Nakamura Ryu Battodo is a style of Japanese martial art sword techniques conceived of and created by Nakamura Taizaburo. Nakamura, who was born in 1912, was admitted to attend the Toyama Military Academy when he was 21, and inevitably qualified as an instructor of martial art sword combat. After the Second World War, during which Nakamura was a military kenjutsu instructor, he developed his unique style of battodo based on eight basic strokes of Japanese calligraphy combine with certain principles abstracted from his teaching of Toyama Ryu Battodo.

Nakamura style embodies eight specific cuts and eight defensive kamae (stances) incorporating the basic principle of bringing the sword to an immediate, controlled halt after a cut (tome), whilst swiftly moving the blade in a folding technique to prepare for the next opponent or cut. This controlled cut and folding technique is composed of precise steps that best employ the sword's kinetic energy (momentum/potential energy) to maximize efficiency of moving from the initial cut into the next combative posture.

The katas (combinations of cuts and foot steps) and style evolved around the principle of 'one cut one kill', by putting all of the energy into one controlled powerful cut,or a kata consisting of a battodo (one-handed starting cut), then followed up by a powerful two-handed finishing cut. Nakamura found during his research that many other styles did not utilize the kesagiri (downward diagonal cut), a cut he considered to be most practical and powerful. So he incorporated kesagiri as a major component of his style.

Nakamura Ryu Battodo is also known as a 'battlefield style' making use of full outreached cuts for the absolute most effective use of the blade's length, whereas some other styles cut close to the body for use in confined spaces, such as indoors.

All of these principles directly relate to practical demonstration of the basic techniques of tenouchi (proper tsuka grip), wide, long, stretching and reaching cuts, power and tome which results in a sharp tachi kaze (whistling through the air), with a katana or iaito blade that has a bohi (groove along the length of the blade).

If the angle is wrong, usually because of a poor tenouchi, then the target flies off as it is pushed aside by the misaligned angle. This will also cause 'scooping' and 'thumping' of the target.

Due to the higher density of cutting Tatami-omote, if basic techniques are incorrect or need improvement, cut will be incomplete, or if using a folded katana blade, the blade may possibly bend.

At all times there must be a clear demonstration of proper sword control, and precise timing with full power and tip speed at the right point to cut the target whilst showing absolute sword control to be able to stop the katana at exactly the correct height and angle from the target.

It is also important to be the correct distance away from the target so the cut is made with the end quarter of the blade. A student should commence tameshigiri threes teps away from the target so that by the time the third step is taken, the student is at the correct cutting distance from the target. It is a poor technique to have to check the distance from the target using the katana blade, adjust distance and then cut. A student must be able to judge the distance and alter steps sizes accordingly. Tameshigiri is a practical 'test' cutting to simulate real battlefield scenario with an opponent (who won't wait for distance measuring).

There is the combination of getting the timing correct so that the rear foot slides away from the target just as the cut is being made into the target to create the slicing action, while maintaining the left hand in the centre of the body and using the power of the hips. It is the hips and sliding action that performs the cut, not a brute-force swing like a baseball bat.

With correct technique and principles a student should be able to cut any target from the smallest to the largest.

Timing is critical and the student should always exercise precise actions, not only in sword control but movements and discipline, never swinging through, but stopping at the end of each cut with tome. Much practice is required to make quick successive cuts, as there is always a minute tome between each cut, but fluidity is maintained along the basic principles of Nakamura Ryu Battodo.

Stepping and preparing the blade for the cuts is also critical. There may be multiple targets to cut therefore the stepping and timing sequence must be precise for not only judge the distance from the target, but so that the sword will be in the correct cutting position by the time each target is reached. It is up to the student to judge the situation and have all basic techniques and principles as automatic and second nature.

Tameshigiri is the Japanese art of test-cutting. Originally intended to test the quality of blades, in modern practice it is used to test the quality of the swordsman's skills/abilities. It is such an important part of Nakamura Ryu Battodo as it incorporates all the elements of cutting and puts it into practice. It allows one to test and analyse his/her abilities as if certain elements are lacking the cut will not be true.

Proper sword grip (tenouchi), tome, stance, foot work, cutting angle and technique, are all essential parts of cutting that need to work simultaneously in order to deliver clean, powerful cuts.

