History and Philosophy
Iaidō (居合道) is a Japanese martial art that emphasizes being aware and capable of quickly drawing the sword and responding to sudden attacks. It is in essence the way of the “quick draw.” Iaido consists of four main components: the smooth, controlled movements of simultaneously drawing the sword forward from its scabbard (saya) with the right hand while also moving the saya backward (saya-biki) with the left hand (called nukitsuke), striking or cutting an opponent in various ways, shaking blood from the blade (called chiburi), and replacing the sword in the scabbard (called noto). Most of the practitioners use a blunt-edged sword called an iaito. In Japan, they are made of aluminum alloy, which reflects a clear differentiation from the razor sharp iron or steel swords (shinken) used for actual target cutting (tameshigiri) and reflects a non-combatant aim and purpose for development of the heart and mind. I use a folded steel iaito made in the traditional way that a shinken is made to create a hard edge for cutting, but omitting the final sharpening step. Only very experienced iaido practitioners (iaidoka) routinely use a shinken for everyday practice. I use three different iron or steel shinken for tameshigiri. Some Zen practitioners have adopted iaido as a form of meditation in motion to enhance their sitting meditation practice (zazen). The primary emphasis in iaido is on the psychological state of being constantly present (iai 居), while the secondary emphasis is on drawing the sword and responding by harmonizing with a sudden attack as quickly as possible (awasu 合わす). The last character, 道, is generally translated into English as “the way” or “the path.” The term “iaido” approximately translates into English as “the way of mental presence and immediate reaction.”
Iaido is a reflection of the morals of the classical warrior and aims to cultivate a spiritually harmonious person possessed of high intellect, sensitivity, and resolute will. Since iaido is practiced with a potentially harmful weapon, it is for the most part performed solo as an issue of kata, executing various strategies against single or various fanciful rivals. Every kata starts and finishes with the sword sheathed. Regardless of the sword method, creative ability and concentration are required to maintain the feeling of a genuine battle and to keep the kata new. Unlike kendo, iaido practice never involves sparring.
There are many schools of Japanese swordsmanship. I practice Musō Jikiden Eishin-ryū (無双直伝英信流 or 無雙直傳英信流), one of the most widely practiced schools of iai in the world, which claims an unbroken lineage dating back from the sixteenth century to the early 20th century. “Musō Jikiden Eishin-ryū” means “peerless, directly transmitted school of Eishin (referring to the 7th headmaster Hasegawa Chikaranosuke Hidenobu).” The traditionally practiced kata all begin in the sitting position (Seiza, 11 kata), the half-sitting position (Tatehiza no Bu, 10 kata; Okuiai, Iwaza no Bu, 8 kata), or standing position (Batto Ho no Bu, 11 kata; Tachiwaza no Bu, 13 kata; Bangai no Bu, 4 kata). I only practice the standing position sets because of degenerative hip, knee, and lumbar joint and disc pain. However, I am adapting the seated position sets to be done in the standing position.
Here I demonstrate the first two kata of Batto Ho no Bu called Junto Sono Ichi (Ordered Sword One) and Junto Sono Ni (Ordered Sword Two). They differ primarily in the foot work and the method of chiburi (across the front of the body vs. to the side at hip level).
Here I demonstrate tameshigiri, which I practice to inform my iaido practice. If the blade does not encounter the target at the proper angle and with sustained force throughout the swing, the effect will be like hitting the target with a baseball bat without cutting it (intact target and stand will fall over from the force of the blow). Instead of cutting traditional rolled tatami mats, I have improvised a way of cutting inexpensive 3.5″ diameter styrofoam “pool noodles” mounted on a cutting stand to simulate the sensation and conditions associated with cutting tatami.