----- Iaido Judging Guidelines for All Japan Kendo Federation Iai Shinsa from the All Japan Kendo Federation, a non-profit corporation Manners Is the proscribed sequence of manners (proper bowing and procedure) demonstrated ? ----- 1, Mae 1) During nukituke (drawing) is there sufficient sayabiki (pullback of scabbard)? 2) Is jodan kamae (furikabutte) assumed with the feeling of trusting back along side of the left ear? 3) Does the kissaki (sword tip) not drop down below horizontal after raising up to jodan kamae (furikabutte)? 4) Is there no pause before the down-ward cut(kiri oroshi)? 5) Is the kissaki (sword tip) slightly down after finishing the kirioroshi (finishing) cut? 6) Is the posture during chiburi (sword cleaning motion) correct? 7) Is noto (sword re-sheathing) done correctly? ----- 2, Ushiro 1) When drawing the sword and simultaneously turning, does the left foot move firmly forward as it goes slightly to the left? 2) Does the draw (nukituke) cut correctly toward the opponent's temple? ----- 3, Uke Nagashi 1) Has the stance that makes Uke Nagashi protected the upper body? 2) Does the left foot pull back behind the right foot with the kesa (diagonal) cut ? 3) Does the left fist stop in front of the navel with the sword tip (kissaki) slightly lower? ----- 4, Tsuka Ate 1) Does the butt of the sword handle (kashira) strike squarely to the enemy's solar plexus? 2) When facing the rear enemy, does the left hand grip the scabbard mount (koi guchi) squeezing with a jamming motion to the front of the navel, as the tsuki is made, with the right elbow straightened out? 3) Turning to face the front enemy, does the sword pull out as the hilt (butt of the handle) goes up to furikabbutte, and then cut down right thru the front enemy? ----- 5, Kesa giri 1) After finishing the reverse kesa upward cut, and rotating the sword for the return downward cut, is the right fist above the right shoulder? 2) As the left foot is pulled back, does the left hand grasp the koi guchi, at the same time as the kesa (diagonal) chiburi is done? ----- 6, Morote Tsuki 1) Does the sudden/surprise downward diagonal head cut finish at the enemy's jaw? 2) As you come to chudan, are you performing a precise tsuki thrust to the solar plexus, by moving your rear foot forward? 3) Does the sword "pull out" move into furikabutte with a blocking uke nagashi motion? ----- 7, Sanpou Giri 1) Does the draw, cut down to the right enemy's jaw? 2) Turning directly to the left enemy, are you cutting down precisely thru him? 3) Using a sliding block (uke nagashi) motion into jodan kamae, do you cut down until the sword is parallel with the floor? ----- 8, Ganmen Ate 1) Does the sword hilt (kashira) thrust correctly to a point between both eyes? 2) Is the right hand grip for the rear enemy correctly held at the right upper hip? 3) Facing completely to the rear enemy, does the heel only raise up slightly with the tsuki? 4) Is the tsuki made without locking the leg? ----- 9, Soete Tsuki 1) When the right kesa (diagonal) drawing cut is made, does the right fist finish at the same height as the navel, with the kissaki slightly higher? 2) Pinching the blade firmly midway along its length, between the left thumb and index finger, does the right fist touch the right upper hip? 3) Does the right fist stop in front of the navel, after the thrusting pierce to the abdomen? 4) During the zanshin follow-thru, does the right elbow not bend or stop heigher than the right breast? ----- 10, Shiho Giri 1) When striking with the flat of the handle, is it strong and certain? 2) After uncapping the blade (saya biki), is the backside of the cutting area (monouchi) placed at the left breast, with the right fist away from the body? 3) After thrusting to the rear, and the left hand grasps the scabbard mouth (koi guchi) in front of the navel, do both hand squeeze (shibori) using the whole body? 4) Does the move into the cut (furikabutte) happen with the waki kamae moving into a jodan kame, and not after it? ----- 11, Sou Giri 1) When drawing the sword do you make furi kaburi (raise up above your head) into uke nagashi? 2) Is the footwork okuri ashi, during the cutting techniques? 3) During the stomach/waist area cut made with the edge aligned to the horizontal? ----- 12, Nuki Uchi 1) When drawing the sword back does the right foot move back far enough? 2) Does the right hand raise up to a position on the body centerline after drawing the sword? --
from http://www.kendo-sask.com/swordfaq.htm
I've often heard the solor plexus referred to as both "suigetsu" and "mizouchi" (or also mizuochi). The kanji for these terms is different, and unless I'm mistaken, the kanji for "mizouchi/mizuochi" literally translates as something like "dove's tail"(!) It could be that suigetsu is an earlier term. Mizouchi is in modern dictionaries as "solar plexus", but I have not seen suigetsu defined as such yet (in a dictionary).
According to Stedman's Concise, "solar plexus" is a synonym for the "celiac plexus" which is associated with the celiac trunk coming off of the abdominal aorta at roughly height of the 12th thoracic vertebra.
