Ju Jutsu

Jujutsu (from the Japanese 柔術 jūjutsu meaning "gentle/yielding/compliant art") is a Japanese martial art whose central ethos is to yield to the force provided by an opponent's attack in order to apply counter techniques from the resultant ensuing situation. There are many ryu (styles) of the art which leads to a diversity of approaches. Jujutsu ryu may utilize all techniques to some degree (i.e. Throwing, trapping, locking, holding down, grappling, gouging, biting, disengagements, Strike, and kicking). Generally jujutsu ryu make limited use of strikes since they were predominantly developed in feudal Japan under the auspices of the samurai warrior class. The techniques evolved to become effective against armed opponents wearing bamboo body armour to protect vital parts of the face, throat, and body. In addition to jujutsu, many schools taught the use of weapons.

Fighting forms have existed in Japan for centuries. The first references to such unarmed combat arts or systems can be found in the earliest purported historical records of Japan, the Kojiki (Record of Ancient Matters) and the Nihon Shoki (Chronicles of Japan), which relate the mythological creation of the country and the establishment of the Imperial family. Other glimpses can be found in the older records and pictures depicting sumai (or sumo) no sechie, a rite of the Imperial Court in Nara and Kyoto performed for purposes of divination and to help ensure a bountiful harvest.

There is a famous story of a warrior Nomi no Sekuni of Izumo who defeated and killed Tajima no Kehaya in Shimane prefecture while in the presence of Emperor Suinin. Descriptions of the techniques used during this encounter included striking, throwing, restraining and weaponry. These systems of unarmed combat began to be known as Nihon koryu jūjutsu (Japanese old-style jutsu), among other related terms, during the Muromachi period (1333-1573), according to densho (transmission scrolls) of the various ryuha (martial traditions) and historical records.

Most of these were battlefield-based systems to be practiced as companion arts to the more common and vital weapon systems. These fighting arts actually used many different names. Kogusoku, yawara, kumiuchi, and hakuda are just a few, but all of these systems fall under the general description of Sengoku jūjutsu. In reality, these grappling systems were not really unarmed systems of combat, but are more accurately described as means whereby an unarmed or lightly armed warrior could defeat a heavily armed and armored enemy on the battlefield. Ideally, the samurai would be armed and would not need to rely on such techniques.

Methods of combat (as just mentioned above) included striking (kicking and punching), throwing (body throws, joint-lock throws, unbalance throws), restraining (pinning, strangulating, grappling, wrestling) and weaponry. Defensive tactics included blocking, evading, off balancing, blending and escaping. Minor weapons such as the tanto (dagger), ryufundo kusari (weighted chain), kabuto wari (helmet smasher), and kakushi buki (secret or disguised weapons) were almost always included in Sengoku jujutsu.

In later times, other koryu developed into systems more familiar to the practitioners of Nihon jujutsu commonly seen today. These are correctly classified as Edo ju¯jutsu (founded during the edo period): systems generally designed to deal with opponents neither wearing armor nor in a battlefield environment. For this reason, most systems of Edo jujutsu include extensive use of atemi waza (vital-striking technique). These tactics would be of little use against an armored opponent on a battlefield. They would, however, be quite valuable to anyone confronting an enemy or opponent during peacetime dressed in normal street attire. Occasionally, inconspicuous weapons such as tanto (daggers) or tessen (iron fans) were included in the curriculum of Edo ju¯jutsu.

Another seldom seen historical aside is a series of techniques originally included in both Sengoku and Edo jujutsu systems. Referred to as hojo waza (捕縄術 hojojutsu, nawa jutsu, hayanawa and others), it involves the use of a hojo cord, (sometimes the sageo or tasuke) to restrain or strangle an attacker. These techniques have for the most part faded from use in modern times, but Tokyo police units still train in their use and continue to carry a hojo cord in addition to handcuffs. The very old Takenouchi-ryu is one of the better-recognized systems that continue extensive training in hojo waza.

