THE MEANING AND MOVEMENT OF CHIBURUI. Hori Toraji Sensei of Osaka commented; There are many practitioners who do Chiburui as if they are spreading blood all over the place. Because they hold the Kissaki too high during Chiburui action. The blood should be shaken of on the ground near ones own feet. Try not to throw the blood too far from ones own body. The 19th Master Fukui Harumasa of Kochi Put a great deal of effort into this movement. At the end of Chiburui the back of the right hand is to face straight forward and the Kissaki is almost directly under the right fist. According to this high Kissaki method the Chiburui seems to be an attacking action rather than blood shaking. The main reason why the Kissaki does not come near he feet is because of the angle of the right wrist joint. When bringing the right fist to the right temple it must not be twisted inward. Fukui Harumasa Sensei

At this point the edge of the blade is not pointing upward. The angle of the twisted right wrist dictates where the Kissaki will stop at the finish of Furioroshi.Bring the right fist no further than the left eye before swinging the sword downward. Results will show what is a Tanimura-ha Chiburui. If the angle of the right fist is held up until the end of Chiburui the result will obviously be a blood spreading action. This method is clearly different to Oh-e Sensei's original method.

EXPRESSIONS OF OH-E SENSEI.

Chiburui is one of the most difficult techniques. Especially in Tatehiza Chiburui being done in such a confined space. It is impossible to effect a satisfactory performance just using the strength of the arm. Essential power must come from the Tanden.

NOTO. Noto movement is taken after completion of attacking movements. Therefore it does not require an awareness towards the opponent as much as Nukitsukeor Kirioroshi. However Zanshin must be maintained until Noto is completed.

METHOD.

After the Chiburui posture with hips lowered;

Take a large pace backward slightly to the right with the right foot.

At the same move the left hand top the Saya and grip the Koikuchi with the middle finger.

Twist the joint of right hand inward as the Kissaki moves automatically pointing upward left.

The Mune of the blade about one third from the Kissaki meets with the Koikuchi and the remainder of the Mono-uchi part of the Mune rests on the index finger of the left hand.

Therefore as the edge points upward the V between the index finger and thumb joint receives the Mune.

Pull the blade for the Kissaki to meet with the Koikuchi.

When the Kissaki meets with the entrance of the Saya (Koikuchi), the curves of the Saya and blade are brought into

As the right fist nears the Koikuchi, gradually lower the hips until the left knee touches the ground at the same time when the Tsuba meets with the Koikuchi.

Place the left thumb over the Tsuba on making sure than Noto is complete.

The sole of the right foot must be upright, toes touching the ground.

NOTO SPEED.

There are two different speeds within Noto. A fast one and a slow one. As Noto is taken after cutting action there is theoretically no necessity for fast movement. A careful smooth Noto is more respectable than an overly fast one. However after you have made reasonable progress in experience and technique, the length of time the Mune rests on the left index finger should become shorter. With this action will automatically become faster. Noto speed should be matched with the speed of Nukitsuke, Kirioroshi and Chiburui. A fast Noto can be done after many years of practice and experience. Flexibility of the right wrist, left hand Sayabiki are major points to do a fast and smooth Noto successfully.

Types of Noto.

There are a few different ways of bringing the sword to the Koikuchi.

One way is; Keep the right fist as it is, then bend it inward sharply and swing the blade horizontally to the left. The index finger of the left hand takes the weight of the blade. The left hand takes the Sayabiki movement to put about 10 cms of the Mono-uchi into the Koikuchi. Then gradually start Noto action.

Place the Mune of the Mono-uchi on the left hand and over the Koikuchi. The Kissaki reaches back out over the left arm. Next pull the Tsuka right forward to commence Noto.

Almost the same as above, but the difference is when the Tsuka is pulled forward, lift the Kojiri and lower the Tsuka to start Noto action. The diversity of these actions is developed from different situations of each movement at that particular instant.

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