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"The Problem with Iaido" - A Classical Example of Batto

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Luke Crocker A Classical Example of Battō CMARA

“The Problem with Iaidō”1

By Luke Crocker

There has been some discussion in the YouTube community over a segment from a document called the
Heihō Okugi sho (兵法奥義書), a piece from a larger compilation written around the 16th century. The
section of interest is regarding the skill of battō (抜刀), that is to say, drawing the sword [from the
scabbard]. This is the earliest source of a documented technical description of how to draw the sword
that I have come across to date. Below I will review the nature of the problems at hand, explore some
details as to how and why I understand the translated description, and finally present my final
interpretation of the technique.

The problem of Interpretation

Though there has been considerable debate as to how to
interpret the description of this technique. The primary
predicament is that the source material is no longer explicitly a
part of a tradition; there is no current lineage, so at worse we
have speculation, and at best we have reconstruction based off
inference and comparison to other related traditions.

One of the problems in the current debate is that although the

participants have observed that the source states that this is
performed with a tachi (太刀) and a katana (刀) at the belt, they
continue to interpret all this with the katana in mind. Based on
Figure 1 Heiho Okugi Sho - Batto
the illustration that is identical in the original, as well as Thomas
Cleary’s (Yamamoto, Secrets of the Japanese Art of Warfare:
From the School of Certain Victory 49) and Obata’s
(Yamamoto, Heiho Okugisho: The Secret of High Strategy 30)
translation and publications (see Figure 1), this discussion is
on the tachi, not the katana. Thus, the biomechanics of
nearly the whole (at least the upper body) technique changes
considerably. That being said, it is commonly established that
the tachi tends to be hung from a cord or fitting (koshiate; 腰
当, - see Figure 2), and not tucked in the belt such as is
illustrated and described here, so this already differs from
the common depiction of the carrying method of this type of
sword.

Another detail is that though the illustrations depict some

form of casual clothing, based off both the time period of the
writing, as well as the subject matter of the whole document,
armor should very much be considered in the movement as Figure 2 a selection of koshiate (waist insert;
well, which means that casual, modern torsions, and habitual 腰当)
movement just won’t cut it, this writes off Antony Cummin’s
Luke Crocker A Classical Example of Battō CMARA

interpretation entirely, while it causes only a few complications, or simply changes to Steven
Radzikowski’s. Instead, I would encourage an investigation to a system of movement from the ancient
days of Japan, and propagated by the researcher, Kono Yoshinori, called nanba aruki (ナンバ歩).

Finally, the big issue is that this is written as a document of transmission (densho; 傳書) and as such, is
meant to serve more as a reminder for training then it is as a standalone instructional manual. Thus, the
reader is expected to have already seen the form of the technique and have this remind them of the
details. For this reason, the human mind tends to bridge the writing with what they already know, thus a
jūdō practitioner will fill the gaps with what they know, karate with karate, and a koryū practitioner with
their specific traditions logic (which has changed since than). With Radzikowski the gaps are shaped into
the image of his practice, and in the case of Cummins, not much of anything, and it can be seen in his
demonstration. (Cummins)

Based on the above issues, and with the currently available resources, it would be impossible to recreate
the technique for certain. However, we can establish a convincing representation of what this may have
looked like from related practices and observe how they match the description.

The translations and their interpretations

Currently there are two public translations available, and
admittedly, were I able to properly transcribe the writings of the
original, there would also be mine, but my capacity to read the
handwriting of the source is unfortunately limited here. Below I
have provided the related translations, as well as the original
writing (see Figure 3). As a side note, I have omitted the writing
on how to wear the belt as I do feel that it isn’t the point of
interest here.

The Cleary Translation:

“[. . .] swords should be drawn to the right with the right
hand, not drawn forward. The scabbard should be held
down with the left hand, not drawn forward. The lower
leg should be drawn out of the way on the left, not
extended. The left leg should be pulled back, not
extended.”
Figure 3 The relavent section on Battō fro
One of the big things to look at here is how the sword is mthe Heihō Okugi Sho.
positioned relative to the body. If this is to be the description for
a general way to draw the sword for conflict, it stands to reason that it would be a general used method
to draw the sword. However, if it was for something specific, which would deviate from the theme of
the source holistically, then something more stylized like how Cummin’s presents it would be more
plausible.

Though in Cleary’s translation, very little mention is made to turning the body to the left, it would fit into
the mechanics of wearing armor for the body to turn to the left when drawing the sword, thus drawing
with the whole body. Most notably, in Figure 3, the kanji for ‘hips’ (koshi; 腰) and the direction ‘left’
Luke Crocker A Classical Example of Battō CMARA

(Hidari; 左) can be seen in the second last line, and though I cannot make out the sentence particles, it
would seem to be an easy inference that this is suggesting that the hips be moved in some fashion to
the left; I’m betting on turning the hips to the left, and the translation of “lower leg” seems to in fact be
“hips”. This would make the drawing movement ergonomic when in casual clothes and practical while in
armor. This would also match the description of drawing the sword to the right with the right hand as
when the body is turned to the left, what was forward becomes directed to the right.

