Kenjutsu

Itto-den Shinki Toho

Itto-den Toho Shinki is a type of Koryu (traditional) Kenjutsu, which is in the tradition of Ittoryu-style, from Ittosai Kagehisa Ito and his main disciple Jiróemon Tadaaki Ono – was founded 16th-17th centuries.”Itto-den” means “standing on the tradition of the Ittoryu. Toho means “the way to wield the sword. ” Shinki means “divine Ki” is the name of the style of Budo-Toho Shinki-director Michael Daishiro Nakajima, Shinkiryu Soke Aiki Budo (Aikido 6th Dan Aikikai Aiki Jujutsu Daitoryu 8th Dan Shihan Bokuyokan). Ittoryu has many branches such as Itoha, Onoha with many sub-branches, Mizoguchiha, Kougen-Ittoryu, Tenshin-Ittoryu, Hokushin-Ittoryu, Itto-shod Mutoryu, etc. Toho Shinki attempts to extract the technical strengths of these schools and the “swordless spirit” mentally of Tenshin Ittoryu or Mutoryu.

Suburi – swing into emptiness without a real object of attack.
Suburi is practicing the basic movement of wielding the sword. With this exercise you get used to wielding the sword and encourages necessary muscle development. In addition, this exercise also programs muscle memory and serves to strengthen the Ki. In Shinki Toho there is currently three types of Suburi:

  1. Shomen-Uchioroshi (“Frontal Down Strike”)
    Step out with your left foot into a “horseback” stance with your feet a little more than hip-width apart and parallel in front. The Feet do not move during the exercise. The knees are not fully extended, but a little bent. You raise the sword high above your head to swing. The inclination of the sword one can vary, but one should mainly use an angle of 45 degree overhead and to the rear. Arms and shoulders should definitely remain relaxed. Then you swing the sword straight down while springing loosely in both knees. The sword stops in front of the stomach in a horizontal position. One should take care that hands do not arrive below the sword tip (kissaki), but you should move kissaki down in a large circular motion so that the kissaki and hands arrive at the level of the abdomen at the same time, where the striking movement ends. The ki should are mainly placed on the kissaki. You can practice this exercise with an object like an old tire or a stuffed sack in front of you (to check your strike for effectiveness).
  2. Shomen-Uchikomi (“Head-Strike”)
    You stand in In no Kamae. Taking a step forward with your right foot, you lift the Sword overhead (tilt backwards 45 degrees) and swings in a wide arc forward while dragging the left foot to the heel of the right foot. The left foot should remain as straight as possible and the tip of the toe should not point backwards be turned to the left outside. Here, too, one should be aware that Kissaki describes a large circle (and not the hands, which should transcribe a small circle). The end position of the kissaki is about the height of your own chin. Stepping back with your left foot, switch to Yo no Kamae while keeping your right foot approximately up to the toes of the left foot. Then this time you go with the left foot forward while raising the sword above the head and then strikes as above. The right foot is dragged behind. Here you should too make sure that the right foot that is being dragged remains as straight as possible. Then, starting with your right foot, step back and switch to In no Kamae like before.
  3. Te no Uchi (“Strike between the forearms”)
    –Mae (front): You stand in In no Kamae. Take a step with your right foot (at a 30-45 degree angle to an imaginary opponent) to the front right and strikes in the middle of the starting position, with the left foot to the heel of the right foot. In this case, the tip of the left foot points slightly to the left. The strike comes from In no Kamae directly through the wrists without to raise the sword. The intent of the shot is to knock out the left wrist of the attacker coming forward with the tsuki (straight jab). The cutting blow comes down from above, and not obliquely. The endpoint of Kissaki is a bit deeper than the imaginary point stretched out at abdomen level. The imaginary opponent’s Tsuki is also the reason for swerving slightly to the right. After that, starting with the left foot and trailing the right foot, you come back to the middle and switch to Yo no Kamae. Then you step with your left foot forward and to the left while striking the imaginary opponent’s right wrist, while the right foot follows closely. After that you step back to the middle to In no Kamae and the exercise begins again.                         -Oku (back): Almost the same movement, but here you raise the sword high and cuts the rear portion of the left forearm from the inside, when stepping from In no Kamae to the right and forward. The cut in this case is oblique. If one moves from Yo no Kamae  you generally cannot actually cut the back (= left) arm of the attacker, but you can practice this side, so that the movements on both sides are trained equally. Also, this exercise is for the unusual Kesagake from the left.

Kamae Form:

  1. Rei
  2. Batto – Draw and step forward to-
  3. Seigan
  4. Ura-Seigan -while steeping forward
  5. In
  6. Yo -while stepping back
  7. Hidari Jodan -left hand forward (on sword) and left foot forward, right hand at side pushing down
  8. Migi-Jodan -both hands on sword, right foot forward
  9. Gedan -slice into this position while shuffle step back wards
  10. Waki (gamae)
  11. Onken
  12. Seigan -while stepping backwards
  13. Ura-Waki -draw sword back to left shoulder, up at 45 degree angle, “T” stance.
  14. Chudan Kasumi -left foot forward “T” stance
  15. Jodan Kasumi -narrower stance
  16. Tsuki
  17. Hongaku
  18. Chudan Ura-gasumi -slice into position, stepping back to “T” stance
  19. Jodan Ura-gasumi -narrow stance
  20. Tsuki -left foot forward
  21. Suriage – dip sword and exchange feet into –
  22. Shomen-uchi
  23. Hiraki-Dachi -left foot forward, sword in right hand, 45 degrees down and out, left hand at side
  24. Kesa-gake -two handed diagonal cut to left
  25. Nôtô -sheath sword and step back to neutral stance-
  26. Rei

Kumidachi-Hajime: beginning, Kumidachi-Osame: closing

Rei-ho 礼法 (greeting form – formal beginning – Hajime)

All students sit in a row opposite the kamiza. The teacher sits in front, but slightly to the side and not in the middle line in front of the kamiza. The students should have as direct a view of the kamiza as possible. If there are only a few participants present, the instructor/teacher bows wordlessly to the kamiza first; the others follow. Then the teacher turns to the students. The teacher and students bow to each other with the words “Onegai shimasu” (“I request training”). If there are many participants, the student sitting on the far right first says “Kamiza ni Rei,” and everyone bows to the kamiza. The teacher then turns to the students, and both teacher and student bow to each other with the words “Onegai shimasu.”

(Kamiza (上座) is the front, where a seat is reserved for the “higher one.” “Kamiza” roughly translates as “the seat for the higher one” or “the higher seat.” This seat is usually highlighted by calligraphy, a photograph, and/or flowers. Since kami phonetically also means god, the higher one can be considered divine.)

When the kumidachi begins, the uchidachi (instructor position – feeds attack and receives blows to onikote) and shidachi (student position -counters attacks and strikes onikote) stand facing each other at a wide distance (at least 6 meters apart if possible). U carries the onigote under the left armpit (the onigote’s right hand on the bottom), with the finger side facing forward and the backs of the hands facing outward. U and S carry the sword with their left hands. The tip of the sword (kissaki) is directed backward (with the edge facing up) and points diagonally downward, slightly more so for the shidachi, because he does not have to hold the onigote. Because the sword points downward, the thumb does not have to hold the tsuba, but can easily be placed on it. Both bow (about 30 degrees) with a straight upper body. The head should not be bent downward; consequently, the gaze should not be directed to one’s own feet, but diagonally forward. Conversely, one should not raise one’s face and look at one’s partner.

(Onigote 鬼篭手: “Kote” originally refers to the outer side of the forearm, but is also a sturdy protective glove worn by the samurai, protecting almost the entire forearm without restricting elbow movement. “Oni” originally refers to a muscular devil, but this term is also used in the sense of “extra-large” or “extra-strong.” The thickly padded kote was invented so that one could strike with the bokuto (= bokken: wooden sword). For hygienic reasons, ideally everyone should own their own pair of onigote. However, since these are very expensive, they are often used together. In this case, one should wear separate thin cotton gloves under the onigote.

