Sword-fights are a regular feature on The Highlander - and not just any sword-fights, but what must be among the best ever filmed. This presents a special challenge for fanfic writers: how to write convincing fight scenes? If we were talking gun-fighting, or football, or even challenge skiing (immortals who challenge each other on the moguls! - in the end, there can be only one slalom) research would be so much easier.

Luckily, I have a brother who exists in a sublime state of enthusiasm. I complained to him, and he went out and got me books. Thanks, David! Here are my iaido notes. May they be of aid to other fanfic writers.

Japanese Swordsmanship

Or, Loosely Disguised Nonfiction

Kendo, in the Japanese martial arts, is the way or path of sword-fighting. Kenjutsu is the technique or art of sword-fighting. Iaido is the way or path of sword-drawing, iaijutso the technique of sword-drawing.

The suffixes -jutsu and -do - denote different approaches to the martial arts. In general, the -jutsu schools predate the disarmament of Japan post World War Two: they look upon and teach fighting as an actual practice, one of defense and offense against living men. The latter-dated -do schools, meanwhile, teach the martial arts as a physical and mental discipline; here the student is pitted against himself, and his efforts are athletic and philosophical. For example, iaijutsu beginners use a bokken, a wooden sword, while iaido novices practice with a shinai or wooden cane. A subtle but vital distinction.

After the war ended, the occupying forces forbade the Japanese to practice their traditional martial arts. To reopen their schools, associations of teachers wrote new bylaws specifying that their arts were not meant for violent ends, but to teach and preserve Japanese culture. Thus jujutsu became judo, kenjutsu become kendo, and iaijutsu became iaido.

Iaido, or the way of sword-drawing (which was iaijutsu and, before that, tachi-gake) was born as a defensive method to counter surprise attacks and enemy raids in fifteenth and sixteenth century Japan. Its purpose was to slay an opponent with one stroke of the sword, immediately after unsheathing it. It is not fencing or sword-fighting: a single stroke or phrase of strokes is the limit of an iaido match, and the iaido practicioner is passive. He does not attack, but waits to defend himself.

Iaido is taught as a series of sets, or katas if you like. Each set is a defense against attacks by an imaginary opponent (or opponents). In each, the student envisions this or that scenario of ambush or assault, and there is an exact response. In each, the student practices drawing the sword, parrying and cutting, flipping the blood off the sword, and returning the sword to the scabbard.

The art is practiced with an iaito, a full length unsharpened sword, a little lighter than a katana but made to simulate the balance and feel of one. Some iaito have grooves cut into them, which cause them to whistle when swung through the air. Iaidoka wear hakama (the pleated skirt worn by martial artists), montsuki (the kimono-like top of Japanese men, and obi (the wide cloth belt which is wrapped around the waist, outside the montsuki, and through which the sword is thrust. Senior teachers may wear tabi, split-toed socks. Long underwear is usually worn under the hakami, by the way!

All traditional martial arts practice begins and ends with the rei, or bow. In Eishin-Ryu Iaido, there are three major bows: the standing bow to the front of the dojo (where objects or pictures representing the traditions of the art are kept), the seated bow to another person or to the teacher, and the seated bow to the sword. During bowing, the sword is held in the right hand - a "safe" position denoting that, as actual drawing will be much more difficult to accomplish, the fighter is making no threat. To hold the sword or scabbard in the left hand is a "live" position indicating attack - as is any posture which leaves the sword handy to be drawn by the right hand.

On a sword rack, the handle of a display blade should point left. A slovenly school will rack up its blade with the handles pointing any which way.

Iaido Techniques

Standing: with balance slightly forward, heels together with feet pointing outward at an angle of about 45 degrees. Knees slightly bent, arms relaxed at sides, head up with chin tucked.

Sitting: in the position of seiza, one kneels with knees about two fists apart, back straight, head up. The feet are pointed straight back. The big toe of the left foot is placed above the big toe of the right foot.

Sitting in the position of tatehiza, "raised knee", a modified seiza supposedly devised by samurai who found the posture of seiza too cumbersome to rise from. In tatehiza, one kneels as in seiza save that the right leg is placed in front of the body, with knee raised. From this posture, it is much easier to throw the weight forward and rise.

Holding the scabbard: when moving during practice, the scabbard is grasped with the left hand, and the thumb actually touches the sword - preventing it from sliding out of the scabbard unexpectedly.