Many other legitimate Nihon jujutsu ryu exist but are not considered koryu (ancient traditions). These are called either Gendai jūjutsu or modern jujutsu. Modern jūjutsu traditions were founded after or towards the end of the Tokugawa period (1603-1868). During this period more than 2000 schools (ryu) of jūjutsu existed. Various traditional ryu and ryuha that are commonly thought of as koryu jujutsu are actually gendai jūjutsu. Although modern in formation, gendai jujutsu systems have direct historical links to ancient traditions and are correctly referred to as traditional martial systems or ryu. Their curriculum reflects an obvious bias towards Edo jūjutsu systems as opposed to the Sengoku jūjutsu systems. The improbability of confronting an armor-clad attacker is the reason for this bias.

Over time, Gendai jujutsu has been embraced by law enforcement officials worldwide and continues to be the foundation for many specialized systems used by police. Perhaps the most famous of these specialized police systems is the Keisatsujutsu (police art) Taiho jutsu (arresting art) system formulated and employed by the Tokyo Police Department.

If a Japanese based martial system is formulated in modern times (post Tokugawa) but is only partially influenced by traditional Nihon jujutsu, it may be correctly referred to as goshin (self defense) jujutsu. Goshin jujutsu is usually formulated outside Japan and may include influences from other martial traditions. The popular Gracie jujutsu system, (heavily influenced by modern judo) and Brazilian jujutsu in general are excellent examples of Goshin Jujutsu.

Jujutsu techniques have been the basis for many military unarmed combat techniques (including British/US/Russian special forces and SO1 police units) for many years.

There are many forms of sport jujutsu. One of the most common is mixed style competitions where competitors apply a variety of strikes, throws, and holds to score points. There are also kata competitions were competitors of the same style perform techniques and are judged on their performance. There are also freestyle competitions where competitors will take turns being attacked by another competitor and the defender will be judged on performance.

Japanese jujutsu systems typically place more emphasis on throwing, immobilizing and pinning, joint-locking, and strangling techniques (as compared with other martial arts systems such as karate). Atemi-waza (striking techniques) were seen as less important in most older Japanese systems, since samurai body armor protected against many striking techniques. The Chinese quanfa/ch'uan-fa (kenpo or kung fu) systems focus on punching, striking, and kicking more than jujutsu.

The Japanese systems of hakuda, kenpo, and shubaku display some degree of Chinese influence in their emphasis on atemi-waza. In comparison, systems that derive more directly from Japanese sources show less preference for such techniques. However, a few jujutsu schools likely have some Chinese influence in their development. Jujutsu ryu vary widely in their techniques, and many do include significant numbers of striking techniques, if only as set-ups for their grappling techniques.

In jujutsu, practitioners train in the use of many potentially fatal moves. However, because students mostly train in a non-competitive environment, risk is minimized. Students are taught break falling skills to allow them to safely practice otherwise dangerous throws.

Although there is some diversity in the actual look and techniques of the various traditional jujutsu systems, there are significant technical similarities

    * Students learn traditional jujutsu primarily by observation and imitation of the ryu's waza.

    * The unarmed waza of most schools emphasize joint-locking techniques, that is, threatening a joint's integrity by placing pressure on it in a direction contrary to its normal function, aligning it so that muscular strength cannot be brought to bear, take-down or throwing techniques, or a combination of take-downs and joint-locks.

    * Sometimes atemi (strikes) are targeted to some vulnerable area of the body; this is an aspect of kuzushi, the art of breaking balance as a set-up for a lock, take-down or throw.

    * Movements tend to capitalize on an attacker's momentum and openings in order to place a joint in a compromised position or to break their balance as preparation for a take-down or throw.

    * The defender's own body is positioned so as to take optimal advantage of the attacker's weaknesses while simultaneously presenting few openings or weaknesses of its own.

    * Weapons training was a primary goal of Samurai training. Koryu (old/classic) schools typically include the use of weapons. Weapons might include the roku shaku bo (six-foot staff), hanbo (three-foot staff), katana (long sword), wakizashi or kodachi(short sword), tanto (knife), or jitte (short one hook truncheon).

Because jujutsu contains so many facets, it has become the foundation for a variety of styles and derivations today. As each instructor incorporated new techniques and tactics into what was taught to him originally, he could codify and create his own ryu or school. Some of these schools modified the source material so much that they no longer considered themselves a style of jujutsu.