Tsuba 鍔: “Tsuba” is the guard of Japanese swords for hand protection. It was originally made of metal and was ornately decorated. The tsuba The Ittoryu-Bokuto is made of hardened leather, and recently also of a special plastic.)

Then both stand upright again. The kissaki (tip of the blade) is raised so that the sword lies horizontally to the ground. Here, the left thumb touches the upper part and the index finger touches the lower part of the tsuba. The tsukagashira (= handle head) is located in front of the center of the body, so that the kissaki points slightly outward. Both now step forward simultaneously, starting with the right foot, toward the center, drawing the sword, which is guided in a direct motion to Ai-Gedan (= U and S both Gedan), with the sword tips approximately 9 cm (old Japanese unit of measurement: 3 Sun) parallel to each other, while the edges point downward (“Gedan-Awase” = bringing both swords together to form Gedan). This means that the two sword tips extend approximately 4.5 cm beyond the center line. U holds the sword with his right hand alone (if without an onigote, then with both hands), S with both hands. U and S now turn the sword into a horizontal position, with the two edges facing each other. Shidachi releases his left hand from the sword, and both kneel first, with their left leg, while the kissaki is lowered and placed on the ground. Throughout the entire movement, the swords remain in contact with each other and are then placed parallel to the ground directly in front of the fighters, while at the same time the right leg also kneels. U places his onigote to the right and left (in that order) of his own sword, with the onigote front parts placed at an angle (approximately 90° to each other or 135° to the sword) and directly against the tsuba. Both bow, with first the right and then the left hand placed on the ground. The two index fingers and thumb form a triangle (the thumb tips just touching). This bow is deep, and the nose is above the triangle, but the gaze should be outside the triangle, meaning the head must not hang.

First, U raises his head until his arms are straight, but his hands remain on the ground. Then S also raises his head in the same way as U, and both look into each other’s eyes for a brief moment. Starting again with U, first the left and then the right hand are drawn back to the lap. While U puts on the onigote (right first), S waits. Then both grasp the sword from above with their left hands. The little finger rests on the edge of the sword hilt (“Tsuka-gashira”). Now stand up with the left leg first and then the right, trying not to move forward but to stay in place. The sword is then raised, still parallel (“edge to edge”), to Gedan. At this time, the right hand also grasps the sword. Starting with the left foot, return to the starting position, holding the swords horizontally.

Tsuka-gashira 柄頭: “Tsuka” is the hilt of the sword, “Kashira” is the head. Thus, the tsuka-gashira is the head of the hilt, i.e., the end opposite the kissaki (the sword tip).)

Reaching the starting position, both release their right hands from the sword and lower the kissaki, but so that it remains forward and in the center of the body. Then both move to seigan, with U initiating the movement. After that, the single kumidachi begins.

Rei-ho 礼法 (greeting form – formal ending – Osame)

In the starting position, one holds the sword on the left side (tip in front of the center of the body), bows, moves to the center, and raises the kissaki to gedan-awase. Then, the same procedure follows as at the beginning. After kneeling, U places the onigote on the right and left sides as at the beginning. Both bow. Then U pulls both onigote slightly toward him, grasps the thumbs of both onigote with his right hand, placing the index finger between them, and places the onigote under the left armpit (right onigote at the bottom, finger part at the front). U presses the tsuka slightly downward with his right hand, so that the kissaki is raised slightly, allowing S to pass his kissaki underneath it to the left. He then moves the bokuto to the left side to take it over with his left hand. The bokuto is turned so that the edge is facing upward. During this movement, the tsukagashira of U and S is at the front of the body. Both now rise, starting with the right leg this time, and stand with the right leg in front, in contrast to the beginning. Starting with the left foot, they return to the starting position, keeping the sword raised at belt height. Upon reaching the starting position, both lower their swords as at the beginning and bow.

 

Start of the Kumidachi and Announcement

After the brief forward bend, U and S draw their swords and stand in seigan (ai-seigan). Then U announces the upcoming technique. At the beginning of each grade, our style is also announced, followed by the grade: (e.g., Itto-den Shinki Toho, Shoden). After that, the respective technique is announced (e.g., O-dachi Ippon-me Hitotsugachi). During the announcement of the technical part, U moves from Seigan to the starting kamae of the respective number (e.g., in Ippon-me, from Seigan to In).

 

Ô-dachi Two Person Kata: https://www.shinkiryu.de/shinkitoho/de/pdf.php?l=texte%2F54%2F1866%2FO-dachi-Tabelle.pdf&n=O-dachi%20Tabelle

 

 

Commentary on the individual Ō-dachi tai Ō-dachi (Both partners use the long sword. “tai” means “against”) techniques of Kumidachi 

 

Itto-den Shinki Toho, Shoden: Odachi

  1. Ichi-ban/ Ippon-me: Hitotsu-gachi (1. Hidari-gote)

Up to number 5, the kumidachi number and the number of the kimete = winning hit are the same. Therefore, one can say -ban or -honme. From number 6 onwards, the numbers differ, which is why only the kumidachi number is called -ban. For example, number 6 contains two hits. What is indicated in the parentheses is the position of the kimete. It is numbered consecutively within the odachi-kumite. The verb “katsu” means “to win.” “hitotsu” is “one.” Hitotsu-gachi means that one wins with one blow.)

*Uchidachi: In Shidachi: Seigan

(The information after the colon is the respective initial kamae = stances.)

U approaches S with In and, upon entering Isshoku-sokuhatsu-no-Maai, stops with the left foot forward, so that S also stops his forward movement with the right foot forward. U waits with great ki, waiting for S to open the gap. Then U suddenly moves with his right foot to the right, raises his left knee, and moves to Dai-Jodan* and delivers a powerful blow, feeling as if he is about to sever the entire universe.** U actually wants to strike directly above and beside S’s seigan, but seeing that S reacts immediately and turns towards him, U strikes a little shorter to protect himself. S sees U’s dai-jodan, remains calm, approaches the jodan himself, and—with a small sliding step forward to the right—executes a large kiriotoshi up to the U’s hara, while U’s strike rebounds and his kissaki drops low. U now slides back, starting with the right (back) foot, and goes into hidari-jodan to counterattack. S takes two steps forward (left to right), raises the sword once more to the jodan, and strikes U’s left kote (= hidarigote) at a slight angle. Here, U wants to fight to the end and, if possible, avoid being defeated. Therefore, it is not appropriate for him to “offer” the left kote to S, so to speak. Instead, U remains facing S head-on. *** The U’s upper body must not be tilted backward under any circumstances. S then steps back two steps (right – left) to Zanshin Gedan. **** After that, U also brings his sword to Gedan, and the two move back to the center for Gedan-awase (not just to the center line, but to the middle position between the two starting positions).

* Dai-Jodan is even larger than the regular Jodan. Dai means “large,” Jo means “above.”

* The most important moment of Ippon-me is Kiriotoshi.

After holding in front of S, U must quickly move to the right and strike immediately. U must not strike half-heartedly, but, as mentioned above, with the feeling of tearing the entire universe apart. That’s why, in Mutoryu, the strike is even so deep that the kissaki hits the ground violently. In Shinki Toho, one doesn’t go that far, but the kissaki must be brought down almost to the ground. It is important for S to remain calm before this large, decisive attack from U and to control it with even greater ki than U’s. During this Kiriotoshi, S may also raise his (right) knee slightly; but this is not necessary.

*** Since S and U are facing each other head-on, S does not strike completely straight, but rather at a slight angle, roughly into the middle of the respective kote. S’s sword must be at a 90° angle to the kote being struck for the cut to be effective. Generally, the kote is struck on the side of U’s front foot.

With S’s strike on the kote, the fight ends, so S doesn’t “cut down” further. S takes two normal steps back to the right and left and comes to rest in the zanshin gedan. Zanshin means the final attention, so as not to become reckless in the guise of victory. Zanshin directly translates to “the abiding heart.” Even when the outer movement is over, the heart must still remain present.