Drawing: nukisuke. Holding the scabbard in the left hand and the hilt in the right, draw the blade and point it straight forward.

Raising the sword overhead: furikaburi. This is the guard-the-throat stance used by immortals. The sword is raised, the left hand coming to join the right on the hilt.

Cutting: kirioroshi or kiritsuke.

Flipping the blood off the sword: chiburi. There are actually three types of chiburi taught in iaido!

Returning the sword to the scabbard: noto. This should be done slowly, with great grace and dignity.

Iaido Sets

"I don't get it," Richie complained. "I kneel down with my sword across my knees, and then I make this fancy move and it's all over? What the hell sort of sword-fight is this? What happens afterward if I miss - he whacks me while I'm doing the chiburi and the noto? This is stupid."

There was the tone of voice he hated: every word laborious with emphasis, as if to a beloved (but dumb) dog. "Richie, I'm not asking you to fight real challenges this way. And Japanese swords are razor sharp, so any cut that connects will probably kill. Just practice the sets the way I showed you."

"It's dumb. It's boring and it's dumb."

"Just do it!" said MacLeod.

Seated set: Seiza no Bu. Techniques of moving out of the seiza or seated position and into attack or defense. Exercises:

Forward or Mae. Scenario: A swordsman faces an opponent. Both are seated. As the opponent prepares to attack, the swordsman draws and cuts him across the throat, then finishes him with a downward cut. Flipping the blade to remove any blood, the swordsman resheathes his sword and stands up in a dignified manner.

Right, Migi. The opponent sits facing the swordsman's left side. As he prepares to attack, the swordsman turns, draws and cuts him across the throat, then finishes him with a downward cut. He chiburis, resheathes and stands in a dignified manner, etc., etc.

Left, Hidari. The opponent sits facing the swordsman's right side. Same otherwise as Migi.

Rear, Ushiro. The opponent sits facing the swordsman's back. And so on, and so on.

Eightfold Fences, Yaegaki. The swordsman faces his opponent, both seated. As the opponent prepares to attack, the swordsman quickly draws and cuts him across the throat, then attempts to finish him. The opponent fades back to avoid the finishing cut, so the swordsman moves forward while cutting. Flipping the blade to remove any blood, the swordsman begins to resheath his sword, but the opponent strikes at his leg. The swordsman blocks the cut and then finishes his opponent. Etc.

Parrying, Ukenagashi. The swordsman is seated, an opponent approaching from the left front. The swordsman stands and draws, parrying a cut, and turns to make the finishing stroke. Etc.

Assisting at Seppuku, Kaishaku. Well, we've all seen this one on film, folks.

Pursuit, Tsukekomi. While seated, the swordsman is approached by an opponent from the front. He stands, strikes him on the forehead, pauses to study the effect. When he detects an opening, he then moves in to finish the opponent, etc.

Moonbeams, Tsukikage. While seated, the swordsman faces an opponent from the front. When the opponent draws, the swordsman stands and strikes him across the exposed wrists, then finishes him. Etc.

Tailwind, Oikaze. From a standing position, the swordsman faces an opponent who stands at a good distance in front of him. He steps forward and, just as the opponent is about to attack, draws and cuts him across the throat, then finishes him with a downward cut. Etc.

Sudden Draw, Nukiuchi. The swordsman sits facing his opponent. Just as the enemy is about to attack, the swordsman draws and finishes him with a downward cut. Etc.

Drawing Methods Set: Batto Ho no Bu. Techniques:

Ordered Sword One, Junto Sono Ichi. Scenario: the swordsman faces his opponent. As the opponent prepares to attack, the swordsman steps forward, quickly draws and cuts him across the throat, then moves forward to finish him with a downward cut. Etc.

Ordered Sword Two, Junto Sono Ni. Same scenario as the previous kata.

Pursuing Sword, Tsuigekito. The swordsman faces his opponent. The opponent prepares to draw; the swordsman steps forward, draws and prevents him from drawing by cutting at his wrist, then moves forward to stun him with a cut across the forehead. He pauses to study the effect. (Sounds like the three-minute sketch exercise at an art class.) Then, seeing an opening, he moves in to finish his opponent with a downward cut, etc.

Angular Sword, Shato. The swordsman faces his opponent. As the opponent draws, the swordsman steps forward, draws and prevents him from cutting with a strike at his raised forearms, then moves forward while cutting him with a diagonal stroke. He then moves to the right (to avoid being cut by the opponent) and cuts again, to a lower point on his opponent's body - finishing the bout. Etc.