“The scabbard should be held down with the left hand” seems to be a way of describing what is
modernly referred to as ‘sayabiki’ (鞘引き), a term that descriptively means “to pull the scabbard”, and
refers to the movement of pushing the sword and scabbard forward, then retracting the scabbard to
reveal the blade. The line that follows it shows that this is a form for taking a position (kamae; 構), as
the overall description directs a backwards movement, seemingly defensively or preparatory, not
aggressively, while would be implied with a movement that draws the sword forward and into a cut.

Finally, the description of the leg being pulled back but not extended, appears to describe a usage of the
leg that is similar to early examples found in early descriptions and examples of currents (流) such as
Shinkage-ryū, where much of the weight would be placed over one leg or the other to manage distance
and space (ma-ai; 間合い) in combat. In this case though the left leg would be rearward, it would not be
stretched, but instead bent to receive the weight of the body; this would also suggest biomechanical
and pedological affiliation with some of the other ryūha of the time.

The Obata translation:

“[. . .] Before drawing, it is good to push down on the handle with your right hand – but do not
overdraw. Before drawing, it is good to twist your waist to the left – it is not good to stand still
when drawing. When drawing, it is good to step back with your left foot – but not to step
forward.”

Here’s where we can start to really see some discrepancy between the two translations, and I suspect
that both authors inflicted the translations with the image in their minds as to how the final technique
should look. Hence, the drastic differences in translation. Could they perhaps also have had trouble, like
myself, with reading the source?

Here, Obata directs the reader to push the sword’s handle (tsuka; 柄) down, as opposed to Cleary who
stated to push the scabbard (saya; 鞘 down). In looking at the source material, I was unable to identify if
perhaps the two characters may have been confused with one another. In this case, interpreting how
the description may work out in application, I am willing to lean towards Cleary’s translation on this
sentence; the scabbard is to be pulled down.

It is, however, Obata, who catches the character for ‘hips’, though translating it as the relative “waste”,
the description still seems more relevant than “lower leg”, and fits my previously elaborated
interpretation of this movement. This application of not only turning the hips, but also keeping one’s
weapon in a parallel line (or even in line) is an older term referred to as koshi mawari (腰回り), and is an
important biomechanical principle in koryū traditions.
Luke Crocker A Classical Example of Battō CMARA

Again, Obata’s translation seems to lean towards my previous interpretation, in that the left leg is
brought backwards, I would assume with the weight over it. The emphasis here to not step forward
implies that this is a movement for taking a position such as Seigan no kamae (正眼之構), as opposed to
the famous drawing-cut of Iaidō.

In conclusion of this section in interpreting the translations made available to us, we can see that even
the translations that we have to work with disagree quite drastically.

A method of drawing the sword which agrees with the requisites

One of the first things to observe here is that this is discussing the term ‘battō’, meaning to draw out
(抜) the sword (刀), there is no conceptual elaboration here such as that of the term ‘iai’ (居合), as is
commonly used. I do believe that in many cases it is important to differentiate between the
connotations of the two terms: one is a descriptive term referring to deploying the sword, and the other
has less than clear conceptual inclinations.2 There is also no explanation as to whether this movement is
for the purpose of responding to an attack, taking a position, or suddenly attacking. It is however
evident that there is a certain emphasis of how to use the body here based on the descriptions emphasis
on how to position the legs and hips.

The Body
The description of how to draw the sword found in the Heihō Okugi Sho, matches a system of managing
the body referred to classically as nanba aruki (ナンバ歩き)3, that is to say, movement that:

1) Has no preparatory movements,

2) Without undulations, or unnecessary gestures; movement in straight lines and a subtle
understanding of vectors,
3) The feet, hips, and shoulders are all in line; there is no twisting movements, thus, no tension
which interferes with ergonomic movement.

This is something found in all the classical systems of combat in Japan, particularly weapon and
battlefield based currents that were founded on movement in armor. Though, as training relied less on
armor, we see this less and less; documents detailing the techniques and strategies of Yagyū Shinkage-
ryū, Shintō-ryū, and Nen-ryū all detail variations of this, but nowadays, each has deviated from the
strictness of this; the form follows the function, and thus the nature of combat and the minds who
practice this now have changed with the times. The description of how to manage the hips and legs in
the Heihō Okugi Sho exemplifies this.

Hanare, Sayabiki, the way of managing the scabbard

In the management of the scabbard, when turning the body to the left and drawing at the same time,
pulling the sword and scabbard away from one another at the same time (hanare; 離れ), the scabbard
will naturally be brought behind the body and out of the way of combat while the sword is naturally
brought to the position called seigan (正眼), with the tip pointed at the enemy’s eyes. At this point, the
centerline (seichūsen; 正中線) proportionate to the position of the enemy is guarded and covered by
the weapon and positioning of the feet. Though each school has their own take on the details of how to
Luke Crocker A Classical Example of Battō CMARA

take this position, based on the information provided by the supposed Yamamoto Kansuke, and my own
background and observations in koryū traditions, this is what makes sense to me.