Afterward, both U and S release the kamae, i.e., the sword is tilted from vertical to horizontal so that the two edges face each other inside. The sword is then lowered slightly diagonally to the right and down, but remains in front of the body. Now both move backward apart to the starting position, starting with the left foot. Having reached the starting position, one hand is released, with the kissaki coming to rest approximately at the bottom midline of the body. You can release either your left or right hand during training, but for U, when wearing the onigote, it is more natural to release your right hand and hold the sword with your left hand. You may choose or switch sides on a case-by-case basis, regardless of which hand your opponent uses. (An exception is made at the very beginning and end of the entire exercise, as well as during a public demonstration and an exam. In these cases, you always release your right hand and hold the sword with your left hand only). This final phase is equally possible in all Kumidachi forms of O-dachi.

  1. Ni-ban/ Nihon-me: Age-uke (2. Migi-gote)

The verb “ageru” means “to lift up” and “ukeru” means “to receive.” Age-uke means “to receive while lifting up” or “to lift up while receiving.”

*Uchidachi: Seigan Shidachi: Gedan

U advances with seigan and S with gedan. Shortly before the isshoku-sokuhatsu-no-maai, S demonstrates his willingness to attack with the kissaki (with the left foot forward) on U’s right kote. Therefore, U reacts by tilting his kissaki to the right. His sword must remain above S’s sword. S’s kissaki then comes from below U’s sword to the center, so that U also reacts immediately and tries to control the center. S slowly extends his upper body forward as a feint. S’s kissaki first reaches about halfway into U’s sword (sutemi-no-maai)* and is then withdrawn by S, gliding provocatively slowly along U’s sword, until it reaches U’s kissaki (kissaki next to kissaki). This phase is, so to speak, the “fight for the center.” As soon as S rests in this position (Shoshi-Kikkou-no-Maai) or feels secure, U immediately stabs S’s neck.** S raises his sword diagonally upwards to receive and defend against U’s stabbing sword, with S’s kissaki turned to the right so that he can properly support U’s sword on the tsuba. Thus, U’s forward-stretched or stabbed sword puts him in an unstable stance. Because of this unstable stance and the sword having slipped upwards due to the defense, U now moves to Jodan, slightly dodging to the left, to attack S again.*** However, since S’s sword position was more stable, U can react faster and—with his right foot forward—strike U’s right kote (= migigote). S then steps back slightly to Zanshin Jodan. Then to Gedan-awase. * Sutemi-no-Maai: Sutemi means “to dare so far that one is willing to sacrifice one’s life.” Here, one leaves the safety zone and approaches the opponent to provoke them. Since one actually loses one’s life if one isn’t careful, one must be completely collected and ready to react immediately in every phase of movement. Shoshi-Kikkou-no-Maai: Shoshi means life and death. Kikkou means “to fight each other fiercely for something.” Thus, in this Maai, U and S are in a situation where the fight is acutely life-and-death. Ai-Seigan corresponds to this Maai, where both try to reach the center. It is the fight for the center. As a result, both swords are “glued” together.

* If S is still a beginner, U should stab a little higher (forehead level), because otherwise S could be hit in the face.

`* Because U releases the tension on the swords himself, he must be careful that S’s sword

doesn’t fall on him. This is why U dodges slightly to the left.

  1. San-ban/Sanbon-me: Uchi-komi-Inashi (3. Migi-gote)

“uchi-komu” means to strike. “inasu” means to master confidently and easily.

*Uchidachi: In Shidachi: Seigan

U advances with In, S with Seigan. Arriving at Isshoku-sokuhatsu-no-Maai (left front), U switches to Dai-Jodan, raising his right knee, and strikes with a large force. It is important that S strikes boldly leads the way and maintains inner composure during U’s big attack. Since S (waiting with his right in front) takes two steps back (right – left),* U strikes into the void and needs another two lunges (left – right) to regain his footing. S quickly switches to Gedan on his second step backward, so that his kissaki stands threateningly in front of U’s hara. U quickly takes two steps back (right – left) and moves to Jodan. S follows U with two steps (left – right) and strikes the Migi-gote at a slight angle. Then S switches – stepping back slightly – to Zanshin Jodan. Then Gedan-awase.

* During the first step backward, S’s sword remains with Seigan because U’s strike can hit the Tsuba.

By lowering the kissaki on the second step backward in front of U’s hara (= center of the body), S controls U as a whole.

  1. Yon-ban/ Yonhon-me: Kasumi-fuji (4th Migi-gote)

“Kasumi” is fog. Since it is difficult for the opponent to assess how to attack from this kamae, it is called “fog.”

*Uchidachi: Seigan è Gedan Kasumi Shidachi: Gedan

Starting with seigan, U gradually moves into gedan, and in Isshoku-Sokuhatsu-no-Maai, he switches to gedan kasumi (left foot forward), while S advances with gedan. U’s kissaki first points toward S’s midsection. As S approaches, U’s kissaki slowly moves to the left to protect the gap on the left side of the body. S crosses Isshoku-Sokuhatsu-no-Maai, stops his step to the right front and stretches his upper body forward as in Nihon-me, and also crosses the Shoshi-kikkou-no-Maai to the Sutemi-no-Maai. Now S’s kissaki is approximately in the middle of U’s edge without pressure, with his sword—the edge to the left—almost horizontal. S wants to test how U reacts. However, U does not react and waits attentively to see how S wants to proceed. S provocatively withdraws the kissaki slowly to U’s kissaki, while gradually increasing the pressure on U’s sword. U waits until this pressure is at its strongest and then suddenly withdraws his kissaki to the left. U moves his right foot to the right, turns the kissaki slightly above his head, and attempts Kesagake. His left foot is drawn back in a quarter-circle. As S now performs kiriotoshi, sliding forward to the right, up to U’s neck and performing semeage* with two steps (left to right), U slides back, starting with the back (left) foot, and moves to jodan to facilitate the counterattack. S strikes U’s right kote with his second forward step and steps back slightly (usually two steps) to zanshin gedan. Then gedan-awase.

* Semeage: With the forward movement, Shidachi moves his kissaki from the neck to the level of U’s nose, forcing the U back.

  1. Go-ban/ Gohon-me: Tsuki-komi Seigan-yaburi (5. Hidari-gote)

*Uchidachi: Seigan Shidachi: Waki-gamae

U leads with seigan. S starts with waki-gamae, but switches to gedan early, takes a few steps toward U, and quickly executes a hard tsuki-komi toward U’s neck. S wants to break U’s solid seigan. U holds his sword firmly against it to prevent S’s tsuki from getting through.* However, because this attack was sudden and powerful, U must quickly retreat until he regains a reasonably secure footing (in the end, his right foot is behind). With his last strength, U tries to push down to the left with a right step in front of S’s sword. At this moment, S relaxes his strength and drops his kissaki, causing U to fall forward into an unstable position. U tries to stand up again and switches to jodan. He pulls his right foot back slightly, but it still remains in front of his left foot. S steps slightly to the left and strikes U’s migi-gote,** then moves to zanshin jodan. After that, gedan-awase.

* In this tsuki-komi, S does not initially walk with straight arms. First, he draws his sword in front of his chest, so that the kissaki rises slightly. Entering shoshi-kikko-no-maai, S performs tsuki against the center of U’s sword, stretching his arms forward. To absorb this pressure, U also draws his sword in front of his chest to counter S’s attack. But since S’s pressure is very strong, U simultaneously steps back to absorb the energy coming his way.

* In reality, S can end up striking U immediately from above if U leans down, so that U doesn’t have time to hit S’s foot. But as a Kumidachi, S waits until U stands upright again.