Circa 1600 AD there were over 2000 ryu (schools) of jujutsu in Japan and there were common features that are characterised of most of them. The technical characteristics varied from school to school. Many of the generalizations noted above do not hold true for some schools of jujutsu.

Jujutsu was first introduced to Europe in 1899 by Edward William Barton-Wright, who had studied the Tenjin-Shinyo and Shinden-Fudu ryu-ha in Yokohama and Kobe, respectively. Barton-Wright had also trained briefly at the Kodokan in Tokyo. Upon returning to England he folded the basics of all of these styles, as well as boxing, savate and French stick fighting, into an eclectic self defence system called Bartitsu.

Some schools went on to diverge into present day Karate, and Aiki styles. The last Japanese divergence occurred in 1905 where a number of jujutsu schools joined the Kodokan. The syllabi of those schools was unified under Jigaro Kano to form judo.

Modern judo is the classic example of a 'sport' which was derived from jujutsu but is today distinct. Another layer removed, some popular arts had instructors who studied one of these jujutsu-derivatives and later made their own derivative succeed in competition. This created an extensive family of martial arts and sports which can trace their lineage to jujutsu in some part. Brazilian Jiu Jitsu dominated the first large mixed martial arts competitions, causing the emerging field to adopt many of its practices.

The way an opponent is dealt with is also dependent on the philosophy of the teacher with regard to combat. This translates also in different styles or schools of jujutsu. Because in jujutsu every conceivable technique, including biting, hairpulling, eyegouging etc. is allowed (unlike for instance judo, which does not place emphasis on punching or kicking tactics, or karate, which does not heavily emphasize grappling and throwing) practitioners have an unlimited choice of techniques (assuming they are proficient).

Jujutsu was always used in sporting contest, but the practical use in the samurai world ended circa 1890. Techniques like hair pulling and eye poking were and are not considered conventionally acceptable to use in sport, thus they are not included in judo competitions or randori. Judo did, however, preserve the more lethal, dangerous techniques in its kata. The kata were intended to be practiced by students of all grades, but now are mostly practiced formally as complete set-routines for performance, kata competition, and grading, rather than as individual self-defense techniques in class. However, judo retained the full set of choking and strangling techniques for its sporting form, and all manner of elbow locks. Even judo's pinning techniques have pain-generating, spine-and-rib-squeezing and smothering aspects. A submission induced by a legal pin is considered a fully legitimate way to win. Kano viewed the safe sport-fighting aspect of Judo an important part of learning how to actually control an opponent's body in a real fight. Kano always considered judo to be a form of, and a development of, jujutsu.

A judo technique starts with gripping of your opponent followed by off-balancing an opponent, fitting into the space created, and then applying the technique. In contrast, kuzushi (the art of breaking balance) is attained in jujutsu by blocking, parrying or deflecting an opponent's attack in order to create the space required to apply a throwing technique. In both systems, kuzushi is essential in order to use as little energy as possible during a fight. Jujutsu differs from judo in a number of ways. In some circumstances, jujutsuka generate kuzushi by striking one's opponent along his weak line. Other methods of generating kuzushi include grabbing, twisting, or poking areas of the body known as atemi points or pressure points (areas of the body where nerves venture close to the surface of the skin).

A Japanese based martial system formulated in modern times (post Tokugawa) that is only partially influenced by traditional Nihon jujutsu, is correctly referred to as goshin (self defense) jujutsu. Goshin jujutsu is usually formulated outside Japan and may include influences from other martial traditions. The Brazilian Gracie jiu jitsu system, and all Brazilian Jiu-Jitsu in general, although derived originally from judo have evolved independently for many years, and could be considered examples of Goshin Jujutsu.

After the transplantation of traditional Japanese jujutsu to the West, many of these more traditional styles underwent a process of adaptation at the hands of Western practitioners, molding the arts of jujutsu to suit western culture in its myriad varieties. There are today many distinctly westernized styles of jujutsu, that stick to their Japanese roots to varying degrees.

