PSYCHOLOGICAL CONSIDERATION. In studying and researching psychological reactions, it is very important to understand the historical actualities that our ancestors have discovered about Nukitsuke under critical conditions. Without excuse, under any circumstances the sword should be drawn out in a fraction of a second.To be able to do this Heijo-shin (a normal/natural mentality) must be held all the way through Nukitsuke. Miyamoto Musashi taught it as follows; Under all circumstances, Heijo-shin must be held without change in either active movement or peaceful silence and must evenly exist within each. Mental preparation in assessing a situation must be broad and honest straight from the heart. This is indeed advice one should hold in high regard. Yamamoto Takuji Sensei

POSITIVE BELIEF IN VICTORY.

It is essential to maintain a positive will to attain victory. The attitudes of having a commitment to win and a commitment not to lose are very close in appearance. Technically there are some differences between them, but they should function together. The intention of I must not lose, should create the spiritual necessity of winning. The combination of a defensive and offensive spirit is the psychological preparation to save and protect ones own life.

NUKITSUKE FORM.

Nukitsuke posture has already been explained. Other additional advise is, Attacking is still defending. This may sound contradictory but discernment in within correct body posture. An important part of this movement is the route the Kissaki takes in reaching a stopping point. This is shown in the previous diagram.

KISSAKI MOVEMENT IN NUKITSUKE.

There are two methods which both have merits and weak points.

1 Is rather defensive.

2 Is more offensive and powerful.

To study forms logically is basic common sense, but on the other hand practical movement are not always logical. One must invariably consider replacing weak points in favour of strong ones.

Pull the left hip back when the blade leaves the Saya, but keep the upper body as square as possible.

When cutting the opponent’s neck the Kissaki must not travel too far to the right or try to stop out side the neck. Adequately is the key word. Not too wide, too narrow, too high, low or fast. Not too slow, too tight or loose etc., etc. Reading and studying is an easy task. Performing as one thinks and plans is not so easy.

THE PRINCIPAL POINTS OF POSTURE.

In taking any movement one must logically consider the important points A good performance is showing is being able to show sufficient expression within movement.

Posture initiation: As I have already stated so many times, the upper body must be straight and upright to support the sword and handwork of the Nukitsuke action. Support the upper body with strong a Tanden and steady hips. To support the body it is essential to create stability on the toes and knee of the back foot and front foot.

Good posture in Nukitsuke is; keeping the head, upper body and Tanden over on an upright left knee.

The cutting power of the Kissaki; must be transferred from the Tanden through the upper body and squeezing the right hand.

With regard to the posture at the end of Nukitsuke; must look as if one has cut a real target. The aim of Iai action is to eradicate the opponent with cutting action. Preparation of a strong positive posture with a fully concentrated spirit will produce a satisfactory result.

Metsuke power; initiating Enzan-no-Metsuke, pull in the chin tightly, then forcefully fasten a sharp Metsuke on the target. Of course a strong fighting spirit must be implemented before one starts to draw.

THE METHOD OF BRINGING THE SWORD INTO THE JODAN POSITION.

The Kissaki stops firmly at the end of Nukitsuke and the posture is held for a second before taking the next action. There from, bend the right wrist joint inward at shoulder height. The Kissaki moves under and towards the left ear and the sword swing is continued towards the left. When the right fist reaches the front of the left eye, the left hand grips the Tsuka from underneath to bring the Tsuka above the head. In this Jodan position the chest must be stretched wide and both elbows must be opened loosely. The eyes must be focused on the target. Also because a large Furikaburi is essential, the Tsuba is hidden behind the head and the Kissaki is lowered back at about 45 degrees. The finger grip is not too tight.

SWORD MOVEMENT.

When taking Furikaburi action:

Keep the right fist and arm horizontal from the outset.

Twist the right wrist inward. The Kissaki points under ones left ear and the sword is swung back wards to the horizontal.