  1. Roku-ban/ Futatsu-gachi (Futatsu-kachi): (6. Hidari-gote / 7. Migigote)

*Uchidachi: In Shidachi: Seigan

As in Ippon-me, U advances with In, while S advances with Seigan. In Isshoku-Sokuhatsu-no-Maai, U stops and waits briefly, suddenly moves to the right, and from Dai-Jodan (with the left knee raised) strikes S’s shomen. S turns left toward U, with a large movement executes Kiriotoshi to U’s hara, and then strikes U’s hidari-gote. S then slowly and controllingly steps back two steps, lowering the sword to Seigan. But before he can rest, U has switched to In, suddenly moves to the left, and strikes S’s shomen (this time with the right knee raised). It is particularly important here that U—after S has struck his hidari-gote—attacks again, but U does not allow S to safely complete the second backward step. However, U must wait until S’s kissaki moves away slightly before switching to in. S must also send his ki forward while stepping back and be ready to react immediately to the renewed attack. S therefore reacts confidently, performing kiriotoshi up to U’s hara. U slides back, starting with the left foot, and switches to jodan. S strikes U’s right kote and, stepping back, moves to zanshin jodan. Then gedan-awase.

  1. Nana-ban/ Into: (8. Hidari-gote / 9. Hidari-gote)

*Uchidachi: In Shidachi: Seigan

U advances with in, S with seigan. From Isshoku-Sokuhatsu-no-Maai, U strikes S’s shomen; During the strike, U raises his left foot and comes to stand on the left front. However, since S holds his seigan with unwavering strength (standing right front), U fails in his attempt to strike S’s sword. S barely moves back and lowers his kissaki to gedan, so that S’s kissaki is directly in front of U’s hara. U now slides back briefly, starting with his right (back) foot, and switches to jodan. S strikes U’s left kote with a left-right forward step. While S quickly steps back two steps, starting with his right (front) foot, U switches to in. Lurking, U slowly steps forward two steps, starting with his right (back) foot, while S steps back another two steps (right-left). U now slowly steps forward with his right (back) foot and switches to seigan, while S accordingly steps back one step with his right (front) foot and switches to in. Now, either immediately or after a moment of lurking, S suddenly steps forward with his right (back) foot, strikes violently with his sword approximately at the center of U’s sword (seigan-yaburi), and immediately makes tsuki to U’s neck. U takes a few steps back, evasive, and raises his sword with his left foot forward to jodan. S follows and finally strikes U’s left kote with his right foot forward. Stepping back slightly, he switches to zanshin in. Then gedan-awase.

  1. Hachi-ban/ Gedan no Uchi-otoshi: (10. Hidari-gote)

*Uchidachi: Seigan Shidachi: Gedan

U advances with seigan. S advances with gedan, and in Isshoku-Sokuhatsu-no-Maai, he suddenly moves his kissaki to the left (with the left foot forward) and threatens U’s right kote. U turns his sword slightly to the right to counter this attack. At this moment, S raises his sword to jodan and strikes forward with a large force; the target is U’s head. When S strikes, U raises his kissaki to counter the blow. However, since S’s advance is very strong, U quickly retreats, while S, starting with the right, quickly advances. S’s sword meets U’s and strikes it down. U finally moves to the left front to hidari-jodan when he sees a small gap in S’s pursuit. S strikes the left kote of the U with his left foot in front and steps back to Zanshin Gedan. Then Gedan-awase.

  1. Kyû-ban/ Norimi: (11. Migi-gote / 12. Hidari-gote)

*Uchidachi: In Shidachi: Seigan

U advances with In and S with Seigan. In Isshoku-Sokuhatsu-no-Maai, U strikes the shomen of the S with his right foot in front. S performs Kiriotoshi to the hara of the U. U steps back two steps (right – left) and switches to Jodan. S then strikes the migi-gote of the U. With Seigan, S steps back two steps. U now strikes the shomen of the S from Yo with his left foot in front. S performs Kiriotoshi. S’s kissaki is now directly in front of U’s hara. Therefore, U attempts to control S’s sword with his own sword to the lower left, moving his own kissaki from the lower right to the upper right over S’s sword and further to the lower left (= counterclockwise). Simultaneously with this movement, U pulls his left foot back. S turns his kissaki clockwise, avoids the pressure of U’s sword, and moves his sword over U’s, taking a step forward with his left foot. U quickly steps back two steps (right-left), switches to jodan, and strikes shomen with his right foot in front. S follows with U’s right step. However, because U quickly counterattacks and strikes shomen, S receives this sword from the upper left to the lower left (hiki-otoshi) and smoothly moves to chudan-uragasumi. Immediately, S moves his sword toward U’s hara (tsuki) with his front (right) foot (the left foot follows). U steps back one step with the right foot. U steps back further with the right (back) foot (the left foot follows) and moves to Jodan. S strikes U’s left kote with a left-right step and steps back to Zanshin In. Then Gedan-awase.

 

  1. Jû-ban/ Norimi-Hitotsu-kachi (-gachi): (13. Migi-gote)

*Uchidachi: In Shidachi: Seigan

U advances with In and S with Seigan. U pretends to step left, but returning to the center, he strikes S’s shomen with his right foot in front. S executes Kiriotoshi up to U’s neck. As U switches back to Jodan, S follows him with Semeage, strikes his Migi-gote, and steps back to Zanshin Gedan. Then Gedan-awase.

  1. Jûichi-ban/ Gedan-no-tsuke-Chûseigan: (14. Migi-gote / 15. Hidarigote)

*Uchidachi: Seigan Shidachi: Gedan

U advances with Seigan, S with Gedan. Entering Isshoku-Sokuhatsu-no-Maai, S pretends to attack U’s migi-gote. U tilts his kissaki slightly to the right to react to this movement. His kissaki, however, remains above S’s kissaki. S now sees that the center of U’s hand is exposed and performs a vigorous tsukikomi like in Gohon-me. The difference with Gohon-me is that this time S is much closer to U when he begins with tsuki. U quickly steps back, catching Tsuki, stops S’s attack, and attempts to strike S’s sword back to the lower left. S loosely and quickly drops the kissaki to the lower right, so that U strikes into the void and bends down to the left. Now U immediately switches to Jodan. S is practically already waiting at the top, strikes U’s migi-gote, and moves to Jodan.* Stepping back two steps, S brings his sword down to Seigan. Meanwhile, U moves to Yo no Kamae, and before S can properly engage Seigan, U attacks S again from Jodan. S reacts immediately, performs Kiriotoshi up to the Hara and strikes U’s Hidari-gote. Stepping back slightly, S moves to Zanshin Gedan. Then Gedan-awase.

* In reality, S can strike U immediately from above if U leans down, so that U doesn’t have time to strike S’s foot. But as a Kumidachi, S waits until U stands upright again.

 

Itto-den Shinki Toho, Chûden: Odachi

     12th Jûni-ban/ Orimi: (16th Mizo’ochi / 17th Migi-gote)

*Uchidachi: Seigan Shidachi: Wakigamae

U starts in seigan, and S counters with wakigamae. From Isshoku-Sokuhatsu-no-Maai,

S strikes U from above with a large force and immediately kneels, leaving his right knee in place. His kissaki is aimed at U’s neck. For S’s large strike, U steps back with his right foot and holds the sword in in-no-kamae. U pretends to first move to the left and attack S’s right side, but quickly returns to the right and, from In, executes a direct kesagake onto S’s left shoulder, with his right foot forward. S quickly stands up and stabs U’s Mizo’ochi (solar plexus), controlling his kote from above. This is the first part. U steps back with his right foot and returns to In-no-Kamae, while S retreats slightly and switches to Seigan. U steps forward with his right foot and strikes S’s sword (S’s left side) to perform Seigan-Yaburi. Since S holds his sword firmly against it and U fails to perform Seigan-Yaburi, U moves his sword to the left below S’s sword and attempts to cut S’s Hara with his right foot in front. S places his sword vertically – point up – and receives U’s sword forcefully, but slightly backward. Immediately afterward, S strikes U’s extended Migi-gote, while S shifts his position slightly to the left. Stepping back slightly (or alternatively: forward), S switches to Zanshin In. Then Gedan-Awase.