Jujutsu, the current standard spelling, is derived using the Hepburn romanization system. Before the first half of the 20th century, however, jiu-jitsu and then jujitsu were preferred, even though the romanization of the second kanji as jitsu is unfaithful to the standard Japanese pronunciation. Since Japanese martial arts first became widely known of in the West in that time period, these earlier spellings are still common in many places. Ju-Jitsu is still the standard spelling in France, Canada and the United States. The martial art is known as Jiu-Jitsu in Germany and Brazil.

Some define jujutsu and similar arts rather narrowly as "unarmed" close combat systems used to defeat or control an enemy who is similarly unarmed. Basic methods of attack include hitting or striking, thrusting or punching, kicking, throwing, pinning or immobilizing, strangling, and joint-locking. Great pains were also taken by the bushi (classic warriors) to develop effective methods of defense, including parrying or blocking strikes, thrusts and kicks, receiving throws or joint-locking techniques (i.e., falling safely and knowing how to "blend" to neutralize a technique's effect), releasing oneself from an enemy's grasp, and changing or shifting one's position to evade or neutralize an attack. As jujutsu is a collective term, some schools or ryu adopted the principle of ju more than others.

From a broader point of view, based on the curricula of many of the classical Japanese arts themselves, however, these arts may perhaps be more accurately defined as unarmed methods of dealing with an enemy who was armed, together with methods of using minor weapons such as the jutte (truncheon; also called jitte), tanto (knife), or kakushi buki (hidden weapons), such as the ryofundo kusari (weighted chain) or the bankokuchoki (a type of knuckle-duster), to defeat both armed or unarmed opponents.

Furthermore, the term jujutsu was also sometimes used to refer to tactics for infighting used with the warrior's major weapons: katana or tachi (sword), yari (spear), naginata (glaive), and jo (short staff), bo (quaterstaff). These close combat methods were an important part of the different martial systems that were developed for use on the battlefield. They can be generally characterized as either Sengoku Jidai (Sengoku Period, 1467- 1603) katchu bujutsu or yoroi kumiuchi (fighting with weapons or grappling while clad in armor), or Edo Jidai (Edo Period, 1603- 1867) suhada bujutsu (fighting while dressed in the normal street clothing of the period, kimono and hakama).

The Chinese character 柔 (Mandarin: róu; Japanese: jū; Korean: yū) is the same as the first one in 柔道 (Mandarin: róudào; Japanese: judo; Korean: Yudo). The Chinese character 術 (Mandarin: shù; Japanese: jutsu; Korean: sul) is the same as the second one in 武術 (Mandarin: wǔshù; Japanese: bujutsu; Korean: musul)

All Japanese jujutsu have cultural indicators which help give a sense of the traditional character of a school. The more traditionally Japanese and the less westernized the school, the more you will see:

    * An atmosphere of courtesy and respect, a context intended to help cultivate the appropriate spirit.

    * The type of keikogi or training suit worn, which is usually plain white, often with a dark hakama (the most colorful uniform might be plain black or the traditional blue of quilted keikogi; you are not likely to see stars and stripes or camouflage uniforms).

    * Lack of ostentatious display, with an attempt to achieve or express the sense of rustic simplicity (expressed in such concepts as wabi-sabi in Japanese) common in many of Japan's traditional arts.

    * The use of the traditional (e.g., Shoden, Chuden, Okuden, and menkyo kaiden levels) ranking system, perhaps as a parallel track to the more contemporary and increasingly common dan-i (kyu/dan) ranking.

    * The lack of tournament trophies, long-term contracts, tags and emblems, rows of badges or any other superficial distractions.

Japanese culture and religion have become intertwined into the martial arts. Buddhism, Shintoism, Taoism and Confucianism philosophy co-exist in Japan, and people generally mix and match to suit. This reflects the variety of outlook one finds in the different schools.

Jujutsu expresses the philosophy of yielding to an opponent's force rather than trying to oppose force with force. To manipulate an opponent's attack using his force and direction, allows jujutsuka to control the balance of their opponent and hence prevent the opponent from resisting the counter attack.