At this stage the Kissaki movement resembles a thrusting action. The main detail in taking Jodan posture from Nukitsuke is to keep the right fist at shoulder height until it reaches the left side of the face. Raising the right fist too soon ends up in a Kiritsuke action which cuts too low. Also dropping the right fist instead of maintaining shoulder height relinquishes pressure against the opponent.

THE TIMING OF TAKING FURIKABURI ACTION.

The right fist moves to the left. When it reaches the left side of the face. Then the left hand grips the Tsuka to push it upward. Because of this left hand support the weight of the sword in the right hand is almost halved making Furikaburi easier

THE TIME TO GRIP THE TSUKA WITH THE LEFT HAND.

When the right hand comes to the front of the left eye, swing up the Tsuka with both hands. The finger grip should not be too tight. However the left hand grip is a little tighter than the right.

When the Tsuka reaches its maximum position above the head the Tsuba should be hidden behind the head.

To avoid the Kissaki touching the back of the Hakama do not drop the angle below 45 degrees. Also a reasonable left hand grip stops the Kissaki from dropping too far.

Expand the chest and open the elbows comfortably.

Keep the upper body straight and upright and firmly pull in the chin.

When the Kissaki is pointing toward the left ear, because of anxiety beginners tend to bend the neck away from the blade. However this is dangerous as it could cause an accident.

In the Jodan posture flexible and relaxed wrist joints produce good Kirioroshi.

Delaying the left hand grip of the Tsuka creates bad habits, such as hold the Tsuka from the side, or turning Jodan-no-Kamae into a pose. An adequate firm grip is very important. Good Furikaburi produces a good body posture and effective Kirioroshi.

KIRIOROSHI

This technique is secondary to Nukitsuke. If the result of Nukitsuke is adequate, a hurried Kiritsuke motion is not necessary. There is time to check the opponent’s deteriorating condition before executing the final cut.

THE PATH OF KIRIOROSHI.

From the Jodan posture both hands come down as the elbows gradually straighten. The Kissaki inscribes a large circular motion which traverses the opponentÕs head. The cut continues down strongly through the forehead and body until the Kissaki reaches Suigetsu (pit of the stomach). When the Kissaki reaches a stopping point (about 25 cm from the ground). Te-no-uchi should be naturally released. This should not be too loose a grip. To complete Kirioroshi the main element is the position and strength of the right foot. To stop the body from leaning forward at the end of Kirioroshi the weight of the body should be supported with the right foot and heel rather than relying on the toes too much.

GRIPPING THE TSUKA.

The technique of gripping (not grabbing) the Tsuka has been specified before. I will reiterate. The right hand grips the Tsuka near the Tsuba avoiding the Fuchigane. The grip with both hands is diagonal as a square grip loses control. The third and little finger must squeeze tightly, the index fingers completely relaxed. The gap between the two hands on the Tsuka is about the width of two fingers in width. The standard length of the Tsuka is about 25 cm. The hand position on the Tsuka differs between Kendo and Iai.

A Shinai has a longer mono-uchi and a longer Tsuka to grip. Therefore the gap between the hands is wider.

As the Katana is much shorter, two hand combination work can be done comfortably with the closer grip. The length of the Tsuka is dependent upon the total length of the weapon.

GRIP CONTROL AND USE OF THE TANDEN

The motivation of Kirioroshi by Tanden power and the grip control of both hands makes a positive difference to the outcome. The cutting power and energy must be transferred to the Kissaki through a stable upper body, arms and controlled grip with both hands. This Te-no-uchi control is of the utmost importance and is intricate in both Kendo and Iai.

KIRIOROSHI METSUKE.

In Seiza or Tatehiza Metsuke is on the opponent’s eyes until Nukitsuke action starts. However as soon as Kirioroshi is complete, Metsuke moves to the far side of the opponent (2~3 meters forward) for the purpose of widening the vision. If Metsuke is kept on the opponent for too long, it delays the preparation of body posture and Metsuke for the following movements against impending attackers.

FUNDAMENTALS

The face must not be averted downward, only Metsuke is on the fallen opponent. Therefore the head must be upright in Kirioroshi action.

Metsuke changes to Enzan no Metsuke as soon as Kirioroshi is finished.

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