  1. Jûsan-ban/ Suriage: (18. Migi-gote / 19. Hidari-gote)

*Uchi-dachi: Migi-Jôdan Shidachi: Seigan

From Isshoku-Sokuhatsu-no-Maai, U strikes S’s shomen with his right foot in front. S executes Suriage with his left foot in front. As U immediately returns to Jodan, S strikes his Migi-gote with a right step. S switches to Migi-Jodan and steps back with two small steps (right – left). U lowers his sword to Gedan and, with a large left step, executes Tsuki to S’s Hara. S strikes U’s sword (using the sword movement like Gyaku-Kesagake) while withdrawing his right foot. U attempts to stand upright and moves to Hidari-Jodan, withdrawing first his left foot and then his right foot. S follows the U’s movement, first with a small forward step with the left foot, then with a large step with the right foot and strikes the U’s Hidari-gote. S steps back slightly and switches to Zanshin Gedan. Then Gedan-awase.

  1. Jûyon-ban/ Wakigamae no Uchiotoshi (20th Migi-gote)

*Uchidachi: Seigan Shidachi: Wakigamae

Just before the Isshoku-Sokuhatsu-no-Maai, S moves his left shoulder slightly to the left, pretending to attack U’s right side, but switches to Jodan, raises his right knee, and strikes U. U raises his kissaki to counter U and swiftly steps back. Because S’s strike is powerful, U’s sword is forced downward (approximately to Gedan height). U continues to step back and strikes S’s sword to the upper left (harai) and moves to Jodan. S takes advantage of the upward movement of U’s harai, moves to Jodan, and strikes U’s migi-gote. This strike is almost completely straight because U’s migi-gote is shifted slightly to the left (as seen from U) by the harai movement. S steps back slightly and switches to Zanshin Gedan. Then Gedan-awase.

  1. Jûgo-ban/ Honshô (21. Hidari-gote)

*Uchidachi: Gedan Shidachi: Seigan

When both face each other, U moves slightly to the left early and switches to Jodan-Uragasumi. S maintains the Seigan and moves slightly to the right. U takes a small left step and gestures for a Tsuki, but then turns the Kissaki clockwise over his head and executes Kesagake with a right step. S is not deterred by the Tsuki feint and performs Kiriotoshi against U’s Kesagake up to U’s Hara. U steps back with his right foot and switches to Hidari-Jodan. S steps forward with a left-right step, hitting U’s Hidari-gote. S steps back slightly and moves to Zanshin Gedan. Then Gedanawase.

  1. Jûroku-ban/ Jôdan-gasumi (22nd Mizo’ochi)

*Uchidachi: Jôdan-gasumi Shidachi: Gedan

Entering the Shôshi-Kikkou-no-Maai, S raises his kissaki with his left foot forward against U’s. U takes a right step and places a tsuki against S’s neck. Retracting his left foot, S switches to Yo and receives U’s tsuki. S then takes a left-to-right step and places his kissaki toward U’s mizo’ochi, while using his own sword to push U’s sword outward and forward in an arc. Since S’s kissaki is held directly in front of the mizo’ochi, U gives up and points his kissaki downward to the right, as when stepping back after the individual exercises. S steps back with a right-to-left step and places his kissaki downward to the right, just like U (Zanshin Sasage-Dachi). Then Gedan-awase.

  1. Jûnana-ban/ Kobushi no Harai (23. Hidari-gote / 24. Hidari-gote)

*Uchidachi: Seigan Shidachi: Gedan

Entering Isshoku-Sokuhatsu-no-Maai, S waits for U’s left step and, with the right foot forward, feints at U’s left kote. U uses this opportunity and performs a right step to the kesagake. S steps back with the right foot and switches to In. U steps back with the right foot and switches to Hidari-Jodan. S strikes U’s Hidari-gote with a right step and returns to In, stepping back with the right foot. As U switches to Gedan with the right step, S switches to Wakigamae and immediately attacks U’s men with a right step from above. U performs Suriage while withdrawing the right foot. Stepping further back with the left foot, U strikes S’s shomen, opposite which S performs Suriage with a left forward step. U steps further back with a right step and switches to HidariJodan. S strikes U’s Hidari-gote with a right step and, stepping back with the right foot, switches to Zanshin In. Then Gedan-awase.

  1. Jûhachi-ban/ Uki (25. Hidari-gote)

*Uchidachi: Gedan Shidachi: Seigan

As in Honshô, U moves slightly to the left early and switches to Jodan-Uragasumi. S does not change his position this time (unlike Honshô), but points his kissaki to the right, toward U. U takes a small left step and feints a tsuki, but turning the kissaki clockwise over his head, he performs a kesagake with a right step. S is not confused by the tsuki feint, calmly observes U’s movement, and performs kiriotoshi against kesagake. Since the kissaki is now directly in front of his stomach, U attempts to control S’s sword downwards to the right with a right backward step—turning his own sword from left to right (clockwise). S, however, turns his sword with a left step in the same direction slightly faster than U and holds his sword over U’s. This time, U turns his sword one more step (left) back in the other direction (counterclockwise) to dominate S’s sword on the lower left. But this time, S turns his sword in the same direction (clockwise from S’s perspective) and holds his sword over U’s, taking a step forward with his right foot. Now U tries to turn his sword clockwise again to dominate S’s sword on the lower right, while taking a step back with his right foot. But S follows him with a left forward step while turning his sword counterclockwise and placing it on U’s sword. Now U switches to Jodan with a small backward Suriashi of his right foot to counterattack. But S follows him with a right forward step, strikes U’s Hidari-Gote, and returns to Zanshin Gedan. Then Gedan-awase.

     19th Jûkyû-ban: Kirikaeshi (26th Migi-gote)

*Uchidachi: In Shidachi: Seigan

Entering Isshoku-Sokuhatsu-no-Maai, U strikes S’s men from Dai-Jodan (large Jodan) with his right foot forward. S remains in place with full Ki with his right foot forward, so that U’s strike becomes shorter and lands on S’s sword. At this moment, S quickly lowers the kissaki to the level of U’s hara. Stepping back with his right foot, U switches to In. Since S follows directly in front of U’s left fist with the kissaki, U takes a few steps back with In and, withdrawing his left foot, strikes S’s left Yokomen. S sends his sword forward to the left, receives U’s striking sword, and urges him. U takes a few steps back, stops the backward movement with his left foot, raises S’s advancing sword with his own sword, and attempts to strike it back from top to bottom left. At this moment, S, moving slightly to the left, drops his sword to the bottom right (the right hand is not lowered, but his sword is only tilted to the bottom right), so that U leans sharply to the bottom left. When U recovers and switches to Migi-Jodan, S strikes U’s Migi-gote.* While the sword is still resting on Migi-gote, S makes a pushing forward movement (as in Aikido-Ikkyo), starting with the left foot. The step forward left is followed by a backward clockwise turning movement with the right foot, before S switches to Zanshin Hidari-Jodan (with both hands). Then Gedan-awase. *In reality, S can strike U immediately from above if U leans downward, so that the latter doesn’t have time to strike S’s foot. But as a kumidachi, S waits until U stands upright again.

  1. Nijûban: Sayû no Harai (27. Nodo / 28. Migi-gote)

*Uchi-dachi: In Shidachi: Seigan

Entering Shoshi-Kikko-no-Maai, U attempts to strike S’s seigan sword downward to the left. S lowers the kissaki so that U strikes into the void and keeps his kissaki downward to the left. S immediately raises his kissaki again and directs the tsuki toward U’s neck. U takes a few steps back and strikes S’s migi-do (right side) with his right foot. S takes a left step, lowers the kissaki forward to the right, and receives U’s sword. U switches Immediately to Migi-Jodan; S strikes U’s Migi-gote and switches to Zanshin Gedan. Then Gedan-awase.