The Japanese have characterised states of mind that a warrior should be able to adopt in combat to facilitate victory. These include: an all-encompassing awareness, zanshin (literally "remaining spirit"), in which the practitioner is ready for anything, at any time; the spontaneity of mushin (literally "no mind") which allows immediate action without conscious thought; and a state of equanimity or imperturbability known as fudoshin (literally "immovable mind").

Wado Ryu

Wado Ryu is one of the world's major karate styles (the six biggest styles being Shotokan, Wado Ryu, Shito Ryu, Goju Ryu, Kyokushin, and Kenpo).

On the surface Wado-ryu looks very similar to other styles such as Shotokan. However, there are some important differences.

It may be argued that Wado-ryu is a Jujutsu style rather than Okinawan Karate. When first registered with the Japanese Dai-Nippon-Butoku-Kai in 1938 the style was called Shinshu Wadoryu Karate-Jujutsu, a name which reflects the hybrid nature of Wado. Wado-ryu's founder Hironori Ohtsuka was already a licensed practitioner in Shindo Yoshin Ryu and Yoshin Koryu Jujutsu when he first met the Okinawan karate master Funakoshi. After having received tutelage of not only Funakoshi but later also the Okinawan masters Mabuni and Motobu, he set off to merge Shindo Yoshin Ryu with Okinawan Karate.

The result of Ohtsuka's efforts is Wado-ryu. While its techniques may be very much karate in looks, most of the underlying principles have been derived from Shindo Yoshin Ryu. A block in Wado may look much like a block in Shotokan, they are nevertheless performed from a completely different perspective. A Shotokan practitioner is likely to force an incoming fist out of the line of attack. A Wado expert, on the other hand, will rather move himself out of the line of attack while taking up a position that will gain him an advantage over the opponent. Both ways will look almost similar to the untrained eye, but couldn't be further apart when considering the tactics behind them. Key in Wado-ryu is the principle of taisabaki, often wrongly referred to as evasion. The Japanese term can be translated as body-management and refers to body manipulation so as to move the defender as well as the attacker out of harm's way. The way to achieve this is to move along rather than to move against. Or, harmony rather than physical strength. See hard and soft (martial arts)

The term Wado-ryu can be broken into three parts: Wa, do and ryu. Wa can be read to mean harmony. Do is a Japanese term for way. ryu simply means style. Wa or harmony shouldn't be interpreted as pacifism in any way. It is merely the acknowledgment that yielding is sometimes more effective than brute strength.

However, modern karate competition tends to transform Wado-Ryu away from its roots towards a new generic karate that appeals more to the demands of both spectators and competitors.

From April 1, 1981, after the split-up of Wadokai, Hironori Ohtsuka sensei changed the name of his organization into Wado-Ryu Karatedo Renmei, with Renmei meaning 'group' or 'federation'. After his death in 1982, his son Jiro Ohtsuka continued the style under his leadership. He became the second grandmaster of Wado Karate and honored his father by taking the name Hironori Ohtsuka II.

A third major Wado organization, Wado Kokusai (Wado International Karate Federation), was founded in 1989 by Tatsuo Suzuki Sensei.

On 1 June 1892 Founder Hironori Otsuka is born the second child of four children to Dr. Tokujiro Otsuka, in Shimodate, Ibaraki Prefecture

In 1898 Ohtsuka began practicing Jiujitsu.

Between 1905-1921 Ohtsuka trains Shindo Yoshin Ryu Jiujitsu under Tatsusaburo Nakayama (1870-1933).

In 1922 Otsuka met a soon to be famous Okinawan named Gichin Funakoshi and begins to train with him.

In 1924 Otsuka is one of the first students promoted to Black Belt in Karate by Funakoshi.

In 1929 Otsuka organized the first school karate club at Tokyo University.

In 1934 Eiichi Eriguchi coins the term 'Wadoryu'.

In 1938 Hironori Ohtsuka registers his style of karate with the Dai-Nippon-Butoku-Kai, originally under the name of "Shinshu Wadoryu Karate-Jujutsu". Not much later this was shortened (simplified) to Wadoryu (òaìπó¨).

