Basic Training
These twelve katas provide a solid introduction to all Iaido forms. They include many fundamental techniques and approaches, originating from various schools and sword styles. Seitei-Iai/ZNKR-Iai forms are used to train the fundamentals (Kihon). The following descriptions include questions for self-checking the form via Iaido Kata-Check. They are intended for personal practice and Iaido examinations.
The video shows the first 10 katas; the last two were added after the recording (look here und here).
Note: Practice Iaido kata only under the guidance of an experienced Iaido instructor (don’t try this at home)!
Ipponme, Mae
(Mae: forward). The practitioner sits in formal Japanese kneeling posture, Seiza. Upon sensing a threat from an opponent in front, action is taken (ideally using Sen sen no sen technique = anticipatory and preemptive). A one-handed horizontal cut to the head (Komekami, temple/eye line) is executed, followed by a vertical two-handed cut to finish the action.
Nihonme, Ushiro
(Ushiro: backward). The practitioner sits in Seiza, back to the opponent directly behind. Sensing an attack, he turns 180° left while drawing the sword and executes a horizontal cut to the attacker’s face, followed by a finishing two-handed cut (as in Mae).
Sanbonme, Ukenagashi
(Uke-nagashi: deflecting the opponent). Sitting in Seiza, the practitioner is attacked from the left. He rises, drawing the sword, and deflects the vertical overhead cut using the back of the blade, stepping aside. A quick two-handed diagonal cut finishes the opponent. The sword is placed briefly on the right knee (Monouchi) before Chinugui and Noto.
Yonhonme, Tsukaate
(Tsuka-ate: strike with the sword hilt). The practitioner in Iaihiza defends against two attackers, one front, one rear. He strikes the front attacker with the sword hilt (Tsuka Kashira), immediately turns left, and thrusts at the rear opponent (Tsuki). A final two-handed overhead cut defeats the frontal attacker.
Gohonme, Kesagiri
(Kesa-giri: diagonal cut). The practitioner stands in Tachi-Iai. The frontal attacker raises the sword. The practitioner intercepts with an upward diagonal cut along the Kesa line from left to right, followed immediately by a two-handed downward diagonal cut.
Ropponme, Morotetsuki
(Moro-te-tsuki: two-handed thrust). Defending against two or three attackers, the practitioner performs a one-handed diagonal cut to a frontal attacker’s face (Enbusen/Seichusen considered), follows with a two-handed thrust to the center, turns 180° to counter the rear attacker with an overhead cut, and finishes with another overhead cut.
Nanhonme, Sanpogiri
(San-po-giri: three-direction cut). Facing three approaching attackers, the practitioner engages the front attacker with Ki, then turns right, striking the right opponent with a one-handed cut, the left opponent with a two-handed center cut, and the central attacker frontally. Finally, he steps back in Hidari-Jodan-no Kamae with Zanshin.
Happonme, Ganmenate
(Gan-men-ate: thrust to the face). Attacked by two opponents, the practitioner strikes the frontal attacker with the sword hilt (Tsukaate), turns 180° to thrust at the rear attacker, then returns to finish the frontal attacker with a two-handed overhead cut.
Kyuhonme, Soetezuki
(Soe-te-zuki: thrust with supporting hand). While walking, attacked from the left, the practitioner intercepts with a diagonal Kesagiri after a left quarter turn, then finishes with a thrust to the center of the opponent (with supporting hand).
Jyupponme, Shihogiri
(Shi-ho-giri: four-direction cut). Approaching four surrounding attackers, the practitioner preempts their action. The angled-right attacker is blocked with a hilt strike, rear-left eliminated with Sen no Sen and thrust, first attacker with vertical cut, right rear and left front similarly, finishing with Hidari-Jodan-no Kamae and Zanshin.
Jyu-ipponme, Soogiri
(Soo-giri: all cuts). While advancing, the practitioner anticipates the opponent, deflects with Ukenagashi, then executes sequential cuts: right (temple to chin), left (shoulder to center), right (forearm to center), horizontal left-to-right through the hips, finishing with a vertical overhead cut.
Jyu-Nihonme, Nukiuchi
(Nuki-uchi: draw and strike). Facing an attacker, the practitioner draws the sword overhead to Ukenagashi while stepping back for safety, then steps forward executing a final strike. Retreat with Chiburi completes the kata.
