The Subsidiary Rules Taken from the ZNKR Regulations of Iaido Shiai and Shinpan, Revised October ‘96 Article 7: The following points should be considered when deciding victory: 1. Depth of practice. 2. Reigi Etiquette (correct attitude, manners). 3. Technique: a) Correct Nukitsuke, Kiritsuke b) Correct Sayabanare, Hasuji c) Correct Chiburi, angle d) Correct Noto 4. Kokorogamae. Mental attitude: a) Calmness b) Metsuke (looking) c) Spirit, alertness (Zanshin), concentration, timing and distance 5. Ki Ken Tai no Itchi. The mind, sword and body in harmony 6. IAIDO should be rational as BUDO. 7. Reference is made to “Points to look for in Refereeing and Examinations of ZNKR IAI”. Notes in red taken from the Budo Dosokai reference booklet of 1994; “The Guidance of Reference” Of these points, number 1, 4, and 5 are most likely to prove contentious so we will discuss them further. How to interpret No.1 “Depth of practice” (a) Kurai Dori The original ZNKR /a/was intended to educate Kendoka in the same way that Shidachi in the Kendo no Kata should subdue the opponent by displaying a self confident attitude, then it is equally important to show this “Kurai Dori” against an imaginary opponent.

(b) Hin-I / Kigurai The Iaidoka should show clearly that he is “pushing” the opponent with his spirit, thus overwhelming him. (c) Jo / Ha / Kyu This is also called “Ma” and refers to the timing, or more accurately to the balance between fast and slow movements. This is a very important element, especially in a match between two high graded players. (d) Kaso-Teki This refers to the imaginary opponent. Does the player’s Metsuke show the correct number and position of the opponents? Is the player cutting or thrusting to the correct targets? (e) Cutting. One has to judge whether the cutting action is preceded with “Seme”, attacking attitude, and whether the monouchi of the sword is effectively used. (f) Sword sound. The sound that the sword makes should be short but sharp. The cutting movements can be divided: into two parts; lowering the sword from above the head and the actual cutting. When the sword is just starting to move, no sound is preferable, but when the actual cut has started then there should be a sound until the sword stops. (g) Te-no-uchi Of course there are both heavy and light swords. However it seems that recently strong swinging is seen as preferable to dynamic movement. A dynamic movement is always accompanied by a go Te-no-uchi (the force concentrated to the Monouchi by the hands) and simply swinging the sword forcefully should not be encouraged. How to interpret No 4. “Kokoro-gamae” (a) Calmness. A calm heart can be clearly seen in the eyes and attitudes of the player. (b) Metsuke

Metsuke shouldn’t only be taken to mean “enzan no metsuke” but a distinction should also be made between “kan” looking with the heart, and “ken” looking with the eyes. (c) Spirit, The spirit of the Iaidoka should be so strong that the opponent is unable to draw his sword. If one has to draw, however reluctantly in order to preserve ones own life, then the cut must be fierce, determined and final. (d) Zanshin Correct zanshin should not be directed solely at one’s opponent but should be directed al opponents in the vicinity. (e) Distance and timing To meet an opponents attack there will always be the consideration of timing and distance. Choosing whether striking before the opponent moves or reacting after one has invited the opponent to attack will result in different timing and distance. It is therefore extremely important that the player shows that he is fully conscious of an opponent. ATTENTION In the case of the ZNKR iai, only in Ukenagashi and Kesagiri is the opponent invited to attack first. ln all other forms one must strike the “degashira” of the opponent, that is, the very instant that he wants to start his movement. How interpret No.5, Ki Ken Tai no ltchi The basic thinking of the ZNKR Iai is that the opponent can be restrained if one first takes the initiative... Therefore one has to move in a way which is dictated by the attack of the opponent. Consequently one should not cut after the feet have stopped moving but should rather let the body and sword move together in harmony. POINTS FOR GRADING AND REFEREEING For the sake of simplicity, the following questions have been scripted in such a way that the answer to each should be in accordance for the form to be correct.

