japanese sensei). This is a fairly literal translation and each point asks a question rather than giving the imperative. I have therefore added whether the points should be negatively or positively responded to in brackets at the end of each point.

Reiho
Is the reiho carried out in the manner described in this book? (it should be)

Ipponme (Mae)
Is there adequate sayabiki when drawing the sword? (there should be)

Is furikaburi carried out by passing the sword by the left ear with a feeling of thrusting behind? (it should)

In furikaburi, is the tip of the sword below the horizontal? (it shouldn't be)

Is kirioroshi carried out without pause? (it should be)

After kirioroshi is the sword tip slightly below horizontal? (it should be)

Is the posture correct when carrying out chiburi? (it should be)

Is noto carried out correctly? (it should be)

Nihonme (Ushiro)
When turning and drawing to the front, does the left foot make a decisive movement to the left? (it should do)

Is the draw made to the enemy's temple? (it should be)

Sanbonme (Ukenagashi)
When receiving the enemy's sword, is the sword held in such a position to protect/cover the body? (it should be)

Is the left foot drawn back behind the right and is the cut made along the kesa line? (it should be)

Does the left hand finish in front of the navel with the tip of the sword slightly below horizontal? (they should be)

Yonhonme (Tsukaate)
Is the tsukagashira properly thrust into the enemy's solar plexus with a decisive movement? (it should be)

When turning to face the rear enemy, does the left hand wring the saya bringing the koiguchi to a position in front of the navel without changing grip? (it should do)

When returning to face the front enemy, is the cut made from above the head with a feeling of drawing out of the rear opponent? (it should do)

Gohonme (Kesagiri)
When the upward kesa cut is made, does the right hand make the sword rotation while above the right shoulder? (it should do)

As the left foot is drawn back, does the left hand grip the koiguchi at the same time that chiburi is performed along the kesa line? (it should do)

Ropponme (Morotezuki)
When the draw is made to the right-diagonal of the opponent's head, is the cut made to the jaw? (it should do)

Is the rear foot brought up close to the front foot while going into chudan kamae and is the thrust made to the solar plexus effectively? (they should be)

Is furikaburi carried out by drawing the sword out and through ukenagashi? (it should do)

Nanahonme (Sanpogiri)
When the draw is made to the opponent to the right, is the cut made to the jaw? (it should do)

When the turn is made to the opponent to the left, is the cut made without pause? (it should do)

Is the cut to the front preceded with furikaburi while going through ukenagashi and the cut completed to horizontal? (it should do)

Hachihonme (Ganmenate)
Is the thrust to the front correctly performed by hitting the tsukagashira to the point between the enemy's eyes? (it should be)

When the turn is made to face the rear opponent, is the right fist correctly placed on the right hip? (it should be)

Is the turn made completely to face the rear opponent with the right heel slightly raised in preparation for the thrust? (it should be)

Is the thrust made without turning the rear foot? (it should be i.e. the thrust should be made with both feet remaining parallel)

Kyuhonme (Soetezuki)
When the right-kesa cut is made, does the right fist finish at navel height with the tip of the sword slightly higher than the fist? (it should do)

Does the left hand effectively grip the sword at the centre by pinching between the thumb and forefinger and is the right fist on the right hip? (they should be)

When the thrust is made to the belly, does the right fist stop in front of the navel? (it should do)

When zanshin is performed, is the right elbow not bent and is the right fist no higher than the right breast? (neither should happen i.e. the elbow should be straight with the right fist no higher than the right breast)

Jupponme (Shihogiri)
When the strike is made with the tsuka, is it performed strongly and effectively using the flat of the handle? (it should be)

When sayabiki is next performed, is the reverse side of the monouchi placed on the left breast with the right hand away from the body? (they should be)

When the thrust is made, does the left hand wring the koiguchi to the front of the navel with both left and right hands working together? (they should do)

Does the exponent go through wakigamae to perform furikaburi without stopping in wakigamae? (they should do)

Juipponme (Sogiri)
When the sword is drawn, is it done while going through ukenagashi? (it should do)

When cutting, is the movement made with okuriashi? (it should do)

When the cut is made across the waist, is the cut correctly made horizontally with the correct hasuji? (it should be)

Junihonme (Nukiuchi)
When the sword is drawn up and out, does the left foot move back adequately? (it should do)

When the sword is drawn up and out, is the right hand on the centre line? (it should be)

I make no apology for the poor English grammar in the points above – literal translation always leaves something to be desired if one is not to put their own interpretation to the Japanese.

Of course there is a ream of other technical points describing how the kata should be performed both written and transmitted orally. These points above though represent the most important points which the examiners will be looking for. The underpinning elements of seme, zanshin, kankyukyojaku, jo-ha-kyu, metsuke are also all important and will make the difference when examinations are for higher grades. In a competition, in lieu of any significant differences in delivery of these technical points then the underpinning elements will determine the winner. Technical proficiency must however be delivered first and foremost – without this basic framework then iai will revert into a flurry of chaotic mess.

As is repeated time and time again, speed and power follow correct technique and this equation should never be reversed. This principal I feel though is misunderstood slightly and I would like to put some clarity on this by reverting to another source. I recently read a book which was a biography of the famous equation E = mc 2 . In the book the author points out that most people's perception of Einstein's equation is that matter (m) can be converted to energy (E) by a factor of the square of the speed of light (c). This nuance fails to recognise the most fundamental message that Einstein was trying to get across – that energy and matter were basically the same stuff, hence the equals sign stuck in the middle of the equation! Energy and matter are interchangeable.

Now if we consider this completely dissimilar equation of technique, speed and power. At first one might presuppose that once you get correct technique then you are allowed to train in developing speed and power. While this is in a way true, this nuance also fails to recognise the most significant point of this relationship – speed and power come about by practising technique correctly. Speed and power are not independent training challenges that one must overcome once technique is conquered – they are factors which will increase with the improvement of technique. If this were not the case then the best of us would be the best merely through the power of our muscles. This however is not the case. Effort is focussed in a movement which allows power to naturally be released through a harmony in muscular control, relaxation, breathing, posture, direction and position. All of these factors are dependant on technique.

I realise here that this might sound like I am trying to teach iai through this article (me being a mere yondan n' all) but I hope that readers will realise that I am merely trying to articulate some of the finer points that I have either had conveyed to me, eavesdropped or commented on about others from the various visiting sensei. It is often difficult to for any translator to convey all the points and subtleties in the time given (other attendees to the summer seminars/European seminars know exactly which Japanese sensei I am referring to).”

Andy Watson, 2006