There are various targets that may be cut including beach mats, tatami omote and bamboo. Cutting different targets test different skills. Cutting beach mats is a good way to test you have the basic technique and sword angle. Where as cutting tatami omote also tests power and control. To be able to cut tatami omote you need to incorporate a solid stance, good grip, speed,power, and the ability to stop the blade after cutting through the target (tome).

Distance is tested with the goal of cutting using the monouchi. Footwork and stepping is also tested on approaching the target. Ideally a swordsman should eventually be able to cut from any starting position.

In tameshigiri there are many ways of cutting targets that are used. One such way is suihei-giri, which is a horizontal cut. Also, setting up multiple targets and flowing between them smoothly is a good way to expand on single target cutting for more experience, as it develops distance and accuracy.

To determine the effect of tenouchi on the cutting procedure, we must first define the word. The Japanese word tenouchi can be broken down into three parts. Te - meaning hand,no - meaning of and uchi - meaning inside. So we translate tenouchi as 'inside of the hand' or more commonly, grip.

Does how we grip the sword matter in terms of cutting a target and if so, why? Any person can pick up a sword and swing it at a target resulting in an adequate cut without any training or knowledge of correct technique. This would imply on the surface that grip is not important in the ability to cut a target. However, the purpose of training in Nakamura Ryu Battodo is not simply to cut, but to cut accurately and consistently under many different conditions. We find that without good tenouchi, accuracy and consistency are impossible to maintain. This is due to a number of reasons.

There are two significant forms of correct tenouchi in Nakamura Ryu Battodo. The first is when in one of the eight preparatory stances or Happo no kamae. The most common stance is chudan no kamae where the hands are placed over the tsuka with the right hand at the tsuba and the left hand below it. If one forms a 'V' with the thumb and index finger of each hand, the tsuka should run through the point of each 'V'. The little and ring fingers of the left hand should curl around the tsuka at the kashira holdingit firmly with the other fingers of each hand curled around, but holding lightly though not loosely. In this relaxed position, the wrists are very slightly to the sides of the tsuka, allowing for a secure grip but also easy movement of the sword in any required direction. This technique is basically unchanged for any of the stances except for slight allowances due to the limits of the human body. The position of the hands over the sword are extremely important as this imparts the correct blade position from which any cut will proceed. If the blade position is incorrect in the beginning, the cut which follows will also be incorrect and most likely doomed to failure. Mastering tenouchi at this stage allows one to naturally bring the sword into an repeatably accurate position from which a cut can commence.

This brings us to the second form of tenouchi. This form occurs during the cut and is essential for completing it with accuracy. Initially the sword is held in the first form of tenouchi in the ready position. For example, in Jodan no gamae if the cut to be performed is kesagiri. The hands are held close to the body at this point. At the commencement of the cut, the sword tip or kissaki is accelerated outward and the arms arms are extended to form an arc from which the straight section of the cut which passes through the target can be made. It is at the point where the arms reach their full extension that we change tenouchi from the first relaxed form to the second. At this stage we rotate our wrists inward so that they are now directly over the tsuka and we form a tight grip with all fingers of both hands. The purpose of this is twofold. Firstly it allows a much more secure grip on the sword to absorb any impact from the target and thus reduce the possibility of letting go of the weapon due to an unexpected shock. Secondly it allows the sword and arms to form a rigid connection which stabilises the path of the cut. If the sword is held too loosely at this point, the blade angle can deviate from it's initial position causing the sword to slap the target rather than cut it. Also the sword can vary in it's trajectory causing the accuracy of the cut to be difficult to maintain.

In recent decades interest in teaching, learning and training in budo (Japanese martial arts) has increased spectacularly. Not only in the unarmed arena in arts such as karate and judo but also in the use of weaponry, of which theJ apanese sword is arguably the most recognised and renowned. For this reason interest in sports like kendo and arts such as iaido and koryu styles which teach the katana have spread internationally. However, with such a diverse range of styles one is left asking what differences exist between them? What differentiates Nakamura Ryu Batto-do Happogiri To-ho (Nakamura Ryu) from Kendo or Iaido? The following figure offers a useful overview of where various styles stand:

Most significant is Nakamura Ryu'sf ocus on the practical application of the katana. In exploring the practicality of the style, attention will be given to several distinguishing features, namely the development and inclusion of Nakamura Ryu Happogiri, Happo no gamae, emphasis on tameshigiri, and chiburi and noto.