First stage Muso Shinden Ryu
The twelve forms of Omori Ryu represent the first level of learning in Muso Shinden Ryu. In this circle there are a total of 3 sub-schools with different objectives. All forms of Omori-Ryu except for one start from the Seiza, the Japanese knee seat. Sitting down, cutting and other details differ from the Seitei-Iai forms. The Kata 3rd Uto and 4th Atarito are not shown in the film. You can follow up on in this post .
Note: only practice Iaido kata under the guidance of an experienced Iaido trainer (don’t try this at home)!
Shohatto
(Shohat-to: beginning sword). In the first form, the Iaidoka sits in Seiza. When he detects a threat from someone sitting in front of him, action is taken.
He makes a one-handed horizontal cut to the attacker’s head and advances with ki. This attack is followed by a vertical two-handed cut that ends the kata.
Sato
(Sa-to: left sword). Again the Iaidoka is sitting in Seiza. If he detects a threat from someone sitting or coming to his left, action is taken. He turns left, makes a one-handed horizontal cut to the attacker’s head and advances threateningly.
This attack is followed by a vertical two-handed cut that brings the matter to an end.
Uto
(U-to: right sword). Again the Iaidoka is sitting in Seiza. If he detects a threat from someone sitting or coming to his right, action is taken. He turns to the right, makes a one-handed horizontal cut to the attacker’s head and advances threateningly.
This attack is followed by a vertical two-handed cut that brings the matter to an end.
Atarito
(Atari-to: striking sword). The Iaidoka kneels in the formal Japanese knee seat, the Seiza. He is turned away from the enemy who is right behind him. He senses the beginning of an attack. The Iaidoka reacts by turning 180° to the left and at the same time pulling the sword. He distributes a horizontal cut in the attacker’s face, advances urgently and pulls out a final two-handed cut (compare to Shohatto).
Inyoshintai
(In-yo-shintai: Yin-Yang, back and forth). In the fifth form, the enemy seated in front starts to move. He is attacked with a one-handed horizontal cut. The enemy flees and the Iaidoka stands up and defeats them with a straight cut. He goes after the falling opponent does Chiburi and Noto and waits in Tate-Hiza (crouching position).
A second enemy is coming. Action starts at the right moment. The Iaidoka evades backwards with a lunge and makes a one-handed horizontal cut to the attacker’s stomach and then advances. This attack is followed by a vertical two-handed cut that brings the matter to an end.
Ryuto
(Ryu-to: flowing sword). Now you defend yourself against an attack by an opponent coming from the left. The Iaidoka jumps forward from his knee seat. He draws his sword in flowing motion and fends off the opponent’s blow with the back of the blade (compare with Ukenagashi). He turns on the spot and cuts the opponent sideways at Do height, either flat or slightly diagonally.
Junto
(Jun-to: sword series). In this form the Iaidoka sits opposite another seated person in the Seiza. He assists a samurai who wants to practice Seppuku. He takes the Tanto (Japanese knife) in front of him. At this moment the Iaidoka takes up the sword, draws it and stands waiting in readiness.
The samurai cuts his belly or want to and leans forward. At that moment the Iaidoka strikes to shorten the suffering. The final movements simulate the following ritual cleansing of the sword (Shinto) with final stabbing.
Gyakutto
(Gyakut-to: twisted sword). Again the Iaidoka is sitting in the Seiza. When he detects a threat from someone coming from the front, action is taken. He fakes a pull but moves back and gets up. He pulls the sword to the Ukenagashi defense. This is followed by a short cut to Men (Menuchi) and a threatening advance (Seme). This attack is followed by a vertical two-handed cut.
After several kamae phases, the Iaidoka bends over the dying opponent, turns the sword and gives a coup de grace.
Seichuto
(Seichu-to: strong sword in the middle). Again the Iaidoka is sitting in the Seiza. If he detects a threat from someone sitting or coming to his right, action is taken. He turns to the right, paying attention to Seichusen, makes a one-handed oblique cut to the attacker’s head, underarms, or Do (as in Morotetsuki) and advances threateningly (Seme).
Then the thing is completed with a vertical cut.