In 1938 The Dai-Nippon-Butoku-Kai awarded Ohtsuka the rank of Renshi-Go.

In 1942 The Dai-Nippon-Butoku-Kai awarded Ohtsuka the rank of Kyoshi-Go. Tatsuo Suzuki, Founder of the WIKF, begins training Wado.

In 1944 Otsuka was appointed Japan's Chief Karate Instructor.

In 1946 Ohtsuka awards Tatsuo Suzuki 2nd Dan.

Circa 1950 Otsuka's second son Jiro Otsuka, begins training Wado around the age of 15.

In 1951 Otsuka awards Tatsuo Suzuki 5th Dan, the highest rank awarded in Wado at that time.

In 1952 a Wadoryu Honbu (headquarter) is established in the Meiji University dojo in Tokyo, Japan.

In 1954 Its name was changed to Zen Nippon Karate Renmei (All Japan Karate Federation)

In 1955 Otsuka published the book, Karatejutsu no Kenkyu.

In 1963 Otsuka dispatches Suzuki, along with Toru Arakawa and Hajimu Takashima to spread Wado around the World.

In 1964 the Japan Karatedo Federation (JKF) is established as a general organization for all karate styles. Wado joins this organization as a major group.

In 1965 Otsuka along with Yoshiaki Ajari, record onto film, which is now still available on two video tapes, much of his legacy of Wado Ryu Karate. The first video, Wado Ryu Karate Volume 1, consists of: in-depth history and recollections, demonstrations of the 8 Kihon No Tsuki body shifts, the first 5 Kihon-Kumite, and the katas: Pinans 1-5, Kushanku, Jion, Naihanchi, Seishan. The second video, Wado Ryu Karate Volume 2, consists of: more history, plus the katas Chinto, Niseshi, Rohai, Wanshu, and Jitte, as well as Kihon-Kumite 6-10, along with application.

In 1966 Ohtsuka was awarded Kun Goto Soukuo Kyokujujitsu (comparable to a knighthood) by Emperor Hirohito, for his dedication to the introduction and teaching of karate.

On 5 June 1967, the Wado organization changes the name into Wadokai.

In 1972 the President of Kokusai Budo Renmei, a member of the Royal Family, awarded Otsuka Sensei the title of Meijin, the highest possible title.

In 1975Tatsuo Suzuki receives his 8th Dan, the highest grade ever given by the Federation of All Japan Karatedo Organization, and is named Hanshi-Go by the Uncle of Emperor Higashikuni.

In 1980 as the result of a conflict between Hironori Otsuka and the Wadokai organization, Ohtsuka steps down as head of Wadokai. Eiichi Eriguchi takes over his place within Wadokai.

On 1 April 1981 Hironori Otsuka founds Wadoryu Karatedo Renmei. After only a few months Hironori Otsuka retires as head of this organization. His son Jiro Otsuka takes his place. Renmei means 'group' or 'federation'.

On 29 January 1982 Hironori Otsuka passes away in his 90th year.

In 1983 Jiro Otsuka succeeds his Father as grandmaster of Wado Ryu and changes his name to Hironori Otsuka II, in honor of his father.

In 1989 Tatsuo Suzuki founds his own organization (WIKF), the third major Wado organization: Wado Kokusai. Kokusai means 'international'.

Iaido (Iai Jutsu)

I·ai·do, approximately "the path of mental presence and immediate reaction", is a Japanese martial art associated with smooth, controlled movements of drawing the sword from its scabbard or saya, striking or cutting an opponent, removing blood from the blade, and then replacing the sword in the saya. Modern day iaido exponents typically use an iaito for practice. Beginners may use an iaito while the more advanced practitioner might use a shinken (sharpened sword).

In the book "Bugei_Ryuha_Daijiten" by Watatani Kiyoshi and Yamada Tadashi, Hayashizaki Jinsuke (Minamoto no) Shigenobu is credited with establishing the influence and popularity of iaido, early in the sixteenth century. However, around a century before his birth, the dynamic art of iaijutsu had been developed by Iizasa Ienao, the founder of the Tenshin Shoden Katori Shinto-ryu.