Four Directional Cut One, Shihoto Sono Ichi. The swordsman is surrounded by four opponents: one behind at left rear, one directly ahead, and one each at right and left front. Going on the offensive, he draws and thrust his sword into the opponent at the left rear corner, then turns and cuts down the one at the right front. Turning to the left front and directly ahead, he slays the remaining attackers. Flipping the blade to remove the blood, he then resheathes his sword and steps forward in a dignified manner.

Four Directional Cut Two, Shihoto Sono Ni.. Same scenario as the previous.

Beheading Stroke, Zantotsuto. The swordsman faces his opponent. As the opponent prepares to draw, the swordsman steps forward, quickly draws and prevents him from drawing with a wrist cut. Then, pressing down with his sword to continue to control his opponent's sword, he slides forward, cutting the opponent's chest, and finishes him with a downward cut. Etc.

Secret Forms, Drawing Methods set. The sets:

Forward Inverse Cut, Zenteki Gyaku To. Scenario: a swordsman and opponent begin to move toward each other. Just as his opponent draws his sword and raises it overhead, the swordsman draws in an upward arc, cutting his opponent along the front of his body. He then steps forward and finishes his opponent with a downward cut, flips the blood off his sword and resheathes it with dignity.

Multi-directional Cut, Tateki To. A swordsman, surrounded by three opponents, sees a strategic opening. He draws and thrust backward into one opponent, turns to the right front and finishes another with a downward cut, turns then to left front for the final foe. Finishing him, etc.

Rearward Inverse Cut, Koteki Gyaku To. A swordsman is between two opponents: one before, one behind. Sensing a strategic opening, he turns to his rear, draws his sword and cuts along the front of his opponent's body, then turns back to his front and finishes the second opponent with an angular downward cut. Etc.

Rearward Quick Draw, Koteki Nukiuchi. A swordsman with opponents front and rear: detecting an opening, he turns to his rear, draws and cuts downward along the body of Opponent A, then turns front and finishes Opponent B with an angular downward cut. Etc.

Half-Seated Set. These forms begin from the tatehiza position, or half-seated with one knee raised. These are among the most challenging of Eishin-Ryu Iaido forms. The forms:

Cloud Bank, Yokogumo. Scenario. A swordsman faces an opponent, both seated. As the opponent prepares to attack, the swordsman quickly draws and cuts him across the throat, then finishes him with a downward cut. And so on.

Tiger's Step, Toraisoku. A swordsman and his opponent are both seated. As the opponent prepares to attack with a low strike, the swordsman draws and parries, then finishes his enemy with a downward cut. Etc.

Lightning, Inazuma. A faces B, both in tatehiza: as B = low strike, A q. draws & parries, then f. h. with a d. c. Etc.

Floating Clouds, Ukigumo. An opponent grabs the sword handle of a seated swordsman. The swordsman stands and unbalances the opponent by pulling the handle across his own body. He then suddenly moves the handle forward, causing the attacker's grip to weaken, and draws the sword, cutting him in the process. Dropping to one knee, he pushes the sword horizontally across to cut the opponent, then steps back and finishes him with a downward cut. Etc.

Mountain Wind, Oroshi. While our hero sits, the black knight approaches and grabs the handle of his sword - the dastard! Ah, but our hero shoves the grip forward, torquing the attacker's grip, and draws - cutting the fiend in the process. Dropping to one knee, our hero pushes the sword horizontally across to cut the foe, then steps back and finishes him with a downward cut. Rah rah! He then salutes the Queen. In a dignified manner.

Breaking Waves, Iwanami. While a swordsman sits, an opponent approaches from the side and grabs his scabbard. The swordsman grasps the attacker's hand and draws, turning to face the opponent; using the weight of his body to drive the blow, he thrusts the point into his opponent's belly, cuts him with a horizontal stroke, then steps back and finishes him with a downward cut. Etc.

Fish Scaling, Urokogaeshi. A swordsman sits in tatehiza. An opponent approaches from the side. When the opponent prepares to cut, the swordsman turns and draws simultaneously, cutting the attacker in the process. He then drops onto one knee and finishes the opponent with a downward cut. Etc.

