Iaido

Iaidō
(居合道)
Hardness	Forms competitions, only.
Country of origin	Japan
Creator	Nakayama Hakudo (c.1873–1958) is generally credited with first use of the term "iaidō".
Parenthood	Iaijutsu
Olympic sport	No

Iaidō (居合道), approximately "the way of mental presence and immediate reaction", is a Japanese martial art associated with smooth, controlled movements of drawing the sword from its scabbard (saya (scabbard)), striking or cutting an opponent, removing blood from the blade, and then replacing the sword in the scabbard. Modern day iaidō exponents typically use a blunted metal practice sword (iaitō) for practice, especially among beginners, while many advanced practitioners use a sharpened sword (shinken).

Origin

In the book "Bugei Ryuha Daijiten" by Watatani Kiyoshi and Yamada Tadashi, Hayashizaki Jinsuke (Minamoto no) Shigenobu is credited with establishing the influence and popularity of iaidō, early in the sixteenth century. However, around a century before his birth, the dynamic art of iaijutsu had been developed by Iizasa Ienao, the founder of the Tenshin Shōden Katori Shintō-ryū.

Iaidō should not be confused with kendo or kenjutsu:

Kendo teaching does not include drawing and re-sheathing of a sword. The main weapon used in kendo, a flexible bamboo sword (shinai), uses no scabbard. Kendo is practiced with a partner in full contact training or in forms (kata) practice.

Kenjutsu is generally practiced with a partner, in the form of predetermined routines, and often does include drawing or resheathing of the sword.

Delineation from battōjutsu, literally meaning "art of drawing the sword" is more difficult: battōjutsu is the historical (ca. 15th century) term encompassing both the practice of drawing the sword and cutting (tameshigiri). The term iaijutsu (居合術) became prevalent later (ca. 17th century), and the current term iaidō is due to the general trend (stemming from gendai budō) to replace the suffix -jutsu with -dō in Japanese martial arts in order to emphasize a philosophical or spiritual component. In contemporary usage, battōjutsu focuses on the techniques of cutting, with individual practice that starts with the sword in the sheath.

Iaidō forms (kata) are performed individually against one or more imaginary opponents. Some traditional iaido schools, however, include kata performed in pairs. Some styles and schools also do not practice tameshigiri, cutting techniques.

The primary emphasis in iaido is on the psychological state of being present (居). The secondary emphasis is on drawing the sword and responding to the sudden attack as quickly as possible (合). Starting positions can be from combative postures or from everyday sitting or standing positions. The ability to react quickly from different starting positions was considered essential for a samurai (侍).

A very important part of iaido, is nukitsuke or the life of iai. This is a very quick draw accomplished by drawing the sword out of the saya by moving the saya back in saya biki. The blade may be brought out of the saya and used in a quick nukitsuke slashing motion.

History of Iai

The Tenshin Shōden Katori Shintō-ryū (天真正伝香取神道流) included iaijutsu (居合術) in its curriculum in 15th century. The first schools dedicated exclusively to sword drawing appeared some time during the late 16th or early 17th century. Hayashizaki Jinsuke Minamoto no Shigenobu (林崎甚助重信) (1546–1621) is generally credited with as being the originator of the first dedicated school of sword drawing. Little is known of his life - leading some scholars to doubt his historical existence as a real person. The two largest schools of sword drawing that are practised today are the Musō Shinden-ryū (夢想神伝流) and Musō Jikiden Eishin-ryū (無雙直傳英信流). Both schools trace their lineage to Hayashizaki Jinsuke Shigenobu.

Before Nakayama Hakudo (1873?-1958) coined the word iaido, early in the 20th century, various other names such as battō, battōjutsu, or saya no uchi were used. Iaido is the usual term to refer to the modern self improvement oriented form taught by the All Japan Kendo Federation (AJKF), while Iaijutsu is used for some amongst the older koryū, combative, techniques.

Seitei Iaido

Seitei iaido (制定) is the iaido style of the All Japan Kendo Federation (AJKF, Zen Nippon Kendo Renmei or ZNKR). The AJKF was founded in 1952, immediately following the restoration of Japanese independence and the subsequent lift of the ban on martial arts in Japan. In 1969, the AJKF introduced its seitei curriculum of seven iaido kata. These were drawn from or based on several of the major traditional sword schools, including Musō Jikiden Eishin-ryū, Musō Shinden-ryū and Hoki-ryū. Three more kata were added in 1981 and two more in 2000, increasing the number of seitei iaido kata to the current twelve. These kata are officially known as the "All Japan Kendo Federation Iai" (全日本剣道連盟居合, Zen Nippon Kendō Renmei Iai), or Zen Ken Ren Iai (全剣連居合) but are still commonly referred to as seitei or seitei-gata.

These twelve seitei-gata are now standardised for the tuition, promotion and propagation of iaido within the kendo federations. Although not all dojo teach seitei iaido, the AJKF uses them as a standard for their exams and shiai. As a result, seitei iaido has become the most widely recognised form of iaido in Japan and the rest of the world.

