Iaido is the contemporary Japanese art of drawing the long sword. Iaido contrasts with kenjutsu (combative
swordsmanship), techniques done with swords already drawn, and kendo, the Japanese sport of fencing. Basic
iaido kata combines drawing the sword with either a defensive block or cut, usually followed by another cut, then
chiburi (moving the blade in such as way as to remove blood and tissue) and noto (returning the blade to the
scabbard). While kenjutsu and sword-drawing techniques (batto-ho) were originally taught together, they are now
usually, but not always, taught as separate art forms. Iaido, as the sword-drawing forms became known in the
1930's, is now used not only to teach sword techniques, but as a form of mental and physical discipline,
emphasizing correct technique and form, meditation and character development.
Iaido training consists of solo kata (forms) and partner forms, called kumidachi. All forms emphasize etiquette in the
respectful handling of the sword. The solo forms consist of properly drawing, cutting and returning the sword to the
scabbard. Kumidachi forms are performed using bokuto (wooden swords).
While both batto-ho and kenjutsu were taught before 1600, sword techniques became more popular after this date,
reflecting the change in the role of samurai from soldier during Japan's civil conflicts to members of the ruling class.
Samurai wore daisho (lit. "large-small"), a katana (long sword) and a wakizashi (short sword), thrust through the obi
(belt or sash) as a symbol of membership in this class (firearms were relegated to infantry). Drawing the sword
became more important at this time since duels were common to keep the peace and settle personal grudges or
other disputes.
Iaido has been characterized as a defensive art form, owing to the fact that practitioners begin and end kata with
the sword in its sheath. Beginning and middle-level kata do emphasize reacting to, rather than provoking, an attack,
but higher-ranking forms are often more aggressive, drawing the sword and pushing through a crowd to cut down
an unaware opponent, for example.
The Meiji (post feudal period from 1863-1912) government dismantled the shogunal class system (feudal class
system) and banned the wearing of swords after 1868. Former members of the samurai class continued to practice
sword techniques but the emphasis shifted from dueling to self-discipline and character-building. Iaido techniques
were organized into beginning, middle level and advanced sets, and became affiliated with concepts common to
other Japanese traditional arts, including elegance, simplicity, jo-ha-kyu, shu-ha-ri, zanshin, in-yo (yin-yang) koshi,
ma-ai, and the use of kata as the principal means of training.
Zanshin is the sense of lingering awareness. Iaido kata foster the development of awareness in solo kata by
encouraging the student to visualize the opponent. In kumidachi, students learn zanshin in patterns of attack,
defense and counterattack. While mushin ("no mind") has been considered an esoteric outcome of iaido practice,
zanshin is more practical and more realistically attainable.
Ma-ai refers to the critical distance between opponents, a point at which forces are essentially neutral, but where
anything can happen. Fundamental to ma-ai is ma, roughly defined as the way something (or someone) moves
through space over time. Many teachers have stated that ma "cannot be taught," either one has this sense of
timing, or one does not. However, ma can be enhanced and developed through training. An iaidoka (a student of
iaido) who has a good, well-developed sense of ma has an uncanny sense of time and distance. Combined with a
sense of zanshin, it is the difference between a merely competent practitioner and a great one.
As in other traditional martial art forms, the ma-ai of iaido embodies the concept of the sphere of protection, but in
this case the circle is extended by the use of the sword. The sphere is realized by sword cuts in eight directions:
straight down, horizontally (from both the left and the right), diagonally down and up on left and right sides, and the
thrust. Many kenjutsu and some iaido dojo practice the different cuts in arranged sequences, called happogiri
(simply, "eight direction cuts").
Iaido also shares with other traditional art forms the sense of jo-ha-kyu. This is a formalistic organizing principle,
which has been variously interpreted as "slow, medium, fast" and "beginning, middle, end." It is characterized by a
sense of rising action; for example, from an initial draw and small cut (or parry), to the larger, "killing cut." Individual
actions which make up a given kata also have this sense of rising action.
In-yo (or yin-yang) is the unity or complementary of opposites. Individual iaido kata contain many instances of in-yo.
The most obvious may be that in all iaido kata, the sword is drawn, then returned to the sheath. More
philosophically, in-yo can be seen in that, as a deadly art form, iaido is a contemplation of life and death.