Koranto
(Koran-to: Great strength of the tiger). The Iaidoka stands and pulls forward with a left step and a horizontal cut. He anticipates an opponent who is also attacking while standing. With the great strength of the tiger he pushes on Enbusen, breaking the attack of the enemy.
He advances threateningly in the middle and defeats the enemy with a two-handed vertical cut.
Inyoshintai Kaewaza
(In-yo-shintai Kae-waza: Yin-Yang, alternating technique). In the fifth form, the enemy seated in front attacks. He is attacked with a one-handed horizontal cut. The enemy flees and the Iaidoka stands up and defeats them with a straight cut. He follows the falling enemy and crouches down.
The opponent draws the sword again. He wants to hit the Iaidoka’s shin. The Iaidoka evades backwards with a lunge and performs a one-handed defensive movement with a twisted sword to ward off the attacker and then advances. This attack is followed by a vertical two-handed cut that brings the matter to an end.
Nukiuchi
(Nuki-uchi: pulling and hitting). Two swordsmen sit across from each other. The opponent moves, maybe his hands (to draw). The Iaidoka draws his sword in flowing motion and briefly places it on his sternum. Then he strikes up for a vertical cut. When cutting, the legs are spread apart to compensate.
Intermediate level Muso Shinden Ryu
The ten forms of Hasegawa Eishin Ryu represent the intermediate learning level of Muso Shinden Ryu. All forms except for Nukiuchi start from Iaihiza. Starting from the Japanese knee seat (Seiza) the right leg is set up. The hands are placed with the palms facing up.
Notes: Only perform this Katas with sufficient balance, body and leg strength. Only practice Iaido Kata under the guidance of an experienced Iaido trainer (don’t try this at home)!
Yokugumo
(Yoku-gumo: Side Cloud. In the first form, the Iaidoka sits in Iaihiza. When recognizing a threat from the opponent sitting across, action is taken.
He steps backward to evade (alternative: step forward) and executes a one-handed horizontal cut to the opponent’s head. This is followed by a vertical two-handed cut that completes the form.
Toraisoku
(Tora-isoku: Tiger’s Paw. The Iaidoka sits in Iaihiza. An attacker swings at the seated practitioner’s leg. In response, the Iaidoka steps back and draws the sword. The grip is taken slightly from above, and after drawing, the sword is decisively pressed downward, intercepting the opponent’s blade. The sword strikes like a tiger’s paw.
This is a defense using the back edge of the blade (compare Kata Ukenagashi). The form concludes with a vertical cut.
Inazuma
(Inazuma: Lightning. A seated Iaidoka is attacked from the front. Similar to Seitei-Iai Kata Morotezuki, while stepping back, the sword is drawn diagonally from top left to bottom right toward the opponent’s head. Alternatively, it can be drawn into a charging attacker. A strong two-handed cut follows to decisively defeat the opponent.
Ukigumo
(Uki-gumo: Floating Cloud. The Iaidoka sits in Iaihiza. Attacked by an opponent on the right attempting to grab the sword, the practitioner stands, pulls back the sword grip to counter the attempt, then strikes back with the hilt. Closing the distance, the sword is drawn to the right side with the assisting hand (compare Soetezuki) and pulled through the opponent. The form concludes with a turn to the fallen opponent and a final decisive cut.
This form requires high body control and strength; practice only when warmed up.
Yamaoroshi
(Yama-oroshi: Mountain Wind. In the fifth form, the opponent on the right attacks, attempting to grab the sword or draw their own. The Iaidoka preempts this by striking the attacker’s arms or hands with the sword hilt, raising it to the head. Closing in, the practitioner draws the sword to the right with the assisting hand, presses it against the attacker, and pulls through. A turn to the fallen opponent and a final cut completes the form.
Iwanami
(Iwa-nami: Rock Wave. Defending against an attack from a left-sitting opponent, the Iaidoka steps back and draws the sword. With a sharp 90° turn to the left, the sword is simultaneously grasped and rotated, allowing a thrust using Soetezuki technique. With the assisting hand, the sword is pressed and pulled through the opponent, followed by a turn to the fallen opponent and a final decisive cut.