Nakamura Ryu was founded by NakamuraTaizaburo (1912-2003) in 1952 following his return to Japan after the conclusion of World War II. During his time in China, Nakamura sensei was inspired by the ei character in Chinese calligraphy composed of eight brush strokes which followed the trajectory of the sword. He then progressed to develop a logical system of swordsmanship omitting ineffective techniques found in other styles of which Happo Giri is apart. Deceptively simple, Nakamura Happogiri enables a student to practice the eight cuts of the sword, of which all other cuts are variations. Most notable is the inclusion of the kesagiri (left/rightdownward diagonal cuts) which Nakamura sensei realised was not employed by many Koryu schools, contending that many forms were performed out of tradition and taught in a vacuum lacking any real application. This became apparent after witnessing the ineffectiveness of vertical downward cuts on the battlefield, particularly on steel helmets, whereas kesagiri not only aims for the vulnerable and often unprotected collarbone of the opponent but is also the most natural cut for a swordsman. For this reason it can be seen that Nakamura Ryu Batto-do is first and foremost a style focused on the logical and practical use of the katana.

In addition to Happogiri Nakamurasensei also introduced Happo no Gamae, the eight postures. Many schools employ only five stances but Nakamura sensei sensed that balance was lacking, leaving a defensive gap particularly on the left side. Consequently, Nakamura sensei added left hasso, left waki and right jodan gamae. At this point it is worth mentioning that he incorporated eight defensive techniques to compliment the eight cutting methods, eight stances, and eight notos, completing his logical and systematic style. The practicality of Nakamura Ryu is displayed most prominently however in its emphasis on tameshigiri and in the application of wide cuts which will now be discussed.

According to Nakamura sensei, who had extensive experience in test cutting, irrespective of the style in which you train whether it be Iaido or Kendo, unless you cut with a real sword you will never experience true sword technique and thus Nakamura Ryu places a heavy emphasis on tameshigiri. Differentiating itself from many koryu styles which do not discuss cutting techniques such as the sword's angle of attack and the arc along which the blade travels, Nakamura sensei emphasised the importance this plays in swordsmanship. Several important lessons in tameshigiri which are emphasised in Nakamura Ryu include the application of wide cuts which are not drop cuts, and tome. Being an open battlefield attack style, Nakamura Ryu aims to achieve maximum distance when attacking anopponent. This not only provides the obvious reach advantage, but it also results in two other advantages being increased cutting ability due to the faster tip speed, and, the increased difficulty for anopponent to disarm or launch an attack as the tip of the sword leads rather than the hands. Moreover, Nakamura Ryu emphasises cutting from jodan and trains students not to allow the tip to dip past the head. This gives a first strike advantage as they do not require the additional preparation time. Tome is vital in tameshigiri and swordsmanship and forms part of the foundation upon which Nakamurasensei based his style, saying, "My system is based on studies of how to bring the sword blade to a halt following a cut, how to parry, and how to progress to the next combative posture by utilizing the sword's kinetic energy." It not only trains sword control but also ensures a true, clean cut as the trajectory and angle is not disturbed. With such heavy emphasis on tameshigiri leading to the effective use of the Japanese sword, Nakamura Ryu is clearly concerned with the practical and realistic application of the style's teaching.

Finally, the chiburi and noto of Nakamura Ryu Batto-do are distinctly different from many Koryu styles. These old school styles aim to clean debris from the blade through the centrifugal force created by their circular chiburi which ends abruptly. Nakamura sensei observed that it is impossible to remove blood, flesh and debris from a blade with such a motion with the only sure method for cleaning being the wiping of the sword with a cloth or other material. Thus the Nakamura Ryu and Toyama Ryu noto is distinguished from many styles as the chiburi is not performed for the purpose of cleaning the blade but rather as an en-garde position which may be converted to a thrust if need be, after which the noto is performed in an efficient and minimalistic manoeuvre. While the chiburi may not be as aesthetically pleasing as koryu the emphasis is again on practicality, not theatrics.