The image of the form

The form that I come to understand this through is a dorm called Kōhō Seigan Nuki (後方正眼抜), from
a tradition called Gyokko-ryū (玉虎流). This tradition is known for using a profiled position (Ichimonji; 一
文字) with the weight carried over one leg or the other (飛鳥), and having many commonalities
between the usage of different weapons; a thrust with a fist is the same technique as with a sword or
spear.

The above photos are an example of what I see when reading the description of “Battō” in the Heihō
Okugi Sho based on the translations made available to me, when performed with a katana. As we can
see the hips and left leg turn to the left, and is not extended. The sword is not over drawn but instead is
brought to a fighting position, and the scabbard is pushed down and is hidden practically.

This form adheres to both the descriptions provided in the source material, as well as the demands of
movement in armor, as well as fitting the examples and movements in other classical schools of the
time.

References
Crocker, Luke. "Hicho: The Effects of Distributing Weight Over a Singular Leg." (2016). Article.
<https://www.researchgate.net/publication/293530493_Hicho_The_Effects_of_Distributing_W
eight_Over_a_Singular_Leg>.

Cummins, Antony. The Problem with Iaido - Part 2. YouTube, 30 January 2017. <https://youtu.be/I-
2Fus4msNw>.

Jones-Twomey, Liz. HOMOLATERAL MOVEMENT PATTERN. 2014. Article. 8th February 2017.
<https://kids-move.com/blog/blog/homolateral-movement-pattern>.
 Luke Crocker A Classical Example of Battō CMARA

Margate - 2011 Shinden Fudo Ryū Shoden and Gyokko Ryū Iaijutsu. Perf. Kacem Zoughari. Margate.
2011. Seminar. <http://onmitsukage.com/programs/margate-2011-shinden-fudo-ryu-and-
gyokko-ryu-iaijutsu>.

Radzikowski, Steven. Reconstructing Martial Arts Part 1 Japanese Samurai schools. 5 February 2017.
<https://youtu.be/lAkj7PkY7CU>.

Shogakukan . Nihon Kokugo Daijiten (日本国語大辞典). Shogakukan , 2000.

Yamamoto, Kansuke. Heiho Okugisho: The Secret of High Strategy. Trans. Panchita Hawley, Toshishiro
Obata and Stefan Schmugge. 2nd ed. Hawley Pubns, 2000. Palstic Comb binding.

—. Secrets of the Japanese Art of Warfare: From the School of Certain Victory. Trans. Thomas Cleary.
Tuttle Publishing, 2012. Hard cover.

Zoughari, Kacem. "The History of Movement in the Japanese Martial Arts: Structure, Way of Thought,
and Transmission." INALCO 69 (2005). Academic Journal.
<http://www.budomontreal.com/Document/History_of_movements.pdf>.

ナンバ歩き-甲野善紀-. Perf. Yoshinori Kono. 4th February 2007. YouTube.

<https://youtu.be/DC66NZj8pJ4>.

1
This title was chosen because the original discussion began on the subject of misconceptions in iaidō. For me,
iaidō serves its purpose perfectly, and as such I see no problems nor carry no issue with it.
2
Per the Nihon Kokugo Daijiten (日本国語大辞典), iai stated being developed around 1570-1592, however the
word being used in reference to this first appears in 1646. Unfortunately, this dictionary does not provide
references as to where these dates come from. It also mentions a usage dating back to 1195, but at that point it
referred to something different all together (Shogakukan ). According to Dr. Kacem Zoughari, “Iai (居合) means to
match something, someone, an action, according to the position that you sit. From where you stand, sit, walk, that
position, that body structure, with the weapon you have, you have to match the attack of someone. It doesn’t
mean cutting, most of the people who translate Iai interpret it as “the art of the fast draw,” or fast cut-draw. It
doesn’t mean this. First Iai means to match the situation, according to a certain situation, from the position where
you stand. That’s for the modern word, Iai.” (Zoughari, Margate - 2011 Shinden Fudo Ryū Shoden and Gyokko Ryū
Iaijutsu)
3
This way of walking is used in no and in the puppet theatres. The kanji that designates nanba or nanban is
difficult to interpret. The most reliable reference is found in the work of the ethnologist Shioda Tetsuo
entitled Hakimono kenkyû. The author describes several types of walks used by farmers to move around in the rice
fields. Nanba is written in katakana. (Zoughari, The History of Movement in the Japanese Martial Arts: Structure,
Way of Thought, and Transmission) This form of movement is referred to as homolateral movement, and is quite
prevalent in children. (Jones-Twomey)

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