Shu-ha-ri is often used to describe a student's progression through training. "Shu" means "conservative" and is
often translated as "tradition." The beginning student learns the fundamentals of the art form, and all the techniques
and kata, essentially as her teacher has shown her. "Ha" means "break" and has been variously interpreted in
Western martial art circles as "breaking the tradition" or even "breaking with your teacher." However, it could also
mean breaking as in "breakthrough in understanding", i.e., going beyond the mechanics of the techniques to
discover their underlying meaning. "Ri," therefore, which has been interpreted in the West as "founding your own
style," or even "preserving the style but adding to it," means "freedom" and could instead be interpreted as "owning
the kata," establishing one's own identity within the traditionally arranged and performed techniques. Iaido at this
point becomes very like free-flowing movement. Few practitioners attain this level, though it remains a goal of
training, however elusive.
Though only samurai men traditionally practiced long sword, men and women from all walks of life around the world
now study iaido. There is no difference in the standard of training for men and women.
Currently, the most practiced styles of iaido are the Muso Shinden Ryu and the Muso Jikiden Eishin Ryu, presumed
to be branches of the original style of batto jutsu founded by Hayashizaki Jinsuke Shigenobu (Taylor and Ohmi
1997: 83). Both styles contain three sets of kata: a beginner's set, a middle level set and oku (secret) forms for
high-level students. The names of the sets are the same for both styles, though the names of the individual forms
have been changed.
The beginner's set, the Omori Ryu, consists of twelve kata, eleven beginning from the kneeling position called seiza,
and one starting from a standing position. These forms acquaint students with the basics of properly drawing,
cutting, and sheathing the sword. The kneeling position provides the student with a stable base, building strength
and control in the lower body.
The middle set, Hasegawa Eishin Ryu, consists of ten kata, nine originating with the practitioner sitting in tatehiza, a
position with one knee raised, and the tenth in seiza. The imaginary opponents in these forms are in much closer
proximity to the student than in the first set, requiring close-in stabbing and cutting movements. The footwork is
more intricate, featuring weight shifts, sliding back and forth along the floor on the knees, and stepping towards and
away from the imaginary opponent. The high-level set, called Okuiai (secret iai) consists of both standing and
tatehiza forms. Kata at this level looks surprisingly simple--like natural movement, but the simplicity is deceptive; a
student may study for 10 years or longer before beginning to comprehend and technically be able to handle these
forms. Throughout iaido training, emphasis is placed on mindfulness, a sense of calm concentration, and the
building of character.
Ryu Tsume will enhance your mindfulness and concentration, while at the same time teaching you not only this
traditional art form but also teaching you life skills that can be called upon when needed in a confrontation.
swordsmanship), techniques done with swords already drawn, and kendo, the Japanese sport of fencing. Basic
iaido kata combines drawing the sword with either a defensive block or cut, usually followed by another cut, then
chiburi (moving the blade in such as way as to remove blood and tissue) and noto (returning the blade to the
scabbard). While kenjutsu and sword-drawing techniques (batto-ho) were originally taught together, they are now
usually, but not always, taught as separate art forms. Iaido, as the sword-drawing forms became known in the
1930's, is now used not only to teach sword techniques, but as a form of mental and physical discipline,
emphasizing correct technique and form, meditation and character development.
Iaido training consists of solo kata (forms) and partner forms, called kumidachi. All forms emphasize etiquette in the
respectful handling of the sword. The solo forms consist of properly drawing, cutting and returning the sword to the
scabbard. Kumidachi forms are performed using bokuto (wooden swords).
While both batto-ho and kenjutsu were taught before 1600, sword techniques became more popular after this date,
reflecting the change in the role of samurai from soldier during Japan's civil conflicts to members of the ruling class.
Samurai wore daisho (lit. "large-small"), a katana (long sword) and a wakizashi (short sword), thrust through the obi
(belt or sash) as a symbol of membership in this class (firearms were relegated to infantry). Drawing the sword
became more important at this time since duels were common to keep the peace and settle personal grudges or
other disputes.
Iaido has been characterized as a defensive art form, owing to the fact that practitioners begin and end kata with
the sword in its sheath. Beginning and middle-level kata do emphasize reacting to, rather than provoking, an attack,
but higher-ranking forms are often more aggressive, drawing the sword and pushing through a crowd to cut down
an unaware opponent, for example.
The Meiji (post feudal period from 1863-1912) government dismantled the shogunal class system (feudal class
system) and banned the wearing of swords after 1868. Former members of the samurai class continued to practice
sword techniques but the emphasis shifted from dueling to self-discipline and character-building. Iaido techniques
were organized into beginning, middle level and advanced sets, and became affiliated with concepts common to
other Japanese traditional arts, including elegance, simplicity, jo-ha-kyu, shu-ha-ri, zanshin, in-yo (yin-yang) koshi,
ma-ai, and the use of kata as the principal means of training.
