About Iaido

Contents:

To describe Iaido as just “sword drawing” would be a bit like saying that the Tea Ceremony is merely “having a cuppa” – both Arts are profound mental and spiritual exercises that go far beyond the original activity. I do not intend to go deeply into the history, philosophy or technicalities of Iai here – there are many excellent books and articles on these subjects by people far better qualified than I am – this is simply a very superficial introduction to one of the most beautiful of all the martial arts.

The Japanese Sword.

The Samurai warrior had a formidable range of weapons available to him. Among these were the bow (they were exceptionally skilled archers, able to shoot accurately from a galloping horse), the yari, or spear (the Japanese spear was used as a thrusting, rather than a throwing, weapon), and the naginata, a type of halberd frequently favoured by women. But, by far the most important item in his arsenal was his sword – his constant companion and his badge of office. Impeccably crafted, incredibly sharp, and immensely strong, yet light enough to be wielded single-handed, it is no wonder the katana was accorded virtually sacred status and called “the Soul of the Samurai”. Evolving through centuries of painstaking work and pioneering metallurgy by generations of master swordsmiths, the Japanese sword is without doubt the most beautiful and most efficient cutting weapon ever designed.

Iaidō.

Iaidō is an ancient Japanese art of swordsmanship. It is the way of drawing and simultaneously cutting with the sword, either defensively or offensively, against one or more opponents. The techniques begin and end with the sword in the scabbard. This is in comparison to Kenjutsu or Kendo, which are arts of fencing with a sword already drawn. The extraordinarily sharp katana was worn thrust through the belt, with the cutting edge upwards, so the draw and cut could be made in a single, lightning-fast movement. Just as in the Wild West, the gunslinger practised his “quick draw”, so the Samurai polished his skills in drawing the sword. However, in common with many East Asian martial arts, the emphasis came to be on the mental and spiritual state of the practitioner; a state in which the rationalising and calculating functions of the mind are suspended so that the mind and body can react immediately, reflecting the changing situation around him.

The term Iaido, like many Japanese concepts, does not translate into English at all easily – very roughly, I comes from Iru, to be; Ai (as in Aikido) means coming together, harmony, or love; and Dō means road, or Way (in the Buddhist sense). So, loosely translated, Iaido means being in harmony with one’s surroundings, always being prepared for any eventuality.

It is generally accepted that Iaido originated from the Shinmei Muso Ryu, founded by Hayashizaki Jinsuke Shigenobu (1542 – 1621). Many of today’s styles can trace their lineage to this school, though the family tree is complicated, with many offshoots and branches.

There have probably been several thousand ryuha, or schools of Iaidō, with perhaps a few dozen still in existence today. Possibly the oldest extant style is Tenshin Shoden Katori Shinto Ryu. Among the most commonly seen today are Muso Jikiden Eishin Ryu and Muso Shinden Ryu. These styles are called koryu – old schools. Because of the difficulty of comparing different styles for gradings, etc., the Zen Nihon Kendo Renmei (All Japan Kendo Federation) devised a “standard set” of kata in the 1960's that can be practised by all Iaidoka, regardless of their koryu. This Seitei Gata is an eclectic series of twelve kata, with techniques drawn from several different styles. Its development has helped popularise a seemingly esoteric and arcane Art, and the Seitei Gata set is practised by Iaidoka all over the world today.

In virtually all schools of Iai, the kata are composed of four essential elements. These are:

Nukitsuke – The initial draw and simultaneous cut.

Kiritsuke – The decisive finishing cut.

Chiburi – A symbolic shaking of blood from the blade.

Noto – Resheathing the sword.

Practically all kata have these fundamental parts in some combination or other, but may also include blocks, deflections, thrusts, and multiple cuts, depending on the scenario. Iaido kata are performed solitarily, against imaginary opponents, called kassoteki, or teki. (There are also partner kata, though these are mostly practised by very high-level koryu practitioners.) The fact that there is no real adversary means the practitioner needs to be aware of where teki is at all times, and to focus his techniques accordingly. This demands intense concentration from the Iaidoka. Each kata, though outwardly simple, has myriad technical details that can make it fiendishly difficult to master. Indeed, a single kata could easily take a lifetime’s study, and still not be perfected. However, it is this quest for almost unattainable perfection that makes Iaido what it is – a Way of strengthening the body, developing the character, and forging the Spirit.

Etiquette.