Returning Waves, Namigaeshi. A swordsman - we shall assume his name is Inigo Montoya - sits in the tatehiza position. When his opponent, the infamous six-fingered man, pounces from the rear - plotting to draw and stab him in the back - brave Inigo turns and draws in one motion, gracefully yet with drama; cutting the villain in the process. Inigo then drops onto one knee and finishes Count Rugen with a single downward cut. (No messing with cheek slashes here; our boy is a samurai.) Done, he flips the blood off his sword, resheathes it, and stands up with dignity. Avenged at last.

Waterfall, Takiotoshi. Alas, poor Inigo has no sooner sat down again than another opponent - can it be Prince Humperdinck? - approaches from the rear, grasping the end of his scabbard. Inigo stands, throwing the Prince off balance by turning and lifting the scabbard, then forces him to release his grip by stepping forward and moving the scabbard in a large circle. Then he turns, draws, thrusts into the Prince's belly, and drops onto one knee to deliver the coup de grace with a sweeping downward cut. Etc.

Facing Front, Makkoh. And again, Inigo sits, facing his opponent. Just as his opponent is about to attack, Inigo draws his mighty six-fingered sword and makes a single downward cut. Crescendo. Finale. Curtain.

He's not a wizard for nothing!

"Pay attention, Richie!" said MacLeod. "You're not concentrating."

"It's more fun this way," Richie muttered.

Secret Forms, Standing Set. These are advanced forms, and though perhaps I seem now to be approaching them with levity, they are nothing to trifle with; mortal students probably didn't get to try them until the third year of instruction. The theme of this set is a bow interrupted by an attack from the person to whom one is bowing. As follows, then:

Accompaniment, Yukizure. Scenario: a swordsman - shall we call him Duncan? - walks between two opponents, framed by them: one on either side. And their names? Silas and Caspian, of course. As they move forward, Duncan takes a short step to let them get ahead, then steps out and draws, cutting Silas on the right before turning to finish Caspian, stage left, with a downward cut. He flips his blade, nonchalantly. He resheathes.

Companions, Tsuredachi. Duncan walks between Silas and Caspian: Silas just ahead and right, Caspian behind and left. As they walk, Duncan draws and thrusts left, into Caspian, before turning to finish Silas with a downward cut. Etc. Actually I don't think Duncan would behave this way; I think this must be an imposter.

Complete Resolution, So Makuri. Duncan faces an opponent: call him Kronos. As they approach each other, and Kronos attacks, Duncan draws, parrying the cut, and strikes Kronos' temple. He follows up with two angular cuts to Kronos' body, one horizontal cut, and finishes him with a final downward cut. Etc.

Full Stop, So Dome. Now, Duncan imagines he is facing a mortal swordsman. They approach each other and, when the mortal attacks, Duncan flips his sword out and stops the attack by placing it on the opponent's wrists. Twice more, the mortal tries to attack; twice more, Duncan stops him in the same manner, causing him to give up. Finally, Duncan flips the blood off his katana and resheathes it with dignity.

Loyal Retainer, Shinobu. Duncan stalks a sentry at night, in an area with many obstructions. (Perhaps he is about to break into an ambassadorial residence, on his way to defenestrate the president of a small African nation?) Spying the sentry, he silently draws his sword and raises it overhead, then lets it move toward the ground in a large circle. He taps the ground with the tip of his sword, and when the sentry turns toward the sound, Duncan cuts him in two with a downward stroke. Oooh. Etc.

Misdirection, Yukichigai. Duncan walks between Silas and Caspian again: with Silas before, Caspian behind. At a moment of opportunity, Duncan strikes Silas with the butt of the handle to disturb his balance, then turns and cuts Caspian with a downward stroke - with a loud, meaty sound, dubbed - before turning back to the front to finish Silas. Etc.

Sleeve Flip, Sodesuri Gaeshi. Duncan dreams that he walks amidst many dear mortal friends. Seeing Kronos preparing to attack, he moves toward the edge of his group before drawing his katana. Then, just as Kronos seems about to draw his own sword, Duncan uses the flat of his blade to push his poor vulnerable mortal friends out of harm's way before stepping forward to cut Kronos down. Etc.

