The Fundamentals of Japan's Way of the Sword

By Norma Weiss, Zen Nihon Iaido Renmei.

To appreciate the beauty of the katana (Japanese sword) and to comprehend the discipline and techniques that are displayed whenever this ancient weapon is wielded, it is important to know a bit of Japanese history. The sword was part of the imperial regalia that gave ancient royalty its legitimacy and authority to rule. Later, the katana became an object around which myth, legend and cultural attitudes toward life and death developed much like the handgun in the American West.

In films, the katana is often associated with images of flamboyant samurai dressed in layers of flowing kimono. Representing Japan's war-torn past, the samurai's stances are powerful, their confidence unwavering and their commitment to battle unquestionable. The warriors and their weapons symbolized all that was considered noble in ancient Japanese society.

Samurai and Sword

The katana is much more than an ancient weapon used by ancient warriors. It also represents Japan's rich tradition of skilled craftsmanship. As a weapon of war, a sword had to be practical, dependable and effective. To achieve this, Japanese swordsmiths developed a series of techniques that merged two opposing qualities of steel into a single blade. To be effective, a sword had to be hard so a warrior could maintain a sharp cutting edge. To be practical, a sword had to be flexible so it did not break or chip under the stress of a heavy blow. To reach this compromise, Japanese swordsmiths wrapped a jacket of softer, lower-carbon steel around a core of harder, higher-carbon steel, then hardened only the edge by heat-treating it in a special forge. This basic technique created a dependable weapon with fierce cutting power.

In addition to representing Japan's fine artisanship, this intriguing weapon also embodied the samurai's strict code of conduct. Called bushido (way of the warrior), this code was exclusive to the samurai class. It promoted the importance of duty, unfailing loyalty and selfless devotion to moral principles. Each samurai was expected to serve as a model for others.

As warriors, the samurai were always required to be ready to fight-but level-headed enough to control their temper and keep the peace. They were trained to be leaders who commanded respect without demanding it, and they were under a moral obligation to work hard without neglecting their familial duties.

Which martial art allowed the samurai to stand in physical readiness for any call to service, yet maintain the principles of peace and devotion to family? There was only one that fit the bill: iai-do.

Ancient to Modern

Iai-do means the "way of drawing the sword." The term was first used in the early 1930s, but the martial art dates back to ancient times when it was considered a form of iaijutsu, the sword-drawing method used by the samurai. lai-do includes techniques for drawing, parrying, cutting and returning the katana to its scabbard. The art teaches students to blend body, mind and spirit into movement that occurs with ultimate spontaneity. In ancient times, samurai trained to defend against an impromptu attack and to defeat their opponent with one stroke of the sword. Back then, every day was considered a "good day to die," and a battle could begin anywhere, anytime and under any circumstances.

In contrast, modern iai-do exists as one of the most philosophical Japanese martial arts. Students seek to perfect themselves through the study of the art. When they take up iai-do, they begin a journey toward perfection of their drawing and cutting motions. It takes patience to achieve perfection, but equally important, it takes self-discipline to continue the quest. Mere technical knowledge of the basics is not enough to master the art. Students must also seek to understand the Japanese concept of kokoro, or the blending of mind and spirit. Blending one's mind and spirit will lead to purely intuitive and subconscious efficiency with the blade.
Guidance from an Expert

To understand the essence of iai-do, it helps to have a mentor. Kiyoshi Yamazaki is a traditional master whose knowledge and technique have made him a world-renowned expert in this martial art. "To build a strong foundation for working with the katana, you must study the basics," Yamazaki says. "[Your instructor] will be patient with you, but it's important for you to be patient with yourself."

A resident of the United States since 1969, Yamazaki has an extensive martial arts background. His expertise in ryobukai karate, his skill with Japanese weapons and his devotion to the spirit and challenges of traditional Japanese swordsmanI ship have led him to develop the Japan lai-Tate-Do Federation.

His tate-do (combative) techniques include the three primary components of ancient iai-jutsu: waza (techniques), tachiuchino kurai (partner drills) and tameshi giri (practice cutting).

Yamazaki offers the following advice for martial artists interested in learning more about iai-do.

Controlling the Blade

The katana is worn on the left side of your body. The saya (scabbard) is passed under the obi (belt) and the ties of the hakama (uniform skirt) until the end of the handle points directly out from the center of your body.

Before you can use the sword, you must draw it out of the saya. To begin this procedure, relax your shoulders, stand straight and place your right leg slightly forward. Place your left hand near the end of the saya and surround the opening with your thumb and forefinger. Using your right hand, grasp the handle of the katana close to the hilt. Slowly draw out the blade. When the tip of the weapon clears, tighten the grip of your right hand and place your left hand at the end of the handle, but not over the edge. Hold the sword so the tip of the handle is about one fist's width away from your body and directly in front of your navel. The cutting edge of the blade should face downward. Aim the point at the throat of an opponent-real or imaginary-who is standing directly in front of you.
To control the blade during cutting, it is important to maintain the correct grip on the tsuka (handle). Your right hand should grip the handle about a finger's width from the tsuba (hand guard). Your left hand should grip it at the end, or tuskagashira, but make sure you keep your little finger even with-not hanging over-the end. Your thumb and forefinger should grip lightly, your middle finger should be neutral, and your fourth and little fingers should grip tightly. Holding the katana in this way will encourage the flow of ki (internal energy) through the entire length of the blade, which is an essential part of blending the sword's spirit with your own.