My best guess is that it comes from a combination of things. First, there's a acupuncture point called the "suibun" or "mizuwake" ( $B?eJ, (B) that's in about the same place as the solar plexus. And second, the regular Japanese word for this point on one's anatomy is "mizo^chi"( $B?eMn (B), which is a contraction of "muizu-ochi." One or both of these are probably the base for the adoption of "suigetsu" as bugei code for the solar plexus. This sort of semi-coded reference to body parts is common in bugei terminology--the use of "kote" to refer to the wrists, is another example. It probably was originally an effort to make texts and verbal explanations less intelligible to outsiders. The term "suigetsu" is originally a Buddhist reference to the idea of the Buddha essence existing wholly and undivided in all things, the way the moon is reflected wholly and undivided in every puddle and water drop under the sky. Japanese martial art usage of the term as a philosophical construct (rather than an anatomical reference) usually points toward the idea of the moon moving with the waves of any body of water on which it's reflected.
Suigetsu can be translated as "moon on the water." This concept, which also appears in Chinese culture, means "as elusive as the moon on the water." In other words, you can see the moon, but the moon you see is elusive; it remains visible on the water, even when the water moves. When struck at the suigetsu point (the celiac plexus, below the xyphoid), your breath is taken away. You are still conscious, but you can't breath because your diaphragm is in temporary spasm. Breathing is "like the moon on the water"; you think you should be able to breath, but you can't. This explanation is how the atemi strike of suigetsu is explained in Danzan Ryu Jujutsu. For what it's worth.
Date: Thu, 4 Jan 2001 08:35:47 -0500 From: Bill MearsKendo Renmei: the largest organization (notice the word organization) for iai, with it's own set of techniques (formerly called Seitei Gata) for grading purposes. As well, nearly all practitioners follow a ko-ryu (essential for the higher dan grades). Iaido Renmei : basically this is the political organization of the Muso Jikiden Eishin Ryu- the soke etc are in charge of it. They also have their own set of techniques. Ko-ryu: not only are there a number of different ryu, but their are countless 'ha' or branches that either follow or recognise someone different than the official soke or his line. Most of the ha claim that their way is better or more legitimate than the other - my advice would be to ignore the hype and just follow whatever way you choose but not be totally blinkered. Muso Shinden Ryu : one of the two largest ryu (in terms of those who practise it). the other big one is the MJER. Muso Shinden got its name after the death of its 'founder'; Hakudo Nakayama, who along with Oe Masamichi (MJER) was responsible for rejuvanating iai this century. In simplistic terms, Hakudo took the Shimomura-ha techniques of what was known as the Muso Jikiden Eishin Ryu and changed them (or not depending on who you listen to!), while Oe took the Tanimura-ha techniques and did (or did not) the same thing with THEM. Date: Thu, 4 Jan 2001 09:31:09 -0500 From: Kim A Taylor There are many iaido organizations for a variety of reasons, some historic and some a bit more venal. The defining reason, however, is "because there can be". Iaido does not have a large competitive component like Kendo, and so there isn't any overriding reason to keep everyone in one organization. In contrast, there is one World Championships of Kendo, and these are run by the IKF which states that there is one national Kendo federation per country. If you wish to participate in that process, you belong to the ZNKR. No real competing organization has ever managed to challenge this structure (although there is a growing international Korean Gumdo organization which may change things). Iaido has (and I'm going out on a limb here just a bit, I'm sure others will fine tune this later) two major overall organizations, a couple splinter groups and many small "extended dojo" organizations. The first big (modern, existing) group which banded many dojo and koryu together was the ZNIR, founded by Konno Hyakuren in the early 50s (reportedly after the Kendo Federation rebuffed his suggestion to organize under the ZNKR... they were concentrating on kendo at the time). The koryu, depending on definition, are either small, personally taught, one man/one dojo items, or larger, multi-dojo organizations which are centred around one particular art. They are structured in a variety of ways and the "extended dojo" may or may not be "a koryu", for instance Miura s. claims headmastership of MJER Iai-JUTSU as distinct from MJER iai-DO (and hence meets most definitions of "koryu"), while the Roshukai is more of a "research group" within the ZNKR organization than an independant entity, although for the members in the UK it is their "organization". It is both "informal" and "formal" I suppose you could say. I've never heard Iwata s. claim to be a headmaster of MJER, and in fact he always recognized Fukui Torao (now deceased, formerly of ZNIR) as such, so I wouldn't classify this group as a "koryu". As for cross-recognition of grades, there is none. A rank in the ZNKR is not the same as a rank in the ZNIR or the DNIR or the Roshukai or any of the koryu. They have different requirements and as such cannot be compared directly. I have a hell of a time occasionally trying to explain the dan/kyu system to parents who ask me "what's the requirement for a 15th dan" or "how do you get a red and white stripe belt" as if there's a single, overall ruling body for every martial art on earth. (The idea will persist that a "black belt" has some objective meaning.) Now, to add to all this, there are occasional attempts to do just that, to organize and oversee all martial arts on a national level. For instance in the UK there was some talk of a Martial Arts Council which would be an overall body to supervise instruction of the arts. I don't know where it stands at the moment, but some of the aims were good, coaching certification (ie some knowledge of "how to teach" and first aid etc. for all who teach) and whatnot, backed by the carrot and stick of use or non-use of public space for practice. Personally I don't see a big problem with some minimum overall standard of coaching, safety and legal knowledge in instructors, especially after having been around for 20 years watching "6 month wonders" set up shop and teach kids. Hell even "aerobics" instructors need more certification than karate instructors to teach in this country.
