Group items tagged

Sword Motions and Impacts
An Investigation and Analysis

By George Turner

ARMA is generally skeptical of attempts to quantify swordsmanship from an engineering or physics point of view, as we feel the craft is more of a holistic one. But occasionally we are impressed by insightful technical analysis and in this case, especially so. The following enlightening article presents for the first time material which contradicts some of the long held assumptions about the physical mechanics of swords. Understanding the function of swords is about understanding their design. This is a matter of understanding the complex elements of blade geometry. Yet, these are little understood today, even among many commercial and private sword manufactures. A sword cannot be examined solely from a silhouette or face on view. It must be examined based upon its whole blade profile - overall shape, length, width, and differences in thickness and taper in its cross-sectional change. There are even variations in the stiffness of different blades designed for cutting at different materials, or those for cutting and thrusting use, and those designed for thrusting only (and even then, there are differences between soft versus hard targets). These are some of the reasons why one sword will feel good and another won't. But few individuals have had opportunity to closely examine or measure a wide range of authentic antique pieces to know their subtleties. Elements of balance, flexibility, and weight in a cutting sword are very subtle. On top of this, just as there are considerable misconceptions about how swords are used, so there are also about how they mechanically function as tools. How all this relates to understanding the actual function and handling of cutting swords will in turn reflect how a maker produces his modern replica weapon and what today's enthusiast looks for in a blade. It also underscores the importance of experience in actually hitting at substantial te

While the great diversity of cutting and thrusting swords around the world testify to the importance of both cutting and thrusting in fencing, there is something of a pervasive myth of a supposed "superiority" of point over edge in swordplay, and predominantly in European swordplay. Yet, with only a few minor exceptions, prior to the early 18th century there was no "cut versus thrust" debate among Western swordsmen.

Conceptual cutting. A discussion on the principals of how to make cuts in kenjutsu.

by Nicklaus Suino Sensei

This article appeared in the "SMAA Journal" Volume 14, Issue 2

Few arts present as many challenges of detail as does Japanese swordsmanship. One of the most misunderstood aspects of Eishin Ryu iaido is the proper grip on the handle of the iaito (iaido practice sword), called "te-no-uchi." The grip is crucial because it is the final lynchpin in the transmission of power from the body, through the arms, and into the cutting edge of the sword. A correct grip also provides "feel," which increases awareness of the sword's position and helps guide the edge through the correct path in cutting.

"Even if your foe is greatly evil, don't draw your sword, or let your foe draw theirs. Don't cut and don't be cut. Don't kill, and don't be killed. Help them transform into a good person. If they still won't comply, then send them to the next world."

Nukitsuke and nukiuchi are different. "Tsuke" means you are acting to forestall an opponent's attack before it begins. Nukiuchi on the other hand means, precisely, to cut down an opponent. Without understanding the difference between these two, your swordsmanship will not be effective.* － Kamimoto Eiichi sensei, iaido hanshi 9 dan, kendo hanshi 8 dan

Interviews with Nishioka Sensei Can you explain about the concept of Kiri-otoshi? Is the concept of Kiri-otoshi wider than the technique of cutting / pushing down the attacking sword? Is there any relation between Kiri-otoshi and Aiuchi?

Nukitsuke and nukiuchi are different. "Tsuke" means you are acting to forestall an opponent's attack before it begins. Nukiuchi on the other hand means, precisely, to cut down an opponent. Without understanding the difference between these two, your sword

This page introduces Iaido, which is one of the Japanese traditional Budo concerned with drawing the blade and cutting in the same motion. * What is Iaido? * Concept * History and School * Basic Points * Technical Points *

An English language online bi-monthly magazine for the serious student of the Japanese sword and related budo arts and Japanese culture. Articles include: interviews profiles history philosophy cultural arts reviews injury issues and more.

I got to the dojo in plenty of time last night to do a thorough warm up, stretch, do some cutting exercises and generally try to get some enthusiasm to train. I had been feeling a bit poor about my Sogiri from the last couple of sessions and so thought to just hack through some of these.