  1. Nijûichi-ban: Gyaku no Harai (29. Hidari-gote / 30. Dô)

*Uchidachi: Yô Shidachi: Seigan

U advances with Yo, while S advances with Seigan. Entering Shoshi-Kikko-no-Maai, U drops his kissaki straight forward with his left foot forward to cut S’s Migi-gote. S receives this attack with Chudan-Kasumi (left foot forward). Since S then makes a tsuki movement with a small left step forward, U first withdraws his left foot and then immediately his right foot and moves to Hidari-Jodan. With a right forward step, S strikes U’s hidari-gote. S and U then each step back two steps. S maintains seigan, and U switches to in. While both move toward each other, U attempts to strike S from jodan. S evades this movement with a step to the right, dives slightly under U’s hidari-gote, and cuts U’s abdomen from left to right with a drawing cut. U stops his forward movement and lowers his upper body until the sword almost touches the ground. After the cut, S briefly remains in his zanshin migi harai-dachi position. Then, gedan-awase.

 

Itto-den Shinki Toho, Okuden: Odachi

  1. Nijûni-ban: Chishô (31. Migi-gote Shita = from below)

*Uchidachi: Gedan Shidachi: jizuri no Gedan

Entering the Isshoku-sokuhatsu-no-Maai, U switches to Jodan and attempts to strike S. S raises

his sword upwards while dodging slightly to the left and cuts U’s Migi-gote

from below. Both then move to Zanshin Yô. Then Gedan-awase.

  1. Nijûsan-ban: Chishô no Ai-Gedan (32. Mizo’ochi)

*Uchidachi: Gedan Shidachi: Gedan

Entering the Shôshi-kikkô-no-Maai, U attempts to pass Gedan-zuki to S’s Mizo’ochi. S

dodges slightly to the right and, extending the sword only with his right hand, thrusts U’s mizo’ochi. Stepping back, he then moves to Zanshin Gedan. Then Gedan-awase.

  1. Nijûyon-ban: Seigan-barai (33. Hidari-gote)

*Uchidachi: In Shidachi: Seigan

Entering Isshoku-Sokuhatsu-no-Maai, U attempts to strike S’s seigan sword to the left with a right step. At this moment, S withdraws his right foot and switches to In, causing U to strike into empty space and come into an unsteady stance halfway to Yo no Kamae. He then withdraws his right foot and switches to Hidari-Jodan. With a right step forward, S strikes S’s Hidari-gote and returns to Zanshin Chûdan-gasumi. Then Gedan-awase.

  1. Nijûgo-ban: Maki-gasumi (34. Hidari-gote / 35. Migi-gote)

*Uchidachi: Seigan è Chudan-gasumi Shidachi: Gedan

U approaches S, while U, starting from seigan, gradually lowers the kissaki to gedan and then switches to chudan kasumi. S approaches U with gedan and, in shoshi-kikkôno-maai, raises his kissaki and touches U’s kissaki from the right. S has his right foot forward. U attempts a tsuki with a right step against S’s neck. At the same time, S decisively steps forward with a left step and applies pressure to U’s sword. U steps back with the right foot and switches to waki and then to hidari-jodan. S takes a small step forward with the right foot and strikes U’s hidari-gote and takes two steps back (right – left) in seigan. U switches to in and attempts to strike S’s right side (do = torso) with a right step from the left. Since S controls this sword with his own sword from above, U attempts to wrap S’s sword clockwise (makikomi). S allows this and withdraws his sword from this circular movement. Since U’s sword is thus guided into the void, he brings his sword to Migi-Jodan and attempts to strike again. But S strikes U’s Migi-gote in time and returns to Zanshin Gedan. Then Gedan-awase.

  1. Nijûroku-ban: Maki-kaeshi (36. Hidari-gote / 37. Mizo’ochi / 38. Hidari-gote)

*Uchidachi: Hidari-Jôdan Shidachi: Seigan

During the encounter, U attempts to cut S’s right Uchi-kote with his right foot from Hidari-Jodan. S pulls back his right foot and switches from seigan to waki-gamae, so that U strikes empty air. U quickly attempts to regain stability by pulling back his right foot and switching to hidari-jodan. With a right forward step, S strikes U’s hidari-gote, immediately pulls back his right foot, and switches to wakigamae. While U switches from hidari-jodan to in, S also switches from waki-gamae to in. U attempts to directly stab S’s mizo’ochi from in. S moves slightly to the right and performs a counter-tsuki against U’s mizo’ochi. U now attempts to wrap S’s sword counterclockwise (makikomi) while evasively pulling back his right foot because S’s kissaki is directly in front of the hara. U moves to hidari-jodan to launch a counterattack. S first lets his sword wrap slightly, then raises it to Jodan and strikes U’s Hidari-gote. S then steps back to Zanshin Gedan. Then Gedan-awase.

     27th Nijûnana-ban: Hikimi no Hongaku (39th Do)

*Uchidachi: Seigan Shidachi: Gedan

Entering Isshoku-Sokuhatsu-no-Maai, S feints with his kissaki to U’s right kote. As U reacts and tilts his kissaki to the right, S turns his kissaki back to the center and attempts to control U’s sword with a light tsuki from above, slightly to the left. U holds this attack firmly and attempts a tsuki against S’s chest. As S raises his sword at this moment and pushes U’s kissaki into the void, it tilts to the left (to S’s right). S strikes U’s sword violently from above, so that U’s right grip is released, and he can only hold the sword on his left side with his left hand. S immediately performs Nuki-Do from bottom right to top left. S moves his sword—edge first—to the right until the kissaki points toward U’s neck, and then turns its edge clockwise so that the edge points to the left to complete Zanshin Hongaku. Then Gedan-Awase.

  1. Nijûhachi-ban: Ai-Gedan Kesa-gawashi (40. Hidari-gote)

*Uchidachi: Gedan Shidachi: Gedan

Both step forward with Gedan. Entering the Isshoku-Sokuhatsu-no-Maai, U moves slightly to the right, evading to Waki-gamae and performing a large kesagake with the right foot in front. At the same time, S also moves slightly to the right and strikes U’s hidari-gote from above. (U’s hidari-gote remains briefly at stomach level after the kesagake movement.) Then S moves to Zanshin Chûdan-Ura-gasumi. The kissaki then rests directly in front of U’s neck.

  1. Nijûkyû-ban: Hotsu (41. Mizo’ochi / 42. Dô)

*Uchidachi: In Shidachi: Gedan

Entering Isshoku-Sokuhatsu-no-Maai with In, U moves to the right. S leaves his sword as before and deliberately does not turn towards U to entice him to attack. Seeing that S’s left side is free, U attacks with a large kesagake (right foot forward). S backs away slightly to the right and switches to in. Since U’s hands are lowered after the kesagake, S immediately places his sword on S’s left kote with a tsuki movement (right foot forward). U withdraws his right foot and switches to waki, which S follows with a step forward to the left. S’s sword remains on U’s left kote the entire time. U raises his sword high to jodan; S follows by placing his right foot parallel to his left and blocking U’s left kote above with his own sword. U attempts to break S’s stance and strike S from above. At this moment, S lowers his stance and cuts U’s do from top right to bottom left, first dodging to the left with his left foot and following suit with his right foot. He then moves to zanshin jodan ura-gasumi. Then gedan-awase.

  1. Sanjû-ban: Uragiri (43rd Men)

*Uchidachi: Seigan Shidachi: Gedan

Both advance to Shoshi-Kikko-no-Maai. S raises the kissaki with strong ki to Ai-Seigan. U waits until Ai-Seigan, and just when S begins to feel confident due to the tie, U turns his kissaki in a semicircle from right to left and – with the right foot forward – strikes S’s Migi-Do. As S places his sword on U’s, thus defending himself, U – taking a step back with his right foot – attempts to strike S’s Hidari-Do, while turning the kissaki in a semicircle, this time from left to right. At this moment, S strikes U’s Men with only his left hand. S steps back with a left-right step and transitions to Zanshin Hidari-Jôdan – with only his left hand. Then Gedan-awase.

