TEACHERS PRECEPTS. RIGHT FIST POSITION IN SEIZA NUKITSUKE. (Hokiyama Namio) The height of the right fist should be the same as height of both shoulders. POSITION OF THE RIGHT FIST IN NUKITSUKE. (Hokiyama Namio) The best position of the right fist in Nukitsuke action is to keep the fist the same height as both shoulders. Put it about 20 cms in front of the body. This movement is very similar to Kendo in going forward to attack the opponent’s Men (forehead)

STEPPING FOOTWORK IN NUKITSUKE. (Hokiyama Namio)

The inside angle made by the bent right leg. It is better to keep the angle inside 90 degrees. This does not mean that the entire body should lean forward. Put the weight in the Tanden and push a little forward. It is inevitable the upper body leans forward a little. The body weight should be supported by the top part of the foot and the kneecap of the back foot.

A QUESTION TO HOKIYAMA NAMIO SENSEI FROM A STUDENT.

We have been taught to keep the right fist horizontal at shoulder height. How about height of the Kissaki in relationship to this fist?

Answer; Your knowledge sounds logical and sensible. Technically the Kissaki can be a little lower than the fist. Fundamentally if the blade is kept horizontally the lower side of the blade must not be seen by the opponent.

THE MANNER OF DRAWING THE SWORD. (Kubota Kiyone Sensei)

The attitude of drawing the sword should be not too fast or slow.

Bring all concentration to the Tanden.

Pull the Tsuka forward smoothly and naturally.

Dispatch the blade from the Saya. These three stages are called Jo, Ha, Kyu.

MEANING.

Jo - Quietly in the beginning

Ha - Faster

Kyu - Sudden draw (action)

In doing Noto, Jo, Ha, Kyu should work in the reverse manner.

Nukitsuke action must not be taken until the target is positively discerned. The target to aim for is either the opponentÕs neck or arm. (Master Oe Masamichi)

THREE DIFFERENT METHODS OF FREEING THE BLADE FROM THE SAYA. (Kubota Kiyone)

Uchigiri (Kakushigiri) Push the Tsuba with the left thumb. This thumb must be hidden behind the Tsuba, so that the opponent is not aware that the sword is being released.

Sotogiri (Arawagiri) Place the thumb tip on the Tsuba to push forward and release. Consequently the opponent will clearly notice it.

Hikaegiri. The thumb is placed on top of the Tsuba. At the same time the index finger supports the Tsuba from underneath.

MENTAL PREPARATION FOR ATTACKING INERTIA. (Kubota Kiyone)

To get the full attacking effect one must use a full spirit and Tanden power. There is not enough strength in only using the arms, hands and the sword. The arms and sword only have limited power. It is easy to discuss logic but not so easy to put into practice Only repeated drilling will encounter real feelings.

SEIZA NOTO TECHNIQUE (Hokiyama Namio)

When I instruct beginners my explanation is;

From the right fist position at the end of Chiburui, bend the right wrist and elbow a little.

Place the Mune on Koikuchi and begin Noto. Practically this method looks hard, tight and unnatural. From the end of Chiburui posture turn the right fist to the left so that the edge faces upward and bring it to the Koikuchi. The action time is very brief.

Consequently;

This action is very difficult for beginners.

The opponent is not aware of this action.

MA BETWEEN TECHNIQUES. (Hokiyama Namio)

There is always Ma between techniques. After completing each technique a fraction of Ma should be present. A form executed in a series of non-stop movements is very monotonous. A fraction of Ma does not infer a time gap. Put in positive Te-no-uchi at the end of each action, then go on to the next movement. For beginners it would be better to take things step by step.

LOGIC AND TECHNIQUE AND THE ART. (Kubota Kiyone)

Foremost the arts requires technique, followed by logic. It should be declared after the completion of technique. Discussing logic without technical ability does produce good artistic results. An old truism is; ÒA person who is good at technique does not understand logic, and people who are logically clever do not have much techniqueÓ. These two things must concur and work together to produce a respectable art.

SEI (SILENCE) AND DO (ACTION) (The Priest Sagawara Unka)

Initially Sei exists for Do. When Do is active, Sei comes onto the locality to prove existence. Do does not commence on its own. It relies on Sei and becomes active from Sei. These two things can be likened to the front and back of a piece of paper. One side can never be present without the other.

SUPPLEMENTARY COMMENTS. This is the end of the Seiza Ippon-me. It has taken a lot of pages to explain about the logic and technique of each movement. However this IPPON-me MAE is a basic technique to be used in all of the Seiza forms. Because within it is contained many important elements which are required to execute Seiza forms. Many people misunderstand IPPON-me as being too simple to practice for many years. This form is not for beginners only. It is also for experienced practitioners. In Kendo prior to Keiko (practice) everybody does Kirikaeshi. In Iaido IPPON-me is the most important and beneficial form to do before going on to other forms. However in Tosa Eishin Ryu the practice of Seiza Nukitsuke has always been done with a front foot stamp for all ranks and all age groups.

NIHON-ME MIGI

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