Zanshin is the sense of lingering awareness. Iaido kata foster the development of awareness in solo kata by
encouraging the student to visualize the opponent. In kumidachi, students learn zanshin in patterns of attack,
defense and counterattack. While mushin ("no mind") has been considered an esoteric outcome of iaido practice,
zanshin is more practical and more realistically attainable.
Ma-ai refers to the critical distance between opponents, a point at which forces are essentially neutral, but where
anything can happen. Fundamental to ma-ai is ma, roughly defined as the way something (or someone) moves
through space over time. Many teachers have stated that ma "cannot be taught," either one has this sense of
timing, or one does not. However, ma can be enhanced and developed through training. An iaidoka (a student of
iaido) who has a good, well-developed sense of ma has an uncanny sense of time and distance. Combined with a
sense of zanshin, it is the difference between a merely competent practitioner and a great one.
As in other traditional martial art forms, the ma-ai of iaido embodies the concept of the sphere of protection, but in
this case the circle is extended by the use of the sword. The sphere is realized by sword cuts in eight directions:
straight down, horizontally (from both the left and the right), diagonally down and up on left and right sides, and the
thrust. Many kenjutsu and some iaido dojo practice the different cuts in arranged sequences, called happogiri
(simply, "eight direction cuts").
Iaido also shares with other traditional art forms the sense of jo-ha-kyu. This is a formalistic organizing principle,
which has been variously interpreted as "slow, medium, fast" and "beginning, middle, end." It is characterized by a
sense of rising action; for example, from an initial draw and small cut (or parry), to the larger, "killing cut." Individual
actions which make up a given kata also have this sense of rising action.
In-yo (or yin-yang) is the unity or complementary of opposites. Individual iaido kata contain many instances of in-yo.
The most obvious may be that in all iaido kata, the sword is drawn, then returned to the sheath. More
philosophically, in-yo can be seen in that, as a deadly art form, iaido is a contemplation of life and death.
Shu-ha-ri is often used to describe a student's progression through training. "Shu" means "conservative" and is
often translated as "tradition." The beginning student learns the fundamentals of the art form, and all the techniques
and kata, essentially as her teacher has shown her. "Ha" means "break" and has been variously interpreted in
Western martial art circles as "breaking the tradition" or even "breaking with your teacher." However, it could also
mean breaking as in "breakthrough in understanding", i.e., going beyond the mechanics of the techniques to
discover their underlying meaning. "Ri," therefore, which has been interpreted in the West as "founding your own
style," or even "preserving the style but adding to it," means "freedom" and could instead be interpreted as "owning
the kata," establishing one's own identity within the traditionally arranged and performed techniques. Iaido at this
point becomes very like free-flowing movement. Few practitioners attain this level, though it remains a goal of
training, however elusive.
Though only samurai men traditionally practiced long sword, men and women from all walks of life around the world
now study iaido. There is no difference in the standard of training for men and women.
Currently, the most practiced styles of iaido are the Muso Shinden Ryu and the Muso Jikiden Eishin Ryu, presumed
to be branches of the original style of batto jutsu founded by Hayashizaki Jinsuke Shigenobu (Taylor and Ohmi
1997: 83). Both styles contain three sets of kata: a beginner's set, a middle level set and oku (secret) forms for
high-level students. The names of the sets are the same for both styles, though the names of the individual forms
have been changed.
The beginner's set, the Omori Ryu, consists of twelve kata, eleven beginning from the kneeling position called seiza,
and one starting from a standing position. These forms acquaint students with the basics of properly drawing,
cutting, and sheathing the sword. The kneeling position provides the student with a stable base, building strength
and control in the lower body.
The middle set, Hasegawa Eishin Ryu, consists of ten kata, nine originating with the practitioner sitting in tatehiza, a
position with one knee raised, and the tenth in seiza. The imaginary opponents in these forms are in much closer
proximity to the student than in the first set, requiring close-in stabbing and cutting movements. The footwork is
more intricate, featuring weight shifts, sliding back and forth along the floor on the knees, and stepping towards and
away from the imaginary opponent. The high-level set, called Okuiai (secret iai) consists of both standing and
tatehiza forms. Kata at this level looks surprisingly simple--like natural movement, but the simplicity is deceptive; a
student may study for 10 years or longer before beginning to comprehend and technically be able to handle these
forms. Throughout iaido training, emphasis is placed on mindfulness, a sense of calm concentration, and the
building of character.
Ryu Tsume will enhance your mindfulness and concentration, while at the same time teaching you not only this
traditional art form but also teaching you life skills that can be called upon when needed in a confrontation.