  1. Sanjûichi-ban: Kasumi-nagashi (44. Migi-gote)

*Uchidachi: Seigan Shidachi: Gedan

Just as in Uragiri, both fighters advance to Shoshi-Kikko-no-Maai, and S raises the kissaki to AiSeigan. U attempts to push S’s kissaki slightly to the left, while S, in turn, attempts to push U’s kissaki back to the left. To avoid being succumbed to S’s countermovement, U attempts to counteract it again, this time with a tsuki to S’s neck. S moves slightly to the left and raises the tsuki above his head, while lowering the kissaki to the lower right, both swords maintaining contact. At this point, S allows U’s kissaki to slide to the right (flow = nagashi). Since U is slightly stabbing into the void, he steps back slightly to the left and switches to Migi-Jodan to strike S again. At this moment, S strikes U’s Migi-gote with his right foot forward. S then steps back with his right foot and switches to Zanshin Jôdan-gasumi. Then Gedan-awase.

  1. Sanjûni-ban: Haya-Kirikaeshi (45. Migi-Dô)

*Uchidachi: In Shidachi: Seigan

Von Isshoku-Sokuhatsu-no-Maai aus schlägt U mit rechtem Fuß vorne das Men des S. S macht Kiriotoshi bis zum Mizo’ochi des U. U geht mit dem rechten Fuß einen Schritt zurück und schlägt sofort mit Kesagiri zurück. S hebt das Kissaki etwas und empfängt das schlagende Schwert des U, wobei S sein Kissaki etwas nach vorne streckt. U weicht leicht nach links und wechselt nach einer Kasumi-nagashi-Bewegung zu Jodan, um S zu schlagen. S reagiert schnell und schlägt das Migi-Do des U von links nach rechts mit dem linken Fuß vorne. (Dieser Schnitt wird vor dem Migi-Do des U gestoppt, solange wir noch keinen Do-Schutz verwenden.) Anschließend tritt er mit dem linken Fuß etwas zurück und wechselt zu Zanshin Hongaku. Die Schwertspitze des S ist auf den Hals des U gerichtet. Danach Gedan-awase.

 

Itto-den Shinki Toho, Jun-Menkyo: Odachi

  1. Sanjûsan-ban: Junpi (46. Hidari-gote)

*Uchidachi: In Shidachi: Seigan

Entering Shoshi-Kikko-no-Maai, U extends his kissaki toward S’s so that they are facing each other in Ai-Seigan. U has his left foot in front. U takes a small left step forward to test S’s reaction. S stands with his right foot in front, but as U takes a small step forward, S also steps back slightly with his back (left) foot, trailing his right foot. U believes he sees S’s weakness here, so he strikes S’s shomen with his left foot in front. At this very moment, S performs Shomen Kiriotoshi and stops his kissaki in front of U’s neck. S then advances with Semeage and strikes U’s Hidari-gote, while U steps back, starting with the right foot. S moves to Zanshin Gedan. Then Gedan-awase.

  1. Sanjûyon-ban: Nuke-Junpi (47. Dô / 48. Migi-gote)

*Uchidachi: In Shidachi: Seigan

Entering Shoshi-Kikko-no-Maai, U extends his kissaki against S’s with the left foot forward (Ai-Seigan), as in Junpi. U then pushes S’s kissaki to the left. S reacts against this pressure and steps slightly to the right, starting with the right foot. Here, U suddenly and surprisingly draws the sword back to In, but immediately afterwards strikes S’s Shomen with a right forward step. S also raises the kissaki at first, but evades to the left, and strikes the do of the U. Since the U initially leans sharply forward and downward, but then switches back to jodan and turns to S, S also turns slightly to the right toward the U and strikes the migi-gote of the U. Then, with nadegiri*, leading the sword downward to the right, he moves to zanshin hirakidachi, turning his body to the right and standing behind the U on the right. Then gedan awase.

* Nadegiri: the verb “naderu” means “to caress.” “kiru” means “to cut.” Nadegiri is “to cut lightly and caressingly.”

  1. Sanjûgo-ban: Tsumari (49th nodo)

*Uchidachi: In shidachi: Seigan

From the Isshoku-Sokuhatsu-no-Maai, U attempts to strike S’s shomen with his raised left knee, as in ippon-me. However, since S continues to march forward with seigan and aims his kissaki at U’s neck, U cannot complete the strike and instead turns to the left, avoiding U’s kissaki, while sweeping his sword down to the left. S stops the kissaki in front of U’s neck while tilting the sword to the right so that the edge rests in front of U’s neck. He then steps back to Zanshin Gedan with a right-left backward step. Then Gedan-awase.

  1. Sanjûroku-ban: Jûji-kuzushi (50. Migi-gote / 51. Hidari-gote)

“Juji” means “cross shape.” This is because the number ten, written in Japanese (jû = 十), forms a cross shape. “Jûji” is originally “writing or character for ten.” “Kuzusu” roughly means “to bring out of shape.”

*Uchidachi: Seigan Shidachi: Gedan

Entering Isshoku-Sokuhatsu-no-Maai, S feints with his kissaki against U’s right kote. He has his left foot forward. As U reacts to this feint by tilting his kissaki slightly to the right, S attempts to move his kissaki from below U’s kissaki to the center with a right step, bringing his kissaki to seigan height. Here, U also brings his kissaki to the center to avoid losing the battle for the center. Now both are standing with ai-seigan (seigan tie). U steps forward slightly with his front foot (right), and S steps back slightly with his back foot (left). Here, U believes he sees S’s weakness, and starting with his back foot (left), he advances in four steps and executes a sharp tsuki. His target is S’s mizo’ochi (solar plexus). S receives this attack by turning his right foot backwards to the right approximately 90° and holding his sword horizontally in front of the hara, so that U’s sword rests on S’s with downward pressure. At this moment, the two swords form a cross shape (ju = +). S briefly yields to the counterpressure from below and suddenly turns the kissaki to the right, causing U to bend forward.* U immediately attempts to stand upright again and switches to jodan. S strikes U’s migi-gote with his left foot in front. U then steps back with a right-left step and switches to yo, while S pulls back his left foot, brings his right foot in front of his left foot, and switches to seigan. Then, U strikes shomen with his left foot in front, and S performs kiriotoshi to U’s mizo’ochi. U then steps back with his back (right) foot and switches to jodan. S strikes U’s left kote and moves to zanshin gedan. Then gedan-awase.

* Turning the Kissaki to the Right: Here, S should turn the right foot, which is next to the left foot heel to heel, diagonally backward to the right. His sword should not be guided backward along U’s sword (toward the tip of U’s sword), because then it would be pushed down by U. S must quickly turn his sword to the right and bring it over his own head, immediately striking U’s migi-gote.

  1. Sanjûnana-ban : Renzoku Kiriotoshi Shin (52nd migi-gote)

Renzoku means “one after the other” or “continuing.” This Kiriotoshi form, like Nos. 38 and 39, is actually continued continuously, although as a Kumidachi it is only practiced twice.

*Uchidachi: In Shidachi: Seigan

As in the Kiriotoshi exercise, U first strikes S’s shomen directly with his left front foot (without stopping or moving to the right as in Ippon-me), but he raises his left knee high as in Ippon-me. S performs Kiriotoshi until U’s mizo’ochi. After that, they separate again. After that, they return to the center, and U strikes S’s shomen with his right front foot, also with his (right) knee raised. S performs Kiriotoshi up to the neck, steps forward with a left-right step (Seme-age), and strikes U’s migi-gote, after U steps back starting with the back (left) foot and changes to Jodan. Then S moves to Zanshin Gedan. After that, Gedan-awase.