Iaido should not be confused with kendo or kenjutsu:

* Kendo teaching does not include drawing and re-sheathing of a sword. The main weapon used in kendo, a flexible bamboo shinai, uses no scabbard. Kendo is practiced with a partner in full contact training or in kata practice.

* Kenjutsu is executed in the form of kata, but usually in pairs, and often does include drawing or resheathing of the sword.

Delineation from battojutsu, literally "technique of drawing the sword" is more difficult: battojutsu is the historical (ca. 15th century) term encompassing both the practice of drawing the sword and cutting (tameshigiri). The term iaijutsu became prevalent later (ca. 17th century), and the current term iaido is due to the general trend (stemming from gendai budo) to replace -jutsu with -do in Japanese martial arts in order to emphasize a mental or even spiritual component. In contemporary usage, battojutsu focuses on the techniques of cutting, with individual practice kata that starts with the sword in the sheath.

Iaido forms, or kata, are performed individually against one or more imaginary opponents. Some traditional iaido schools, however, include kata performed in pairs. Some styles and schools also do not practice tameshigiri, cutting techniques.

The primary emphasis in iaido is on the psychological state of being present. The secondary emphasis is on drawing the sword and responding to the sudden attack as quickly as possible. Starting positions can be from combative postures or from everyday sitting or standing positions. The ability to react quickly from different starting positions was considered essential for a samurai.

A very important part of iaido, is nukitsuke or the life of iai. This is a very quick draw accomplished by drawing the sword out of the saya by moving the saya back in saya biki. The blade may be brought out of the saya and used in a quick nukitsuke slashing motion.

The Tenshin Shoden Katori Shinto-ryu included iaijutsu in its curriculum in 15th century. The first schools dedicated exclusively to sword drawing appeared some time during the late 16th or early 17th century. Hayashizaki Jinsuke Minamoto no Shigenobu (1546–1621) is generally credited with as being the originator of the first dedicated school of sword drawing. Little is known of his life - leading some scholars to doubt his historical existence as a real person. The two largest schools of sword drawing that are practised today are the Muso Shinden-ryu and Muso Jikiden Eishin-ryu. Both schools trace their lineage to Hayashizaki Jinsuke Shigenobu.

Before Nakayama Hakudo (1873?-1958) coined the word iaido, early in the 20th century, various other names such as batto, battojutsu, or saya no uchi were used. Iaido is the usual term to refer to the modern self improvement oriented form taught by the All Japan Kendo Federation (AJKF), while Iaijutsu is used for some amongst the older koryu, combative, techniques.

Seitei iaido is the style of the All Japan Kendo Federation (AJKF, Zen Nippon Kendo Renmei or ZNKR). The AJKF was founded in 1952, immediately following the restoration of Japanese independence and the subsequent lift of the ban on martial arts in Japan. In 1969, the AJKF introduced its seitei curriculum of seven iaido kata. These were drawn from or based on several of the major traditional sword schools, including Mus®≠ Jikiden Eishin-ry®±, Mus®≠ Shinden-ryu and Hoki-ry®±. Three more kata were added in 1981 and two more in 2000, increasing the number of seitei iaido kata to the current twelve. These kata are officially known as Zen Nippon Kendo Renmei Iai or Zen Ken Ren Iai but are still commonly referred to as seitei or seitei-gata.

These twelve seitei-gata are now standardised for the tuition, promotion and propagation of iaido within the kendo federations. Although not all dojo teach seitei iaido, the AJKF uses them as a standard for their exams and shiai. As a result, seitei iaido has become the most widely recognised form of iaido in Japan and the rest of the world.

Dojo that are affiliated with the All Japan Kendo Federation generally begin practice with these twelve seitei-gata. AJKF dojos typically start students on these before going on to teach any classical forms of iaido that may be included in their curriculum.