Urokogaeshi
(Uroko-gaeshi: Reversed Fish Scale. Defending against a left-sided attack, the Iaidoka steps sideways, drawing the sword. With a tight 90° turn to the left, the Nukitsuke resembles stroking the scaled surface of a fish (hence the name). The defense concludes with a vertical two-handed cut.
Namigaeshi
(Nami-gaeshi: Overturning Wave. Defending against a rear attack, the Iaidoka draws the sword with a body feint, mimicking a wave crashing against a rock and recoiling. A 180° turn follows, delivering a horizontal Nukitsuke. The form concludes with a vertical two-handed cut.
Takiotoshi
(Takio-toshi: Waterfall. Defending against a rear-sitting attacker attempting to grab the Saya or otherwise aggressive, the Iaidoka rises with a turning motion and draws the sword vertically. With a 180° turn, the blade is pulled clean and thrust downward into the opponent. The defense concludes with a vertical two-handed cut.
Nukiuchi
(Nuki-uchi: Draw and Strike. Two swordsmen sit facing each other in Seiza. When the opponent draws, the Iaidoka smoothly draws the sword, moving into Ukenagashi defense, then continues fluidly into a vertical cut. The legs are set apart for balance during the strike.
Hidden Level Muso Shinden Ryu
The twenty-one forms of Okuden Ryu represent the third learning stage of Muso Shinden Ryu. The forms are divided into sitting (Zagyo) and standing forms (Tachiwaza). There are partially different versions of the forms. Okuden is the hidden and formerly secret level. The true meanings of the forms (Bunkai) lies behind the situations and (alleged) descriptions and must be recognized by oneself. These are modifications of the technology, which can be reinterpreted down to the psychological level. There exist variations for each shape.
Note: practice this Iaido Kata only under the guidance of an experienced Iaido trainer! Okuden kata are only for advanced learners. The Katas seems simple, but can lead to accidents. The correct execution requires a lot of experience and an overview.
Kasumi
(Temple, literally: haze). In the first form the Iaidoka sits like in all Okuden forms in the Iaihiza. If he suspects the attack, he pulls the sword through to a horizontal cut, turns it and cuts in the opposite direction, then lifts it over the head for a two-handed vertical cut.
The Iaidoka moves forward after each cut until it finally reaches the opponent.
Sunegakoi
(Shin guard). The Iaidoka in Iaihiza. When he detects a threat from someone sitting in front of him, action is taken. He moves back and makes a deep one-handed defensive blow on the attacker’s sword.
This defense is followed by a vertical two-handed cut.
Shihogiri
(Cut in four directions). Again the Iaidoka is sitting in Iaihiza. When he detects a threat posed by four of him encircling people, action is taken. He turns back to the left, draws the sword while sitting up and stabs the opponent in the stomach.
This attack is followed by further two-handed vertical cuts. First, while sitting, the Iaidoka turns to the rear right opponent and cuts him. Then it goes to the left front and finally to the front right opponent.
Tozume
(Waiting at the door prepared for opponents). The Iaidoka waits sitting in Iaihiza. To the right of him is an entrance. An opponent comes through the entrance. The Iaidoka senses the beginning of an attack. The Iaidoka reacts by turning halfway to the right and drawing the sword at the same time.
He distributes an oblique (compare Morotetsuki) vertical cut in the attacker’s face, then immediately turns to the left to another opponent and makes a final, two-handed cut.
Towaki
(Next to the door). It’s almost the same situation as in the previous kata. In this form the enemy seated in front attacks. He is counterattacked with a one-handed horizontal stab.
A second enemy arrives and storms in at the entrance. The Iaidoka turns to him on the spot and makes a vertical two-handed cut to the attacker and advances.
Tanashita
(Under the house floor). The Iaidoka sits cowering under the floor (of a typical Japanese house) and is watching. If the opponent is nearby he moves forward from his shelter while drawing his sword in a stooped position and cuts him frontally.
When he has made it out of hiding, he raises the sword for a two-handed vertical cut.
Ryozume
(Narrowed at the side). Now you defend yourself against an attack by an opponent coming from the front. There is no space to the side for sweeping movement. The Iaidoka moves forward from the Iaihiza. He draws his sword in flowing motion and holds it in front of him with both hands (compare with Morotetsuki).
With an energetic advance and stretching forward, he stabs the opponent.