Basic Stances

Iai-do teaches four basic stances which are used while practicing the 10 standard techniques of the art. Once these stances are mastered, you will have acquired the basis for performing more aggressive techniques.

Chudan no kamae is a stance in which you relax your shoulders, stand straight and place your right leg slightly forward. You hold the katana in both hands directly in front of your navel and about one fist's length from your body. Your weight is centered evenly over your feet. The ha (cutting edge of the blade) should point downward, and the kissaki (point) should be positioned at the throat of an opponent who is standing in front of you.

In hasso no kamae, you stand straight and place your right leg back and your left leg forward. Your weight is centered evenly over your feet, and your eyes are fixed on an opponent who is standing in front of you. You hold the katana in both hands as in chuclan no kamae; then you bring the weapon to your right side, extend your right elbow parallel to the floor and place the hilt next to your right ear. Be careful not to tilt your head toward the blade or allow the blade to go off center. The cutting edge should face your opponent.
In jodan no kamae, you stand straight and place your right leg back and left leg forward. Your weight is centered evenly over your feet, and your eyes are locked on an opponent who is standing in front of you. Holding the katana in both hands, you raise the weapon slightly over your head and allow your elbows to spread wide so they don't obstruct your vision. Angle the blade upward at a 30- to 40-degree angle with the cutting edge facing your opponent.

Gedan no kamae is a stance you assume by standing straight and placing your right leg slightly forward. Holding the katana in both hands, you lower the blade directly in front of you and point the tip downward. Be careful not to overextend your wrists. Your weight should be centered evenly over yo feet, and your eyes should be focused on an opponent who standing in front of you.

Cutting Techniques

The katana was created for one main purpose: to cut. TI proper cutting grip and stroke, combined with the prop distance and hip rotation, will allow you to slice cleanly through your target. Three basic cuts are used during the practice the 10 standard techniques of iai-do. When the basic cuts are mastered and combined with various techniques, stances a rhythms, they will help you understand the depth of traditional Japanese swordsmanship.

To execute a nukiuchi, or drawing cut, the katana must at rest inside the saya. You gently grasp the koiguchi (opening of the saya) with your left hand and place your right ha near the hilt of the katana, grasping the handle. You rot; both hands outward until the small end of the koiguchi 1turned 90 degrees. As you draw the blade, the katana should be horizontal to the ground. You extend your right arm ii horizontal arc across the front of your body at shoulder length and continue until the point of the blade is directly in front you. While drawing, you pull the saya back with your left hand until it stops by your belt. Working both hands in this fashion will give you a strong base from which to make the cut.

To make a kirioroshi, or downward cut, you raise katana as the jodan no kamae teaches. At the beginning the technique, you keep your elbows apart and allow your hands to rotate outward. As you cut downward, you bring your elbows close together. This encourages the katana to follow an elliptical path, which means the monouchi (6-inch-long section of the blade below the point) is farther away from your body at the top of the cut than it is at the end. Also, as you cut it's important to use the te no uchi technique of rotating your palms inward on the handle in an action similar to wringing out a wet cloth. This will help stabilize the blade during the cut.

Kesagiri, or diagonal cut, has two variations: diagonal downward and diagonal upward. For the diagonal-downward cut, you assume a chudan no kamae and raise your katana directly overhead, then bring it downward and cut diagonally from right to left. Be careful not to overextend your wrists as you bring the weapon to a stop at your left side. As you move the sword, you should slide your right foot back slightly.

For the diagonal-upward cut, you assume a gedan no kamae. You make the cut diagonally upward from the lower left to the upper right of an opponent who is standing in front of you. The blade stops just above your left shoulder.

Partner Drills

To understand how the stances and cuts work together, it helps to grab a bokken (wooden practice sword) and work with a partner. Blocks, cuts and side-to-side parries must be practiced repeatedly.

Training with a partner teaches you to gauge distance and respond to the pressure of an attack. It also allows you to study counterattacks.

Warrior's Path

It can be said that the true nature of modern iai-do is a paradox because it is based on two precepts that are diametrically opposed to each other. A samurai had to accept that his martial art was an intrinsically combative physical discipline based on his skill in swordsmanship and his ability to kill an opponent. Yet, because of his mental discipline, skill and physical ability, he did not intend to kill others.

This paradox lies at the center of the study of iai-do today. Uniting grace and mental strength with the blade's primary function as a weapon, the modern student may experience mixed feelings of power, awe and terror while learning to walk the path of the ancient Japanese warrior. For those who find their way along that path, learning to control the sword can lead to a deeper understanding of how to control themselves.