AJKF official forms

Dojo that are affiliated with the All Japan Kendo Federation, generally begin practice with these twelve forms or seitei-gata before going on to teach any classical forms of iaidō that may also be included in their curriculum. ^[1]

Mae (前). Front. Commencing from a kneeling position, forestalling a frontal attack.
Ushiro (後ろ). Rear. Commencing from a kneeling position, forestalling an attack from the rear.
Ukenagashi (受け流し) Receive, Parry and Cut. Commencing from a kneeling position, parrying an attack from the left.
Tsuka-ate (柄当て). Striking with the Hilt. Commencing from a raised knee, seated position, forestalling two attackers, front and rear.
Kesagiri (袈裟切り). Diagonal Cut. Commencing from a standing position, forestalling an approaching attacker.
Morote-zuki (諸手突き). Two-Hand Thrust. Commencing from a standing position, forestalling three approaching attackers, two in front and one behind.
Sanpōgiri (三方切り). Three Direction Cut. Commencing from a standing position, forestalling three approaching attackers, one each to the right, left and front.
Ganmen-ate (顔面当て). Hit to the Face. Commencing from a standing position, forestalling two approaching attackers, front and rear.
Soete-zuki (添え手突き). Joined Hand Thrust. Commencing from a standing position, forestalling an attack from the left.
Shihōgiri (四方切り). Four Direction Cutting. Commencing from a standing position, forestalling four approaching attackers.
Sōgiri (総切り). Complete Cuts. Five different and complete cuts, while standing.
Nukiuchi (抜き打ち). Sudden Draw. Avoid, then respond to an attack from the front, while standing.

Classical period-Iai

Although there are a wide range of koryū or classical iaido styles, practiced in Japan, the two most popular classical styles of iaido practiced worldwide are Musō Jikiden Eishin-ryū and Musō Shinden-ryū. They resemble each other quite strongly because they branched off from one style sometime in the 18th century, under Oguro Motouemon Kiyakatsu sensei. After Oguro, there came into being two branches that were formed on philosophical differences between two students of Oguro: The Shimomura-ha and Tanimura-ha (branches), the former being headed by Maysuyori Teisuke Hisanari and the latter by Matsuyoshi Teisuke (Shinsuke) Hisanari, who became the 12th sōke.

These two branches would co-exist for many years until Musō Jikiden Eishin-ryū officially came into being in the early 20th century through the initiative of Oe Masamichi Shikei, the 17th headmaster of the Jikiden Eishin-ryū. Oe would bring together the Tanimura-ha, Hasegawa Eishin-ryū and the Ōmori-ryū to form what is today's Musō Jikiden Eishin-ryū.

The Shimomura-ha held its own headmasters and philosophy for many years but would eventually fade away. The last Shimomura-ha (claimed) headmaster, Nakayama Hakudo who is considered the 16th, created a new iai-art called Musō Shinden Battōjutsu that was heavily influenced by his Shimomura-ha training, but also took elements from other iai-arts. Nakayama Hakudo is not known to have taught the "pure" Shimomura-ha teachings in its complete form to any of his students and thus it can be argued that Shimomura-ha no longer exists as a separate entity, even though elements of it remain in what would later become the modern Musō Shinden-ryū.

One of the differences between the two schools can be seen in the nōtō (sheathing the katana back in the saya). In Musō Shinden, nōtō is done on the horizontal plane, the blade parallel to the floor. In Jikiden, the blade is perpendicular to the floor in a more or less vertical plane.

Another style of iaido is Mugai-ryū. Mugai-ryū was once one of the more famous styles in Japan in the Edo-jidai and was developed from a strong influence of Zen and is characterized by short, direct movements. Chiburi, for example, is performed with a much smaller movement than in other styles, and is not used at all in suwari waza [Goyo and Goka kata sets]. As it was developed in 1697 by Tsuji Gettan Sukemochi [or Sukeshige], a Zen practitioner, it has deep links with Zen buddhism. In advanced waza, the focus is on techniques that neutralize the sakki [killing mood] of the opponent, rather than kill him. There are several distinct lineages of Mugai-ryū throughout Japan. Sōke Hosho Shiokawa is regarded as the 15th sōke of Mugai-ryū Iaihyōdō. There have been several popular movies made featuring Mugai ryu, including Kurosawa's last film project, "Ame agaru"

There are several branches of Musō Jikiden Eishin-ryū (MJER) that are practised today. Different Iaido organisations generally recognise different people as their sōke. One person who is considered to be a sōke is Miura Takeyuki Hidefusa, who holds a 9th Dan in MJER. The All Japan Iaido Federation (Dai Nippon Iaido Renmei) recognises Ajisai Hirai (9th Dan Hanshi) as the 22nd sōke of MJER.

There are several lines of transmission extant for Musō Shinden-ryū also. One of them claims Mitsuzuka Takeshi as the sōke, second one (those who are affiliated with Nippon Iaido Kyokai) regard Takada Gakudō as their head teacher.

In the All Japan Kendo Federation (AJKF) or Zen Nippon Kendo Renmei, there are two lines representing the Musō school. The current sōke for Musō Jikiden Eishin-ryū is Fukui Torao (21st master), and the last sōke for Musō Shinden-ryū was Nakayama Hakudo with no official successor.

Modern Iai/battō

A newer style of iaijutsu is Toyama-ryū battōjutsu. This is a style originating in the late 19th century, and taught primarily to officers in the Second World War. It is different from the older styles primarily in that all techniques are performed from a standing position. Toyama-ryū was in turn the basis of Nakamura-ryū, created by Nakamura Taizaburo; incorporating nōtō and kamae from older Koryū, notably Ōmori-ryū. It has been a long time since any differing schools have competed using shinken (sharp blades); hence it cannot be said that the traditional schools are superior to the modern schools, or vice versa, in the ultimate test.

Notes and references

^ Zen Nippon Kendo Renmei Iai, English Version Manual 3rd edition, published October 2006, by All Japan Kendo Federation, Tokyo, Japan.

External links

All Japan Kendo Federation (AJKF/ZNKR).