All martial arts have rules of etiquette and proper procedure to some degree or other, but none more so than Iaido. This is because in addition to the traditions that would apply to Jujutsu or Karate, for example, one must also consider the near-sacred status accorded the sword, as well as practical safety concerns in dealing with such a formidable weapon. So in the Iaido Dojo it may seem to the beginner that there is a bewildering array of rules – how to hand a sword to another; how to receive a sword; how to place a sword by the wall when not training; that one must never step over another’s sword; that one should not ask to see another’s sword; as well as the method of bowing to the sword before and after practice. Added to these is properly cleaning and oiling the sword, as well as essential inspection to ensure that the sword is safe for training. These are but a few. The list may seem daunting, but after a short period of training, it does make sense, and becomes an integral part of one’s practice.

Equipment.

Iaidoka train wearing a hakama (traditional Japanese wide pleated trousers) and gi (jacket similar to that worn in karate). An obi (belt) is also worn. The Iaido obi is about 100mm wide and approximately four metres long, and wraps several times around the waist beneath the hakama. This allows the sword to be held securely. Because many Iaido techniques are performed from a kneeling position, kneepads are strongly recommended. Colours worn are usually dark, with black being generally preferred, but it is advisable to check with one’s instructor before ordering a uniform. No outward sign of rank is worn, though kimono-type gi and striped hakama are usually the preserve of high grades (fourth Dan and above), and generally only worn on formal occasions. Training is normally done barefoot, unless there is a medical reason for not doing so, though tabi (Japanese socks with a separate big toe) may be worn outdoors or for formal displays.

For beginners, however, any clothing that permits a good range of movement can be used – a tracksuit, or judo or karate suit is ideal. A judo/karate belt will also suffice in the initial stages.

For the first few months, a bokken (wooden sword) will be perfectly adequate for training. These are quite inexpensive, and it is even possible to obtain a bokken with a saya (scabbard) – this is invaluable as it introduces the student to the use of a saya from the very beginning.

Having trained for some time with a bokken, the serious student will want to obtain an iaito. An iaito is a training sword with a cast metal alloy blade. This means that it is impossible to sharpen, and that it will break if it strikes another object. There are numerous swords of widely varying quality on the market, and unfortunately many of these are unsuitable for training. Some are positively dangerous. It is most important that a student considering buying an iaito consult with his instructor to ensure that his sword is appropriate for him. One also needs to be sure that the weapon is being purchased from a reputable dealer. It would be sad to see an enthusiastic student turn up at the dojo, proudly carrying a new sword, only to be told that he will not be allowed to train with it. It goes without saying that shinken (real swords, with sharp steel blades) should only be used by very experienced Iaidoka – usually third Dan and up. Here again, Sensei’s advice is essential.

There is some useful information on buying a sword on the Sakura Ternat Web Page – an introduction to Iaido.

Training.

A typical training session in an Iaido Dojo is about two hours in duration. After formally bowing to shinza (the high place), to Sensei, and the sword, a brief warm-up takes place. This is followed by practice of the basic elements of Iaido – nukitsuke, kiritsuke, chiburi, and noto, and then training in the various kata is carried out. These are normally the Zen Nihon Kendo Renmei Seitei Gata – the standard set used for initial training and gradings. More advanced students may practise Koryu (traditional forms). Frequently, a lesson may focus on a single kata, or a particular technical point, or etiquette.

Iaido in Ireland.

For several years, Iaido was practised in Dublin by a very small group of people, led by Joe Ryan, a Shodan who had trained with the renowned British exponent, Michael Finn. Then in 2001, Victor Cook Sensei, 7^th Dan Renshi, came to Ireland to lead a seminar, the first such event ever to be held in this country. Never before in Ireland had so many people gathered to practise Iaido. Thus were the seeds of interest sown.

Currently, there are two Iaido classes in the Greater Dublin area:

Friday evenings, 7:30 – 8:30, at the Master’s Temple Dojo, Seaview Complex, rear DART Station, Bray, Co. Wicklow. For further details on this class, contact Master Massan Ghorbani at (01) 2864085, or (086) 8350062 or by email.

Sunday afternoons, 2:00 – 3:20, in DCU Sports Complex, Dublin 9. These classes are hosted by the Dublin Kendo Club. For more information contact John Gibney at (086) 8233162, or email iaido@ireland.com.

A second seminar is to be held in June 2004. Details here