Pursue a running opponent and cut his back. The pursuing movement is done with small steps.


The position is shown in the diagram. Both are facing Shomen. The opponent is trying to run away. So, pursue him and cut him from behind.

a] Stand facing Shomen in Iai-goshi in preparation for the chase.

b] The left hand is on the Koikuchi. Next push the Tsuba with the left thumb. The right hand moves connecting with the Tsuka.



c] The opponent starts to run away. Pursue him using short steps to avoid up and down body movements.

d] When you have closed the distance, draw the sword and take Nukitsuke action horizontally at the opponent’s back.

e] After completion of Nukitsuke take a large step forward with the left foot moving into Morote Jodan. Then take Kirioroshi with a large right step.

f] Showing an adequately strong Zanshin.

Bring the left hand to the left hip.

Swing the blade upwards right.

Bring the right fist to the right temple.

Followed by a large Chiburui and Noto.




Place both hands on the Tsuka. As the Tsuba disunites from the Koikuchi adopt Iai-goshi. Metsuke must be fixed on the opponent. This is the posture in preparing to pursue.



Start the run on the right foot. At the outset take large steps. As you close on the opponent the steps become smaller. Some people express this movement as that of a running mouse. To make a positive Nukitsuke this short footwork is ideal. This method of running was originally created to suit Iai-goshi. As Iai-goshi keeps both knees slightly bent it acts as a cushion to absorb the jarring of the body. To run in this method, the heels must not touch the ground. Run using the forward part of the feet, mainly the toes. The cushioned knees and spring of the toes will absorb the shaking problem. It will also stop the sword shaking about in the Obi. Spacing the knees, light running with small steps, running straight without twisting the body from left to right are three closely connected points.



Nukitsuke as stated is done with small steps. When taking Nukitsuke, a large step is taken with the right foot with the heel placed firmly on the ground as in the beginning of the Seiza section.

The upper body must be held vertical when taking Nukitsuke. All this does not sound so complicated but is difficult to perform as method and theory states, To perfect Oikaze repeated practice is essential.

Beginners are excused in making a noise as they run!



After horizontal Nukitsuke to the opponent’s back, take one step forward into Jodan. Then perform Kirioroshi after another large step with the right foot. The step must be taken firmly and the Tanden held strong. The hips are dropped slightly as a result of the large step. The method and technique of Oikaze is exactly the same as Kyuhon-Me Tsukikage.



Whilst facing an opponent in the Seiza position an opponent shows harmful intention. Subsequently draw the sword quickly and cut the opponent straight away with the Nukiuchi technique.

Both people are sitting facing each other in Seiza. The attacker is in front at a close distance.


a] Becoming aware of the opponents threatening intention, Take hold of the Koikuchi with the left hand and separate the Tsuka and Koikuchi. Next place the right hand on the Tsuka.

b] Draw the sword forwards and right as the knees and toes are prepared for action (knees lightly together)

c] The drawn sword is taken back towards the left with a feeling of thrusting toward the left ear, then swings up to become Morote Jodan.

d] At the is moment the body is bent slightly backward.

e] Push the knees forward using thrusting power from the toes. Also the knees are pushed forwards and outwards to take Makko Kirioroshi.

f] Twisting the right hand to the right, take a sharp Yoko Chiburui action. At this time the left hand is connected with the left hip.

g] Grip the Koikuchi with the left hand and commence Noto. Gradually lower the hips to complete Noto resting on both heels.


It is essential to draw the sword quickly before the opponent has a chance to draw.

1, Put the knees together lightly. The toes of both feet are touching the ground and the sword is drawn out towards forwards right.

2, When taking up Jodan move the Kissaki with a feeling of thrusting towards the left ear, then swing up.

3, When taking Kirioroshi action the power of the Tanden must be used to hold the upper body which tends to bend forwards.


The theory of this method is;

Lightly put both knees together.

Turn the feet over to rest on the toes.

Straighten the hips and take up the Jodan posture.

Then take a large Kirioroshi with full power.

If there was a real target, centrifugal force would be absorbed in the target. However in reality there is no target. Therefore in Iaido it is essential to balance the body to stop the upper half leaning forward more than necessary.

My teacher Yamamoto Takuji Sensei explained to me how stabilize this leaning problem as follows.

At the same time as taking Jodan with a large upward swing, drop the hips a little and use the weight of the body as additional power.

From this posture , push the Tanden forwards and shift the knees as shown in the diagram, A to B, C to D. Both knees move with a feeling of digging into the ground. To be able to do this, all the toes on both feet must generate a thrusting power to push the body forward.

If one does Kirioroshi using this method, the leaning forward problem will be stabilised.

Also dropping the hips will maintain a strong posture preventing the body from leaning forwards.


The Chiburui action of Makko is the same as Yaegaki.


Because Kirioroshi has been done with the knees spread, the height of the hip is lower than the usual sitting Kirioroshi.

Therefore the Noto movement has to be taken carefully. If the Koikuchi is lifted to do Noto, the Kojiri will hit the ground. In this form the left hand controls and pushes the Koikuchi downward and backward. If the knees are spread too wide it is possible to draw them together a little when taking Yoko Chiburui. Also Noto can be done to the right hand side with preparation of the Koikuchi with the left hand.



Within Iaido there is a multitude of logicalities and methods. For example within Makko the differences of drawing techniques depend upon the envisioned opponent’s speed and timing. A direct student of Master Oe, Mori Shigeki Sensei explained as follows;



Batto means to draw and cut. The method of drawing and cutting quickly.



a, Drawing the sword out upwards to the right to immediately cutting downwards. Therefore most Batto techniques are done with a single right action.

b, Use the left hand to support the right. Drawing the sword with a single hand and cutting down with both. This technique is used when there is more of a time margin.

c, When there is more time to act, draw the sword without any Sayabiki action then take Kirioroshi. In the case of an opponent’s counter attack, this method is ideal to use as a Suriage technique.

d, Cases of emergency when no particular method is applicable.

In Muso Jikiden Eishin Ryu devised by Master Oe Masamichi there are two ways to study.

1, That of positive fundamental technique.

2, Flexible techniques depending upon timing, distance, the situation, direction, the opponent’s movement etc.