Iaido Points

The following text was cut and pasted from two sources:

numbered points from EJMAS iaido points page (2009 book notes)
letter points from AUSKF iaido points page (1994 instruction notes)

Also included are links to clips taken from the AJKF instructional video (Japanese version). It is highly recommended for iaidoka of all levels, from beginner to advanced, to watch this video in its entirety. With each view you will pick up and appreciate different points, whatever your current level or physical situation.

In this listing, the numbered points are more basic, and more important, than the lettered points. (For #11 and 12, only numbered points are given.)

#1 MAE
a. Is the player imagining a front opponent as s/he sits down?
b. Is the nukitsuke executed at the same time the sword leaves the saya?
1. Does the performer do enough Sayabiki when they cut the opponent's face with Nukitsuke?
c. Are the positions of the kissaki, right hand, elbow and shoulder correct?
2. Is the sword taken into Furikaburi with a feeling of thrusting to behind the left ear?
3. Is the tip of the sword above the horizontal position when in Furikaburi?
d. Does the left knee pass the right heel as it is slid forward?
4. Is the sword brought down without hesitation during Kirioroshi?
5. Is the tip of the sword slightly below horizontal at the end of Kirioroshi?
e. When initiating the chiburi action, is the right palm turned upward and is the cutting edge of the sword pointing to the left?
6. Is the shape and form of Chiburi correct?
7. Is Noto performed correctly?

#2 USHIRO
a. Is the player imagining a back opponent as s/he sits down?
b. Is the head turning with the body?
1. When the turn is made, is the left foot moved sufficiently to the left?
c. Are the positions of the kissaki, right hand, elbow and shoulder correct?
2. Is the horizontal cut made to the opponent's temple?
d. Does the right knee pass the left heel as is it slid forward?
e. When initiating the chuburi action, is the right palm turned upwards and is the cutting edge of the sword pointing to the left?

#3 UKENAGASHI
a. Is the player imagining a left opponent as s/he sits down?
b. Is the ukenagashi movement expressed clearly?
1. When the parry is made, does it protect the upper body?
2. Is the left foot brought back behind the right foot and the cut made along the Kesa line?
c. Are the ukenagashi action and cut executed as one continuous movement?
d. Is the right hand above the shoulder as the cut begins?
e. Is the kissaki upright over the shoulder as the cut begins?
3. After the cut has been made, is the left hand in front of the navel and the sword tip a little below horizontal?

#4 TSUKAATE
a. Is the player imagining the opponents as s/he sits down?
1. Is the Tsukakashira surely pointed at the opponent's solar plexus?
b. Is the first opponent still being pressured by the tsukagashira as the sayabiki is performed?
c. Is the ridge of the sword near the monouchi touching the left chest and is the edge turned outward?
2. When the rear opponent is thrust, is this done with the right elbow extended fully and does the left hand bring the Koiguchi to the navel?
d. When turning again to the front, is the head turning before the body?
3. When Chiburi is performed, is it at the correct angle while the person steps back with the left foot at the same time when their left hand takes hold of the Koiguchi?
e. When sitting, is zanshin shown as the left knee is placed on the floor to the sonkyo position?

#5 KESA GIRI
1. When the initial upper cut is made, is the right hand above the right shoulder when the sword is rotated?
a. Is the kissaki pointing upwards and is the blade vertical as the initial cut is completed?
b. Does the monouchi reach out of the body side as the downward cut is completed?
2. Is the left hand gripping the saya as the left foot is moved back on the chiburi action?

#6 MOROTE TSUKI
1. Is the initial cut correctly made from the opponent's temple down to their chin when making Nuki Uchi?
a. Does the height of the kissaki in chudan correctly express the intent to thrust at the solar plexus?
b. Is the thrust executed with the correct body movement?
2. Does the performer bring their left foot up behind their right? Is Chudan No Kamae correctly made and the sword thrust into the correct target of the body? Is the thrust made with certainty?
3. Does the performer bring their sword above their head in a parrying action when pulling it out from the first opponent?
c. Is the foot on which the body turns pointing forward, and is the heel of the rear foot lifted a little off the floor?

#7 SANPOGIRI
a. Is the opponent in front intimidated with the spirit?
b. Is the right foot placed a little forward of the left pivoting foot on the initial cut?
1. Is the initial cut to the first opponent made through the correct diagonal angle from the top right side of the head down to the base of the chin?
c. Is the player conscious of the opponent in front as s/he turns to the left?
2. Is the cut to the opponent on the left performed without hesitation?
3. Is the sword brought up to Furikaburi with a parrying action?
d. Is the head turning towards the opponent before the rest of the body?
e. When making the second cut (to the left) is there sufficient vigor on the left foot?
f. Is the head turning towards the front opponent before the rest of the body?
4. Does the last cut finish at the horizontal?
g. Is sufficient concentration shown after noto?

#8 GANMEN-ATE
1. Is the initial strike with the Tsukagashira made between the eyes?
a. Is there a feeling of pushing with the tsukagashira against the opponent in front as the saya is pulled back to make the turn to the rear?
2. When turning to face the opposite direction, is the right hand placed on the hip?
the opponent to the rear?
3. When facing the rear opponent, is the body turned completely to the rear with the rear heel slightly raised and in a straight line?
4. Is the thrust performed without too much bend in the knees?
b. Is the right fist a little lower than the kissaki and in line with the right hip when making the thrust, and is sufficient sayabiki shown during the thrust?
c. Is the sword pulled out and raised above the head in an ukenagashi movement?
d. Is sufficient concentration shown after noto?

#9 SOETETSUKI
1. When the initial diagonal cut is made from the opponent's right shoulder down through to the waist, is the right hand at the height of the navel and the sword tip slightly above the horizontal level?
a. Does the monouchi reach out of the body side on the initial cut?
2. Is the sword held securely between the left thumb and forefinger with the right hand near the hip?
b. Is the kissaki pointing at the abdomen of the opponent when making preparation for the thrust?
3. Does the right hand finish in front of the navel after making the thrust and does the thrusting action adequately reach the opponent's body?
4. When showing Zanshin, is the right elbow naturally straight and the right hand no higher or lower than the chest level?
c. Does the kissaki remain still when starting the chiburi?
d. Is sufficient concentration shown after noto?

#10 SHIHOGIRI
1. Is the strike to the first opponent's hand done firmly and effectively with the flat side of the Tsuka?
a. Is there the feeling of pushing the first opponent with the tsukagashira as the sayabiki is made on the initial turn?
2. In making Sayabiki, is the Mune near the Monouchi of the sword on the chest and is the thrust made surely into the solar plexus of the opponent?
b. Is the thrust to the solar plexus made without pause?
3. When the thrust is made, is the left hand brought to the center of the navel and both arms aid the technique with the correct tension?
c. Is there the feeling of pulling the sword out as the sword is raised above the head?
4. Is the final cut made by going through Waki Gamae without hesitation or pause?
d. Is there the feeling of uke nagashi as the sword is raised above the head when pivoting on the left foot to turn to the right rear? Is the cut made on the right foot?
e. Is sufficient concentration shown after noto?

#11 SOUGIRI
1. When the sword is drawn up, is it in a correct position to parry an attack?
2. When moving forwards, does the performer use Okuri Ashi footwork?
3. When making the horizontal cut, is it performed horizontally with the correct angle of the blade?

#12 NUKI UCHI
1. When the sword is drawn up and out, have both feet moved back adequately to evade the downward cut of the opponent?
2. When the right hand is taken upwards, is it in the center line of the body?

Summary diagram of cutting angles (source unknown):