On Tameshigiri

(Test-Cutting)

Introduction

      I received a letter the other day in which the writer described iaido as a "beautiful martial art." I could not agree more with the writer; however, I feel that today too many people overemphasize the "artistic" aspect of swordsmanship to the detriment of its practical, combative purpose. To be sure, the artistic elements are important and reflect today's societal norms; however, we must always keep in mind the original intent of swordsmanship. Elsewise, we become de facto dancers executing movements which have long since lost their meaning. A book about aikido is entitled "A Lot Like Dancing;" I would never wish that description ever to be applied to iaido. In my perfect world, iaido would be equally balanced between artistry and efficacy.

      To illustrate my comment, I offer up the final movements of "Tsukekomi" from the Eishin Ryu iaido lineage: after the enemy has been cut down and we kneel on our right knee (at the antagonist's body), the post-1945 exponent will place his left hand palm up on his raised left knee, reverse the blade, and perform chiburi (a cleaning action) by pulling the blade away and upward, causing a wiping effect of the blade with left thumb and forefinger. According to Dr. Benjamin Hazard (Ph.D.; kendo kyoshi 7th dan), he was taught to first thrust forcefully downward to the aggressor's throat; then chiburi. When Hazard sensei saw the new adaptation many years later he asked his sensei, "why the change?" Hazard sensei was told that the old way was "too violent for today" (Hazard 1998). Nakayama Hakudo (Kiyomizu, 1994:23; Hellstén 1998) as a set of basic, yet combat effective, military combatives. Although some officers had studied various koryu (ancient traditional) iaido, they soon discovered that the "artistic" flavorings found in the koryu simply failed in a combat environment. Or, perhaps I should modify my statement and say the koryu waza failed in a modern combat environment.

      Albeit designed strictly for military use, Toyama Ryu iaido has transcended its ends--a bujutsu used to kill, into a means--a budo used to quell egos and polish the soul. As such, Toyama Ryu iaido--as well as Nakamura Ryu battodo--is taught in the traditional manner using kata for the majority of its pedagogy. But here, the similarities with koryu ceases because our adherents practice tameshigiri (test-cutting). Many people mistakenly believe Toyama Ryu teaches only tameshigiri; unfortunately, this incorrect viewpoint has some merit because the Toyama Military Academy once emphasized daily tameshigiri training. (My father-in-law graduated from the Toyama Academy and cannot believe "Gunto Soho"-- military sword methods -- is a "budo.")

      Adding to this misunderstanding is the fact that after the war, master swordsman Nakamura Taizaburo performed iai kata intermixed with tameshigiri as a means to propagate iaido. Alas, many people only remember the cutting portion of his demonstrations. Lamentably, others-probably wanting to distance kendo and iaido from the pre-war military-took a dislike to Nakamura sensei's methods. However, today more and more senior kendo teachers, such as Nakakura Kiyoshi (kendo and iaido Hanshi 9th dan) and the late Ishida Kazusoto are recognizing Nakamura sensei's approach to swordsmanship. On speaking about the misperception that people could cut well during the time preceding the Second World War, Nakamura sensei says, "Before the war it was strongly held that the sword was the soul of the bushi. However, in reality there were very few people who could cut objects. Of the ancient traditional martial arts masters, Kunii Zenya sensei was the exception: he could cut anything!" (Shirozawa, 1998:68).