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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

This essay will examine the meaning of the term "johakyu" (序 破 急) and how the concept is expressed in iaido kata. I will first examine the term's history, application and meaning; and following this, the expression of examining johakyu in Ipponme Mae of t

copyright © 2007 Steve Quinlan, all rights reserved This short article is in response to the article written by K. Taylor regarding the "Fallacy of Expanding Time in Kata". The article examines a common trap that I think all martial artists who study K

Iaido is a difficult art to practice because we have no opponent, or rather, our opponent is imaginary and invisible. In this article I will discuss the concept of maai in relation to our impression of personal space and I will examine the interpretation

It is almost a truism in Japanese martial arts that power comes from the floor through the hips. In iaido that power must reach the tip of the blade, and the only connection between the tip and the floor is through the hands. In this series we examine som

The information provided here is not intended to teach you the kata; only attending class and practicing can do that. This information is subject to change pursuant to AUSKF requirements. Be sure to consult your instructor with any questions you may have.