Entering the Gate, Moniri. Duncan imagines himself standing on one side of a doorway. Two opponents face him - one in front on the other side of the doorway, and another just behind him. Duncan ducks through the door, drawing just as he enters, then thrusts into the opponent on the far side; then turning to go back through, he raises the sword until it just brushes the top of the doorframe. The moment it clears the top, he strikes down the opponent without. He then turns back toward the injured man, again holding the sword up, and finishes him with a strike at the moment the sword clears the top of the doorway. Etc. (He's not actually doing this; he's just doing his kata. That intense expression on his face, those writhing muscles? This is why!)

Between Walls, Kabezoi. Duncan, walking in a narrow hallway, comes face to face with Xavier St Cloud. As Xavier attacks, Duncan draws and blocks the stroke, then cuts Xavier in two with a downward stroke. Etc.

Parrying, Ukenagashi. Duncan faces Xavier. They approach each other (and one-liners fly) and when Xavier attacks, Duncan draws and parries by raising his sword overhead, in the classic immortal-guards-his-neck pose. The momentum of Xavier's attack carries him past Duncan on the left, and Duncan turns to track him, finishing him with a downward stroke. Etc.

Farewell Visit One, Itomagoi Sono Ichi. Duncan sits in seiza, facing an official, who is also seated. Duncan begins to bow but, as he does, he notices that the official - probably enraged at seeing this rude Scots barbarian ape the manners of polite Japanese - is drawing his sword. Duncan then draws, parries, and finishes off the official with a downward cut. Etc.

Farewell Visit Two, Itomagoi Sono Ni. About the same as the previous.

Farewell Visit Three, Itomagoi Sono San. Ditto. That's three officials down. The fool! Now, how will Duncan get his passport validated?

"You got that boy all the way through the advanced forms and the secret sets in a couple of months?" Methos was incredulous. "He must have had hidden talents."

"Richie was a natural," said MacLeod. "If only he had learned the first lesson: not to stand with your mouth open when a madman attacks you."

Remembering, he brooded.

Angst was something he was good at.

Secret Forms, Second Set. These are the advanced forms of iaido:

Mist, Kasumi. Richie's Freudian dream. Scenario: Richie sits, facing Duncan. As Duncan moves to attack, Richie draws and cuts him across the knee, then reverses the direction of the stroke to cut Duncan's forward knee. He then finishes him with a downward cut, flips the blood off his sword and resheathes it before standing up with dignity - in your dreams, Richie!

Encircled Leg, Sunegakoi. Duncan sits, facing an opponent - could it be Kalas? But yes! It is! As Kalas moves to attack Duncan's leg, Duncan rises to draw and parry the attack, but his rear leg gets caught by something. However, instead of struggling to free his leg, Duncan drops in place, finishes Kalas with a downward cut, flips the blood off the sword and resheathes it. His motions having freed his leg, he stands up with dignity.

Blocked at the Door, Tozume. Duncan sits in a doorway, facing two kimmies, one on the left and one on the right - a double whammy. As the nameless kimmie on the left begins to attack, Dear Dunk draws and cuts him across the wrists, then turns and finishes the other kimmie with a downward cut. And so on. And so on.

Beneath the Doorway, Towaki. Same as Tozume, but the kimmie on the left gets it with a sword thrust instead of the wrist slash.

Four Directional Cut, Shihogiri. Duncan sits, surrounded by all Four Horsemen! But seizing an opening, he rises, draws, and thrusts his sword into Caspian at left rear; then turns and cuts Silas at right front, Kronos at left front, and at center . . . But then (thank goodness!) he wakes, soaked in sweat, and knows to his relief that it was Just A Dream.

Beneath the Ledge, Tanashita. Duncan sits beneath a ledge, facing out toward an opponent . . . ah yes, it's the Kurgan. Duncan slides forward to get out from under the ledge, where he is attacked by the Kurgan. He draws and raises his sword to parry the attack, then finishes off Connor's old nemesis with a downward cut. Etc.

Blocked on Both Sides, Ryozume. Duncan sits in a narrow corridor, facing Kalas. As Kalas prepares to attack, Duncan flips his sword tip out to trap Kalas' wrists before he can draw. Duncan then thrust the sword into Kalas, slides forward and finishes his foe with a downward cut. Etc.

Charging the Tiger, Torabashiri. Duncan faces . . . Grayson! Both are seated. They rise out of seiza, and Grayson begins to retreat. Duncan draws to parry an attack by G., then attacks with a downward strike. He makes the chiburi stroke and resheathes his katana, but Grayson prepares to attack again. Duncan retreats as Grayson approaches, then draws his katana to parry. He finishes Grayson with his trademark downward cut, etc, etc.