REIHO Ensure performers are executing the correct manners. Further checks considering techniques / principles How to understand correctly “RE I HO” (the proprieties / etiquette) (1) It is the rule that practice of Iai should be done with manners of Sashimote: with regard to the direction of the right 90° against the Gyokuza (Imperial throne) as the front. Alteration of the rule is exceptionally admitted on1y in special circumstances of the tourney-hall or the practice hall of Iai. (2) The proprieties for a sword as described in ZNKR Iai, is the new one that is possible to be found in Koryu. The proprieties in Koryu differ with the thinking of each school, and the progress of historic background which brought forth the properties. When ZNKR intended to secure unity of the etiquette, the matter became a subject of discussion. (3) When doing practice of Iai by the rule of Sashimote, to lay a sword down with the pommel to the right means that the point of the sword will point in the direction at the throne. As schools of Koryu would find this action treasonable to the Emperor and thus unthinkable, it is decided as a compromise that one lay down the sword with the point just a little nearer the body in ZNKR Iai even though the point is still to the left. At the beginning of practice of Iai, you should perform the etiquette to the sword with the earnest mind of a beginner and also give thanks for your safe performance of Iai at the end of the practice. (1) Is the clothing in order? (2) Is the player entering and leaving the shiaijo with a positive attitude? 1. MAE a. Does the performer do enough Sayabiki when he cuts the opponent’s face? b. Is the sword taken into Furikaburi with a feeling of thrusting to behind the left ear? c. Is the tip of the sword above the horizontal position when in Furikaburi? d. Is the sword brought down without hesitation during Kirioroshi? e. Is the tip of the sword slightly below horizontal at the end of Kirioroshi? f. Is the shape and form of Chiburi correct? g. Is Noto performed correctly? Further checks considering technical principles (1) Is the player imagining a front opponent as he sits down? (2) Is the Nukitsuke executed at the same time the sword leaves the saya?

(3) Are the positions of the kissaki, right hand, elbow and shoulder correct? (4) Does the left knee pass the right heel as it is slid forward? (5)When initiating the Chiburi action, is the right palm turned upwards and is the cutting edge of the sword pointing to the left? 2. USHIRO a. When the turn is made, is the left foot moved sufficiently to the left. b. Is the horizontal cut made to the opponent’s temple? Further checks considering technical principles (1) Is the player imagining a back opponent as he sits down? (2) Is the head turning with the body? (3) Are the positions of the kissaki, right hand, elbow and shoulder correct? (4) Does the right knee pass the left heel as it is slid forward? (5) When initiating the Chiburu action is the right palm turned upwards and is the cutting edge of the pointing to the left? 3. UKENAGASHI a. When the parry is made, does it protect the upper body well? b. Is the left foot brought back behind the right foot? And is the cut made along the Kesa line. c. After the cut has been made, is the left hand in front of the navel and the sword tip a little below horizontal. Further checks considering technical principles (1) Is the player imagining an opponent on the left as he sits down. (2) Is the ukenagashi movement expressed clearly? (3) Are the ukenagashi action and the cut executed as one continuous movement? (4) Is the right hand above the shoulder as the cut begins? (5) Is the kissaki upright over the shoulder as the cut begins? 4. TSUKA-ATE a. Is the Tsuka Gashira surely pointed at the opponent’s solar plexus? b. When the rear opponent is thrust, is this done with the right elbow extended fully and the left hand bringing the Koiguchi to the navel? c. When the cut is made is it on the vertical centerline and from the correct position above the head.

Further checks considering technical principles (1) Is the player imagining the opponents as he sits down? (2) Is the first opponent still being pressured by tsukagashira as the sayabiki is performed? (3) Is the ridge of the sword near the monouchi touching the left chest and is the edge turned outwards? (4) When turning the body again to the front, is the head turned before the body? (5) When sitting, is zanshin shown as the left knee is placed on the or to the sonkyo position? 5. KESAGIRI a. When the initial upper cut is made, is the right hand above the right shoulder when the sword is rotated. b. When Chiburi is performed, is it at the correct angle while the person steps back with the left hand taking hold of the Koiguchi. Further checks considering technical principles (1) Is the kissaki pointing upwards and is the blade vertical as the initial cut is completed? ATTENTION: The angle of the upwards cut and the angle of the downwards cut were not the same before March 1997 but they are the same now (2) Does the monouchi clear the side of the body as the downward cut is completed? 6. MOROTEZUKI a. Is the initial cut correctly made from the opponent’s temple down to their chin when doing Nuki Uchi? b. Does the performer bring their left foot up behind their right? Is Chudan No Kamae correctly made and the sword thrust into the right area of the body? Is the thrust made with certainty? c. Does the performer bring their sword above their head in a parrying action after pulling it out from the first opponent? Further checks considering technical principles (1) Does the height of the kissaki in chudan correctly express the intent to thrust at the solar plexus? (2) Is the thrust executed with the correct body movement? (3) Is the foot on which the body turns pointing forwards, and is the heel foot being lifted a little off the floor? 7. SANPOGIRI a. Is the initial cut to the first opponent made through the head down to the chin?