  1. Sanjûhachi-ban: Renzoku Kiriotoshi Gyô (53. Migi-gote)

*Uchidachi: In Shidachi: Seigan

The movement is the same as in No. 37 “Shin,” but the movement is somewhat faster. This requires a better sense of Ma’ai.

  1. Sanjûkyû-ban: Renzoku Kiriotoshi Sô (54th Men / 55th Men)

*Uchidachi: In Shidachi: Seigan

The movement becomes even faster. S strikes and stops the sword directly above U’s head. S also strikes the second time and stops directly above U’s head.* S steps backward with a right-left step to Zanshin Jôdan. Then Gedan-awase.

* Since the movement is fast, S should be especially careful not to actually strike U’s head.

  1. Yonjû-ban: Yorimi (56. Migi-gote)

*Uchidachi: In Shidachi: Seigan

Entering Isshoku-Sokuhatsu-no-Maai, U first strikes the shomen of S with the front left foot. S performs kiriotoshi up to the mizo’ochi of U. U and S separate once and approach again. From In, U strikes the menn of S with the front right foot. S performs kiriotoshi up to the neck of U. U steps to the right (right step sideways, the left foot is followed) and switches to jodan. S follows U to the left (sideways left step and the right foot is followed, but the right foot is forward), strikes the migi-gote of U and moves to zanshin gedan. Then gedan-awase.

  1. Yonjûichi-ban: Koshimi (57. Ushiro-Kubi)

(Koshi means hip. Mi means body. Koshimi means using the body to generate power from the hip. This refers to a lively Tsuki. Ushiro = back, Kubi = neck.)

*Uchidachi: In Shidachi: Seigan

Entering Isshoku-Sokuhatsu-no-Maai, U strikes S’s shomen with the front left foot. S makes Kiriotoshi up to the Hara of U. After that, U and S step away from each other once back to the starting position. They approach again and again U strikes with the front left foot. S makes Kiriotoshi up to the Mizo’ochi of U with the front right foot. Immediately, S makes Tsuki into the Mizo’ochi of U with a powerful left step. However, since U avoids this tsuki by taking a right step and turning his body to the left, S takes another step (right) and looks back with a left turn, now almost standing with waki-gamae. U turns left and attempts to strike S’s shomen with a right step. S makes a quick right turn in front of U (with a small step of the left foot and a right-back turn with the backward step of the right foot) and strikes U’s mizo’ochi with the tsuka-gashira. While U leans forward, S pulls back his left foot and strikes U’s neck from above. Stepping back slightly, he switches to zanshin yo. Then gedanawase.

  1. Yonjûni-ban: Aiba (58. Migi-gote / 59. Hidari-gote)

*Uchidachi: In Shidachi: Seigan

U advances to S with In no Kamae, while S waits motionless with Gedan. Entering Shôshi-Kikkô-no-Ma’ai, S advances with strong Ki, so that U steps back evasively. Stepping back, U suddenly performs Tsuki to S’s Mizo’ochi, while his right foot is withdrawn. S executes a counter Tsuki* with his right foot in front of U’s Mizo’ochi, so that S’s sword pushes U’s sword down. U strikes S’s sword upwards to the left while withdrawing his left foot, so that he now stands with Migi-Jodan. S takes advantage of this upward movement, advances to Jodan and strikes U’s Migi-gote with his left foot. U withdraws his right foot and switches to Hidari-Jôdan. S strikes U’s Hidari-gote with a right step and advances to Zanshin Gedan. This exercise is performed successively in Shin, Gyô, and Sô forms. At the end, Gedan-awase.

* Counter-Tsuki: This Tsuki is performed so that S’s sword “ascends” onto U’s, so to speak. This is why it is called Nori-zuki. The verb noru means “to ascend” or “to mount,” like mounting a horse or train.

  1. Yonjûsan-ban: Hari-Aiba (60th Nodo)

*Uchidachi: In Shidachi: Seigan

As in No. 42, U advances to the waiting S with In no Kamae. Entering Shôshi-Kikkô-no-Ma’ai, S steps forward with strong Ki, causing U to retreat evasively. Stepping back, U suddenly performs Te-no-uchi while withdrawing his right foot. S strikes U’s sword to the left and down with his own sword while taking a step forward with his right foot. The back of the sword (mine) points to the outside left. U steps back with his left foot, moves his sword to the left below S’s sword, turns his sword, and strikes S’s do from left to right. S takes a step forward with his left foot and strikes U’s sword slightly to the right and down while turning his sword to the right approximately 180°. Here, the back of the sword points to the outside right. He immediately turns the sword to the left approximately 180° and moves the kissaki to U’s neck (nodo). The back of his sword again points to the outside left. He maintains his Chûdan-gasumi as Zanshin. This exercise is also performed successively in Shin, Gyo, and So, followed by Gedan-awase at the end.

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Inexpensive Quality Equipment Options

Bokuto: One source for quality Bokuto (wooden swords) is E-bogu.com. They have an Ittoryu Bokuto for $39 that is very close to the one I purchased from Sasamori Sensei in Japan. They also carry a limited supply of Top Quality Leather Tsuba (Thick Double) at $35 that fits specifically on the Ittoryu Bokuto. If you have any problems with your order let them know you are studying Aikido with Scott Vogel and they will know what you need, or refer them to Song Choi (the product manager), or Mayuko Kato (the Web Master)..

Preparing you Bokuto: When you receive your (naked wood) Bokuto you may want to very lightly but evenly sand (very fine grit) it to open up and even up the wood. After sanding thoroughly clean up all the dust before treating the wood. To seal and protect the wood with a flexible yet tough coating just vigorously rub-in boiled linseed oil and immediately wipe-off the excess. Let it dry 2 to 8 hours (a little longer with each coat or if it is very humid out). Lightly rub-off irregularities in each coat (after drying) with 0000 steel wool. Then wipe off the steel wool remnants prior to applying the next coat. I would recommend 5 to 8 coats.

Fitting the Tsuba: If your tsuba is so tight that it won’t slide snuggly all the way from the blade to the handle position of your Bokuto then consider the following: The leather tsubas are roughly cut to fit your Bokuto. Sometimes they are left a little “too small” so you may have to trim them to a precise fit on your Bokuto. It is important to do this carefully so that the tsuba does not slip past the “blade” and on to the handle portion of your bokuto. I found that a Dremmel tool fitted with the 1/2″ sanding cylinder and the 1/8″ lateral drilling bit work best. Take you time and take off less rather than more as you work. Or, if you like, I have successfully custom fitted 5 tsubas with a Dremmel tool and would be willing to trim yours if you would prefer.

Tsuba Retainer: There are commercial rubber retaining pieces available through E-bogu and other manufacturers. We have found these last for only a few months at most, with any intense training. For more durable (and cheaper) options for a retaining piece, you can use a piece of (damp) rawhide, cut to 3/4 inch and long enough to be wrapped 1 3/4 to 2 times around. With a light layer of glue spread on one side of the rawhide strip, wrap the strip glue side down around the area immediately in front of the mounted Tsuba. You can hold the wound rawhide tsuba retainer down with rubber bands while it is drying. Be sure to wipe off the excess glue immediately upon gluing and then again a few minutes later as the glue expands and settles. I found that a thin even layer of Gorilla glue over the entire under surface of the rawhide worked well. You can also just lay down multiple even, throws with strapping tape until it is built up to about 3/16 inch thickness.

Jo: You can also purchase an Aikido White Oak Jo for $32 at E-bogu as well. An alternative is to purchase a 1 inch diameter utility handle from Home Depot for about $5. Cut the screw portion off so that the Jo is at armpit (or chin) height on your body while standing on the ground. Round the end with a knife then sand smooth starting with coarse sandpaper to shape the end round like the other end. Sand the entire handle with fine and paper to remove the polyurethane coating. If you want to apply a stain do so at this point following the instructions on the can. Then follow the “preparing your bokuto” section for details on finishing your Jo with a protective but flexible coating of boiled linseed oil.