Secret Forms, Extra Set. The four forms of this set were created to teach methods of fighting larger numbers of opponents and more sustained attacks. The first three are combinations from earlier sets:

Fast Wave, Hayanami. Duncan faces an array of foes. He moves forward to engage an attacker at his right front, flipping his sword out to cut the attacker's wrists before an attack can come. He turns to the left front and cuts down an enemy there, then raises the sword overhead to parry an attack from the front. Dropping his blade to belly level, he executes an 180 degree turn, cutting several nearby opponents in the process. He then finishes a man at the rear with a downward stroke, turns and finishes the last attacker in front, etc.

Thunder and Lightning, Raiden. Duncan walks among several vile henchmen of the evil Colonel. When one of them grabs the butt of his scabbard, he forces the man off-balance by suddenly pulling on the sword; then draws, turns, and impales him before finishing him off with a downward cut. He then moves the sword to abdomen level, turns, cutting several opponents in the process, and finishes off an opponent in front with a downward stroke. The fight is over. Etc.

Thunderclap, Jinrai. Duncan walks in a mixed crowd: good Watchers all unaware, bad Hunters with lethal swords poised to attack. Seizing an opening, he draws and thrusts into an enemy at left rear, turns, cuts down Hunters at right front, left front, and center front. Seeing another Hunter ahead, he uses the flat of his sword to push the good Watchers clear, and steps forward to cut him down. Etc.

Four Directional Cut (Demon Cutting) Shihogiri (Akumabarai). Duncan walks into the Four Horsemen all ganged together. At a crucial moment, he turns to the right, draws and thrusts into Silas at the left, then faces right and strikes Caspian, there, on the forehead. Caspian strikes and Duncan parries the stroke, then makes a sweeping cut across the front and side, striking both Caspian and Kronos to the rear. He then cuts Kronos with a rising cut and turns to cut down his fourth opponent Methos, in the front, with a downward stroke. Done, he flips the blood off his sword and resheathes it with dignity.

He did it! He got Methos! "There Can Be Only One."

With a heavy heart, Duncan followed the exact forms: the sideways slice of his katana that flicked the blood off the blade, followed by the resheathing. Taking the scabbard in his left hand, sheathing the blade three-quarters home swiftly; then slowly and with great dignity, the rest of the way.

In the end, there could be only one. No man could do other than fight back when attacked; even Darius, facing his mortal killers, had defended himself like a lion. And yet the nature of the Game was in itself tragic: to win the Prize, friend must slaughter friend and lover kill lover.

The fools, he thought, who had imagined other winners. Like poor Richie, they had forgotten an important dramatic law. In the end, the protagonist always triumphs.

What was the Prize?

He waited, still shaken to his very bones by the force of that final quickening. Surely all of Europe had been blacked out by the electric storm.

No Prize came.

And then he realized: there must be one last immortal.

"Connor," whispered MacLeod. "How could I have forgotten?"

Glossary

Batto-jutsu: a Japanese sword art; literally "sword-drawing art". Batto schools differ from iaido schools in that they practice not only the katas of drawing and cutting, but actual cutting - against not living men but rolled straw mats soaked in water.

Bokken: a wooden practice sword

Budo: the Japanese martial arts

Chiburi: a stroke which flips blood off a sword.

Iaido: sword-drawing art. Its students are iaidoka.

Iaijutsu: sword-drawing practice (the old school, as against actual opponents).

Kata: forms, or exercises of practice moves

Kendo: sword-fighting (as an athletic discipline). Sword-fighters are kendoka.

Kenjutsu: sword-fighting (as against actual opponents)

Kiritsuke: drawing the sword. Also kirioroshi.

Kiai: the union of spiritual energies

Noto: resheathing the sword.

Nukisuke: drawing the sword

Reishiki: etiquette

Seiza: kneeling position

Sensei: teacher

Shinai: a bamboo staff used by novices in place of an actual (expensive, dangerous) sword.

Soke: in each generation of iaidoka, a soke or master of the art is appointed to guide the total practice of the art. Each soke is meant to have his own influence upon iaido.

tatehiza: kneeling with one knee up

Zanshin: the visible and invisible presence of spiritual energy. Translated as "reserved spirit" - the inner radiance attained by a martial arts master.

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Last Updated February 17, 1998 by Sylvia and Lisa