b. Is the cut to the opponent on the left performed without hesitation? c. Is the sword brought up to Furikaburi with a parrying action? d. Does the last cut finish at the horizontal? Further checks considering technical principles (1) Is the opponent to the front intimidated with the spirit? (2) Is the right foot placed a little forward of the left pivoting foot on the initial cut? (3) Is the player conscious of the opponent in front as he turns to the left? (4) Is the head turning towards the opponent before the rest of the body? (5) When making the second cut perpendicular to the left is there sufficient vigour on the left foot? (6) Is the head turning towards the front opponent before the rest of the body? (7) Is enough concentration shown after the noto? 8. GANMEN-ATE a. Is the initial strike with the Tsuka Gashira made between the eyes? b. When turning to face the opposite direction, is the right hand placed on the hip? c. When facing the rear opponent, is the body faced completely to the rear with the rear heel slightly raised? d. Is the thrust performed without too much bend in the knees? Further checks considering technical principles (1) Is there a feeling of pushing with the tsuka-gashira against the opponent in front as the says is pulled to make the turn to the rear? (2) Is right fist a little lower than the kissaki and in line with the right hip when making the thrust and is sufficient sayabiki shown during the thrust? (3) Is the sword pulled out and raised above the head in an ukenagashi movement? (4) Is sufficient concentration shown after noto? 9. S0ETEZUKI a. When the initial diagonal cut is made from the opponent’s right shoulder down through to the waist, is the right hand at the height of the navel and the sword tip slightly above horizontal level? b. Is the sword held properly between the left thumb and forefinger and the right hand on the hip? c. Does the right hand finish in front of the navel after making the thrust? d. When showing Zanshin, is the right naturally straight and the right hand higher then the chest level? Further checks considering technical principles (1) Does the monouchi clear the side of the body on the initial cut?

(2) Is the kissaki pointing at the abdomen of the opponent when making the preparation for the thrust? (3) Does the kissaki remain still when starting the Chiburui? (4) Is sufficient concentration shown after the noto? l0. SHIHOGIRI a. Is the strike to the first opponent’s hand done strongly and firmly with the flat of the Tsuka? b. In making Sayabiki, is the Mune near the Monouchi of the sword on the chest and the right hand not touching the body? c. When the thrust is made, is the left hand brought to the centre of the navel and both arms aiding the technique with the correct tension? d. Is the final cut made by going through Waki Gamae without hesitation or pause? Further checks considering technical principles (1) Is there the feeling of pushing the first opponent with the tsukagashira as the Saya Biki is made on the initial turn? (2) Is the thrust to the solar plexus made without pause? (3) Is there the feeling of pulling the sword out as the sword is raised above the head? (4) Is there the feeling of ukenagashi as the sword is raised above the head when pivoting on the left fool to turn to the right rear? Is the cut made on the right foot? (5) Is sufficient concentration shown after noto? 11. SOUGIRl a. When the sword is drawn, is it in a correct position to parry. b. When moving forwards, does the performer do Okuri Ashi footwork? c. When making the horizontal cut, is it performed horizontally with the correct angel of the blade? 12. NUKIUCHI a. When the sword is drawn, is the left foot drawn back adequately? b. When the right hand is taken upwards, is it in the centre line of their body. 17th September 1988; JUIPPONME and JUNIHONME (Added) 2nd December 2000

These were the notes of Jock Hopson as he used them on 12 December 2004 in an NKR Iaido Seminar.

ATTENTION: To make this a document that is small enough to send by e-mail the original hardcopy was scanned en processed by OCR (Optical Character Recognition). Due to this process this copy may differ slightly from the original.