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Seitei-Iai, ZNKR Iaido Kata

07_Nanhonme, Sanpogiri

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(Sanpogiri: 3-directions-cut). In the seventh kata, the swordsman is confronted with three aggressors. They come up to the iaidoka and spread around; one attacks in front of him, one to his right, and one to his left. This sword technique requires two overhead downward cuts and one single hand technique. It seems to be that the first attacker in front will be on the first turn. But the first strike goes to the right, then left and at least offend the frontal enemy.

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Is the enemy in front threatened with Ki at first and occurs then a turn to the right enemy?
 
Does the drawing cut stop at the right of the enemy’s jaw (like kata Morotetsuki)?
 
Do you turn around to the left enemy in smooth movement and are you cutting without interruption?
 
Does the final cut stop parallel to the floor?

08_Happonme, Ganmenate

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(Ganmenate: face strike). In the eighth kata, the swordsman is confronted by two attackers, one in front, and one from behind. Sensing hostile intentions, the swordsman reacts by striking his front enemy’s face with the butt end (Tzukaate) of his sword hilt, before the enemy can draw his blade. Pivoting counterclockwise rotation of 180°, the swordsman administers a thrust to the solar plexus of his rear opponent. Returning to the original frontal position, a moral overhead strike is delivered to the initially stunned foe.

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Does the tsukagashira (end of the handle) thrust to a point between the enemy's eyes?
 
Is the foot in front aligned forward?
 
Is the starting point of the backward thrust under control at the right hip?
 
Happens the turn to the rear enemy with complete rotation of the body?
 
Flows the pressure from the rear foot, which is a bit raised, into the sword tip?
 
Is the Tsuki (strike) made with the feet pointed toward the enemy?
 
Is the heel of the rear foot after every rotation definite arranged?

09_Kyuhonme, Soetezuki

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(Soetezuki: joined-hands thrust). In the ninth kata, the swordsman is walking when confronted by a single sword-bearing aggressor on his left side. Sensing hostile intentions, the swordsman immediately turns ¼ around faces his attacker with an initial cut to his right shoulder and chest, followed with a fatal short thrust into the attacker's abdominal region.

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When the right drawing cut is made, does the right fist finish at navel height with the Kissaki slightly higher?
 
Is the blade pinched firmly between the left thumb and index finger midway along its length?
 
Does the right first stop in front of the navel after the piercing thrust to the abdomen?
 
Stop the fist at trusting at the front of your own centre and do quasi both hands sliding?
 
Is in the phase of Zanshin the right arm stretched near in breast height?

10_Jyupponme, Shihogiri

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(Shihogiri: 4-directions-cut). In the tenth kata, the swordsman finds himself surrounded by four sword-bearing enemies. This situation incorporates sword handling techniques and attitudes of previously demonstrated techniques to methodically dispose of each attacker in an efficient manner. The first attacker could grip to one ones swordhandle and would be wrest with a sharp turn. The second attacker will be stiched in (sen) sen no sen manner.

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Is the tsuka-ate strike strong and certain using the flat of the handle?
 
Is the leading part of the sword (Monouchi), after you draw for trusting (Sayabiki), be applied to the breast?
 
Draw you at the movement of thrust synchronistically the end of saya under the centre?
 
Is there a smooth transition from Wakikamae to the third cut?

11_Jyu-ipponme, Soogiri

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(Soogiri: all cuts). In the eleventh kata, the swordsman is walking forward and senses the harmful intent of an opponent, seizes the opportunity and draws the sword in a block. Advancing with each cut, the swordsman then cuts the opponent’s left temple to right chin, right shoulder to solar plexus, left underarm to center of the abdomen, horizontally from the opponent’s right thigh to his left, then finishes with a large overhead cut from forehead to abdomen.

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When drawing the sword do you make Furikaburi (raise up above your head) into a short ukenagashi?
 
Is the footwork okuri ashi, during all cutting techniques?
 
Get every strike enough Tenouchi?
 
During the stomach/waist area cut made with the edge aligned to the horizontal?

12_Jyu-Nihonme, Nukiuchi

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(Nukiuchi: draw and cut). In the twelfth and final kata, the opponent and swordsman are facing each other. As the opponent suddenly draws his sword, the defender draws his sword overhead and steps back, immediately executing a mortal blow.

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When drawing the sword back does the right foot move back far enough?
 
Does the right hand raise up to a position on the body centerline after drawing the sword?

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