The Zen Nihon Kendo Renmei Seitei no Gata were devised during the 1960s by the international governing body for kendo and iaido to provide an international standard for grading and competition. Initially there were ten form, two extra forms were added c.2000/1. Below are given basic descriptions of the forms.
1. Ippon me |
In seiza. One opponent seated in front. Draw, come up on knees, step forward with right foot and cut Nutkitsuke. Bring sword blade towards left ear, raise above head and Kirioroshi to just below horizontal. O chiburi while rising to feet. Reverse stance (swap feet) and Noto, sinking to kneel on floor. Stand up. |
2. Nihon me |
In seiza. One opponent seated behind. Turn to left and cut Nutkitsuke. Then as 1. above except on other leg. |
3. Sanbon me |
In seiza. One opponent attacking from left. Rise with left foot ahead, drawing sword vertically. Turn towards attacker and deflect attack, step back with left foot and cut diagonally. Gyaku noto (reversed resheathing of sword) while dropping to left knee. Stand up. |
4. Yonhon me |
In tate hiza. Two opponents, one in front and one behind. Rise to right foot thrusting tsuka into body of facing opponent. Draw saya off of sword, turn and thrust blade into rear opponent. Face opponent 1 and cut kirioroshi. Yoko chiburi and Noto, draw right foot back to left knee then stand. |
5. Gohon me |
Standing. One opponent facing. Two steps (right first), take hold of sword and draw, turning saya continue draw during third step. Cut up from left to right, reverse sword and cut down right to left. Step back into Hasso kamae, step back with chiburi. Noto. |
6. Roppon me |
Standing. Two opponents (to front and rear). Two steps draw sword during third step. Cut one handed to face of opponent. Bring rear foot (left) up to right foot, two handed grip on sword and stab to diaphragm. Turn, step and Kirioroshi to rear opponent. Repeat turn step and cut to front. Yoko chiburi and Noto. |
7. Nanahon me |
Standing. Three opponents (front, right, left). Take 4 steps, draw towards front, step to right and cut to right. Turn 180 cut kirioroshi. Turn 90 to shomen and cut kirioroshi. Step back to Jodan no kamae. Step back and chiburi. Noto. |
8. Happon me |
Standing. Two opponents (front and rear). Take two steps, take hold of hilt and on last step strike facing opponent between eyes with kashira (pommel). Draw saya off blade and turn 180 to left. Hold sword with tsuba (guard on hip) and left hand with saya on opposite hip so sword and saya are both horizontal. Step forwards (right foot) and stab rear opponent. Turn 180 (to left) and kirioroshi original opponent. Yoko chiburi. Noto. |
9. Kuhon me |
Standing. One opponent to left. Take two steps forward, look left and take hold of hilt. Take one short step further forwards and turn 90 to left. Draw sword up and cut down to waist height while stepping back with left foot. Bring right foot back halfway, draw sword back so tsuba is on right hip, grip top of blade with left hand halfway along length. Step forward with left foot and thrust sword into opponent. Withdraw sword a short way and pivot around left hand so right hand is to side at chest height. Bring left hand back to saya, hold the koiguchi, turn body to square up hips and step back with left foot while performing Ko chiburi. Noto. |
10. Juppon me |
Standing. Four opponents at NE, SE, SW and NW. take 2 steps N (to front), on third step move NE and strike down with tsuka (hilt) onto opponents hand. Draw saya off blade and face opponent in SW with sword on chest. Shuffle step and thrust sword into opponent. Face first opponent, step and cut kirioroshi, turn 90 to right (SE) step and cut kirioroshi to horizontal. Slight pause. Push kashira (point of sword down to 45; turn 180 keeping sword behind own body and face opponent at NW, step through and cut kirioroshi. Step back into jodan kamae, step back and chiburi. Noto. |
11. Juippon me |
Standing. One opponent, deflection and 5 cuts. Take two steps and draw sword towards front; take half step back with front foot and continue draw vertically to deflect incoming cut (as Uke Nagashi), step forwards and cut right to left from temple to chin, raise sword along line of cut, step and cut, left to right, from shoulder to solar plexus (suigetsu), raise sword along this line and cut, right to left, from under the arm to waist. Raise sword along this line and bring sword to horizontal pointing out 90 to left with tsuka below saya. Step and cut horizontally so sword is 45 to right/front. Bring to jodan, step and cut kirioroshi to horizontal. Yoko chiburi. Noto. Step back to place (approx. 9 steps). |
12. Junihon me |
Standing. One opponent to front cutting first. Take hold of sword and saya, bring to vertical and draw, pulling left arm back. Step back with left foot and pull right foot back close to left in order to avoid the incoming cut. Step forward with right foot and cut kirioroshi to horizontal. Step back with right foot while performing Yoko chiburi. Noto. Step forwards to take up start position. |
Frequently newcomers to iaido are told by their sensei that they are rushing the forms and cutting too hard. On the subject of cutting too hard, the comments from Andy Watson (5th Dan) made in a recent BKA grading report should be noted:
"I would like to repeat here what is written in the ZNKR Seitei Jodo Manual (the same applies to Iai in this context) recently translated by Chris Mansfield under the "Points of Refereeing and Judging" chapter:
"Different opinions or interpretations arise between the performances of competitors in a competition and those in a grading situation. Whilst style, flair and a strong fighting spirit may give one an advantage in a competition, the same may not necessarily apply in an examination. The basis of the examination is correct application of technique and meaning throughout the kata. Practitioners must be aware at all times of executing the correct techniques to the best of their ability."
Incorporating these thoughts into this grading, many candidates at all levels were attempting to cut very hard and fast at the expense of their technique. Poor posture, poor hasuji (angle of cut) and lack of stability are all results of overpowering ones cuts. As the cliché goes, speed and power are the results of good technique - the reverse if never true."
BKA News Online, April 2005
So: slow down; don't cut so hard (the sword should do the work); get the technique right.