1. Mae (Front)
2. Ushiro (Rear)
3. Ukenagashi (Receive, Parry and Cut)
4. Tsuka-ate (Striking with the Hilt)
5. Kesagiri (Diagonal Cut)
6. Morotezuki (Two-Hand Thrust)
7. Sanp o giri (Three Direction Cut)
8. Ganmen-ate (Hit to the Face)
9. Soetezuki (Joined Hand Thrust)
10. Shih o giri (Four Direction Cutting)
11. S o giri (Complete Cuts)
12. Nukiuchi (Sudden Draw)

The two main classical styles (kory®±) of iaido practiced worldwide are Muso Jikiden Eishin-ryu and Musu Shinden-ryu. They resemble each other quite strongly because they branched off from one style sometime in the 18th century, under Oguro Motouemon Kiyakatsu sensei. After Oguro, there came into being two branches that were formed on philosophical differences between two students of Oguro: The Shimomura-ha and Tanimura-ha (branches), the former being headed by Maysuyori Teisuke Hisanari and the latter by Matsuyoshi Teisuke (Shinsuke) Hisanari, who became the 12th soke.

These two branches would co-exist for many years until Muso Jikiden Eishin-ryu officially came into being in the early 20th century through the initiative of Oe Masamichi Shikei, the 17th headmaster of the Jikiden Eishin-ryu. Oe would bring together the Tanimura-ha, Hasegawa Eishin-ryu and the Omori-ryu to form what is today's Muso Jikiden Eishin-ryu.

The Shimomura-ha held its own headmasters and philosophy for many years but would eventually fade away. The last Shimomura-ha (claimed) headmaster, Nakayama Hakudo who is considered the 16th, created a new iai-art called Musu Shinden Battojutsu that was heavily influenced by his Shimomura-ha training, but also took elements from other iai-arts. Nakayama Hakudo is not known to have taught the "pure" Shimomura-ha teachings in its complete form to any of his students and thus it can be argued that Shimomura-ha no longer exists as a separate entity, even though elements of it remain in what would later become the modern Muso Shinden-ryu.

One of the differences between the two schools can be seen in the noto (sheathing the katana back in the saya). In Muso Shinden, noto is done on the horizontal plane, the blade parallel to the floor. In Jikiden, the blade is perpendicular to the floor in a more or less vertical plane.

A less well-known, style of iaido is Mugai-ryu. Mugai-ryu was developed for use in the narrow streets of Edo, and is characterized by short, direct movements. Chiburi, for example, is performed with a much smaller movement than in other styles, and is not used at all in zagi waza. As it was developed in 1697 by Tsuji Gettan Sukeshige, a Zen practitioner, it has deep links with Zen buddhism. In advanced waza, the focus is on techniques that neutralize the opponent, rather than kill. There are several distinct lineages of Mugai-ry®± throughout Japan. S®≠ke Hosho Shiokawa is regarded as the 15th soke of Mugai-ru Iaihyodo.

There are several branches of Muso Jikiden Eishin-ryu (MJER) that are practised today. Different Iaido organisations generally recognise different people as their soke. One person who is considered to be a soke is Miura Takeyuki Hidefusa, who holds a 9th Dan in MJER. The All Japan Iaido Federation (Dai Nippon Iaido Renmei) recognises Ajisai Hirai (9th Dan Hanshi) as the 22nd soke of MJER.

There are several lines of transmission extant for Muso Shinden-ryu also. One of them claims Mitsuzuka Takeshi as the s®≠ke, second one (those who are affiliated with Nippon Iaido Kyokai) regard Takada Gakudo as their head teacher.

In the All Japan Kendo Federation (AJKF) or Zen Nippon Kendo Renmei, there are two lines representing the Muso school. The current soke for Muso Jikiden Eishin-ryu is Fukui Torao (21st master), and the last soke for Muso Shinden-ryu was Nakayama Hakudo with no official successor.

A newer style of iaijutsu is Toyama-ryu battojutsu. This is a style originating in the late 19th century, and taught primarily to officers in the Second World War. It is different from the older styles primarily in that all techniques are performed from a standing position. Toyama-ryu was in turn the basis of Nakamura-ryu, created by Nakamura Taizaburo; incorporating noto and kamae from older Koryu, notably Omori-ryu. It has been a long time since any differing schools have competed using shinken (sharp blades); hence it cannot be said that the traditional schools are superior to the modern schools, or vice versa, in the ultimate test.