Torabashiri
(Tiger walk). Now you defend yourself against the threat of an opponent blocking the front. There is no space to the side for sweeping movement. The Iaidoka moves forward out of the Iaihiza and creeps up in quiet steps and in a crouched position. He draws his sword in flowing motion and cuts then.
He is attacked again on the retreat motion in a crouched position. However, the opponent will run into the quickly drawn blade.
Hidden Level Muso Shinden Ryu
The standing forms (Tachiwaza) are just as demanding as the seated forms. Rhythm, understanding, and balance are essential.
Important: practice this Iaido kata only under the guidance of an experienced Iaido instructor! Okuden kata are intended only for advanced practitioners. The katas may appear simple but can lead to accidents. Correct execution requires significant experience and awareness.
Yukitsure
(Accompanied by two people). In this first standing form, two people approach the Iaidoka. The first person on the right turns as if to attack. The practitioner retreats with a shuffle, draws the sword, and cuts the attacker. Stepping forward, the practitioner then neutralizes the left-side person with a straight cut.
Rentatsu
(Advance together). In an early kata-like sequence, two people approach the Iaidoka. The first person on the left turns as if to attack. Alternatively, the Iaidoka may step back from a group of three. The practitioner shuffles back, draws, and thrusts at the attacker. Stepping forward, the practitioner then neutralizes the right-side person with a straight cut.
Somakuri
(All together). Walking forward, the Iaidoka approaches an opponent. Using a feint, the sword is drawn slightly, but the practitioner retreats in a Ukenagashi defense. In countering, stepping forward with Ayumi Ashi (alternate stepping), the practitioner cuts the opponent on the right from temple to chin, then left from shoulder to center, again right from forearm to center, then performs a horizontal cut through the hips, finishing with a vertical overhead cut.
Sodome
(Stop everything). The Iaidoka descends a staircase. An opponent attacks from below. Using up to five consecutive draws and notos, the practitioner drives the opponent downward until defeated.
Shinobu
(Very quietly). In darkness or fog, an opponent is suspected or noticed in front. Moving silently, the practitioner draws the sword and taps in front/behind the opponent on the ground. The opponent charges at the perceived threat. By sidestepping before the tap, the practitioner can gain a superior position to defeat the opponent.
Yukichigai
(Miss while walking). Two opponents attempt to attack. Using Ganmenate, the practitioner evades the first attacker. The first opponent moves left. The sword is drawn in a turning motion for a two-handed backward cut, then continues to the second opponent for a finishing cut.
Sodesurigaeshi
(Turn the flowing sleeves). The practitioner stands behind a crowd, with an opponent ahead. After drawing the sword, the practitioner pushes through the crowd and makes a wide cut. As the practitioner moves forward, the opponent’s long sleeves are swept aside.
Moniri
(Enter the entrance). At an entrance, an opponent blocks the path. Turning aside, the Iaidoka draws the sword sideways. A one-handed thrust strikes the blocking opponent. Another opponent behind is cut. A third opponent appearing in the entrance is also neutralized.
Kabezoi
(Along the wall). Standing close to a wall or between walls, the Iaidoka waits. Suddenly, an opponent attacks from the front. The sword is drawn close to the body and a vertical cut is executed while stepping forward.
Ukenagashi
(Deflect the enemy). Two sword practitioners face each other. The attacker draws the sword. The Iaidoka evades to the right, raising the sword steeply into Ukenagashi defense. From a standing sideways position, the practitioner strikes the attacker.
Oikakegiri
(Pursue and cut). An opponent stands at a distance. The Iaidoka approaches stealthily, draws the sword at the right moment, and pressures the opponent with forward-moving Ashi-Sabaki (footwork) until a finishing cut can be executed.
Ryoshihikitsure
(Accompanied by two samurais). Two opponents are to the left of the Iaidoka while walking. During the draw (Nukitsuke), the Iaidoka cuts through the flank of the first opponent, swings the sword, and pursues the second fleeing opponent, finishing with Kirioroshi.
Itomagoi
(Take leave). Two samurais sit facing each other in Seiza, swords in their belts. They bow to greet each other. During the bow, the Iaidoka raises the sword overhead and strikes the opponent with a vertical cut.