(Comment from Ray: this list do not correspond of what I know about KENDO KATAs. Perhaps it refers to another KATAs set)
Ippon me: sensen-no-sen Nihon-me: sensen-no-sen Sanbon-me: sensen-no-sen Yonhon-me: go-no-sen Gohon-me: sensen-no-sen Roppon-me: go-no-sen Nanahon-me: go-no-senThe meaning is:
Go-no-sen is the concept/tactic of waiting for your opponent to attack, thereby providing the opportunity or an opening for you to execute a counter-attack. Sensen-no-sen is a pre-emptive attack. You attack before your opponent has the opportunity to launch their attack. Sen-no-sen relates to attacking at the very moment that your opponent has launched their attacking. Another way to look at is in terms of ken (kakaru, E. to act/move) and tai (matsu, E. to wait/not move). Sensen no sen: kenken no tai or, perhaps, tai chu ken. Sen no sen: ken no tai or, perhaps, tai chu ken. Go no sen: tai no ken or, perhaps, ken chu tai. In Shinkage-ryu, we are taught that when one is in ken chu tai, even though the body is not moving outwardly, the mind is at Warp 12 and EVERYTHING moves very slowly, allowing one to perceive and respond to the attack. Another way of looking at this is katsujin no ken. The obverse of this, then, is that in tai chu ken, one may be moving furiously in a physical sense in tai chu ken, but one's mind is perfectly calm and does not become "fixed" on any particular action or situation. These states are both what Takuan calls a manifestation of fudoshin, in his *Fudochi shimmyoroku* and W. S. Wilson propably has the best easily available English translation of the former in *The Unfettered Mind*. *Heiho kadensho*, by Yagyu Munenori, is a discussion of this stuff in terms of swordsmanship.Although there're some problems with it, Sato's *The Sword and the Mind* is the best English version of Munenori's work I have seen.
Date: Mon, 7 Jan 2002 09:11:13 +0200 From: Quest SeminarsHerewith are the definitions from the Japanese English Dictionary published by the AJKF mittsu-no-sen (n.) 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 three 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 summarised as follows: sen-no-sen: When facing an opponent in a match, having the keen insight to quickly recognise the opponents start, and then attack immediately, thus forestalling the opponents move. This act of attacking faster than the opponents sen is the most important in kendo. Also called kakari-no-sen. sen: When the opponent sees a suki (weakness) 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 (weakness) and initiates an attack, winning by first striking down the opponents sword or parrying, then attacking strongly when the opponent has become discouraged. Also called tai-no-sen.
There used to be hundreds of kenjutsu ryu; only two dozen or so have survived and they are mostly very small organizations. One of the oldest is Tenshin Shoden Katori Shinto Ryu. There is also Itto Ryu, from which much of modern kendo is derived. Here is a list of known surviving ryu compiled by Antony Karasulas and Satoshi Yokota: Abe Ryu Yagyu Shinkage Ryu Niten Ichi Ryu Mugai Ryu Jigen Ryu Muso Jikiden Eishin Ryu Omori Ryu Katori Shinto Ryu Kashima Shinto Ryu Suio Ryu Muso Shinden Ryu Maniwa Nen Ryu Takenouchi Ryu Yagyu Shingan Ryu Tatsumi Ryu Shinkage Ryu Muraku Ryu Jikishinkage Ryu Hoki Ryu Ono-ha Itto Ryu Hokushin Ryu Nakanishi-ha Itto Ryu Tamiya Ryu Shindo Munen Ryu Itto Ryu
There are varying degrees of politeness and intent in carrying the sword and in placing it beside you at rest. To sit with the katana beside you on your left with the edge away from you implies mistrust of your situation and the possibility of hostile intent. The blade on your right with the edge in implies a fair amount of trust and comfort in your present situation. Carrying the sword in your left hand, edge up, it is ready for instant use. Carried in your right hand, edge down, with the hilt behind your hand, it may still be drawn immediately by raising your right hand forward and cutting down with your left hand in a vertical draw, but your immediate response is limited compared to the left hand carry. Carried in the same fashion, edge up, the sword is extremely difficult to draw without some additional manipulation. Every ryu has its own discipline and rituals regarding how to carry the sword, but they are based on a society of well armed, touchy individuals who gave each other distinct nonverbal signals like a couple of tomcats under a streetlight at midnight.