Nowadays, the art of sword defense and attack helps maintain a somber connection to its former practice and tradition. Those were more brutal times where fighting and battles were part of life and your social status could make you vulnerable to life threatening situations. Materials that can now be used as cutting targets include wara (rice straw), goza (the top layer of tatami mats), bamboo, and thin steel sheets. One can attain a real sense of satisfaction, by the control and safe use of the sword. Any sword could easily cause serious injury or fatality without the necessary respect and care in its handling. This is taught as part of the curriculum.

The modern Nakamura Ryu Battodo style follows principally an open field battle situation. The kata are performed from upright positions with wide arm extension movements for all the main cutting techniques.

Sensei Hans Fricke recounts NakamuraTaizaburo (1912-2003, hanshi 10th dan,) opinion, 'If your cutting technique is poor then the katas become pointless, nomatter how good they are executed'.That is why nowadays the tameshigiri practice has become more about the skill of the swordsman than that of testing the blade. In Nakamura developed style,the techniques used for sword cutting follow the kata use of wide extension of arm and sword. There is also additional attention given to foot work (example, sliding foot diagonally back), hip-action and co-ordination of sword and body movement, to name a few of the attributes. Upon execution of the cut, there should be a drivingf orce of commitment when one cuts. Each cut is executed with as much intent as the previous one, each beginning afresh. The intent used to be one of a morbid approach, 'one cut, one kill'.

Training in cutting aims to harness control and accuracy through technique developed from our kata.There are a range of cuts which include the kirioshi vertical cut, the kesa cuts, generally commencing with sword held vertical just above the head or from a hasso (shoulder position) - moving sword diagonally straight from top right to bottom left, top left to bottom right, the kiriagi - diagonal cut from bottom left to top right, bottom right to top left, the horizontal mayoko - left to right an dright to left. Also, the thrust with a flat blade or edge facing down.

Progression of difficulty can include multiple targets on stands, placed in different arrangements, cutting in the same plane or altering planes of sword travel. Continuous swing cutting where once the basic tome (halt) technique is mastered, then the momentum of the swing is carried over into the next cut. Further mastery can be obtained by specific cuts like mizu-gaeshi (cut diagonally upward to the right and then a horizontal cut on this piece before it has fallen). There is one particular cut sequence with good wrist action and tome required on a freestanding tatami on the floor, where multiple kesa cuts are executed without the sword tip hitting the ground. I've witnessed sensei Fricke achieve up to six such cuts, where the body stance also gets lower and wider and more difficult to swing through a shorter distance.

Practising tameshigiri will improve every aspect of the swordsman's technique, including the co-ordination of tai-sabaki (use of the body), ashi-sabaki (use of the feet) and ken-sabaki (use of the sword). To effectively cut a target, one must judge the maximum distance at which they can cut with the arms fully extended. In addition to this, when executing the cut, one must utilise them ovement of their hip in the direction of the cut, to assist thet ransfer of energy in this direction. Employing these body movements while maintaining correct posture helps to enhance one's tai-sabaki. Once the swordsman is committed to the cut and is about to make contact, sliding the back foot in an outwards diagonal direction will turn the body at the hip, and provide a slicing movement at the sword cutting edge, forcing it into and through the target. The sword itself then relies on correct cutting angle and speed in order to successfully and accurately cut. From this it is evident that tameshigiri enforces the coordination of the swordsman's tai-sabaki, ashi-sabaki and ken-sabaki simultaneously in a practical environment, and correctly performing tameshigiri will yield the improvement of on's Tameshigiri is also important to Nakamura Ryu Battodo as it acts as a benchmarking system to assess a swordsman's current ability level and progress. Throughout the swordsman's career their knowledge of kata will grow, and it is essential to always revert back to tameshigiri to understand and maintain the practicality behind the kata. Periodically doing this will ensure the swordsman is continually moving forward and improving on each aspect of their technique. Tameshigiri is also used as a global means of keeping standards for good cutting, and tournaments are held regularly to increase competitiveness amongst swordsmen, encouraging the need to self-improve and maintaining the standards that define the various levels of ability. As such, tameshigiri is an essential aspect of swordsmanship that can allow one to determine their current ability level, and comparatively identify areas fo rimprovement in their technique.

Hence, Tameshigiri involves many factors required of Nakamura ryu battodo, where the perfect cut displays a broad understanding of the style. On the other hand, if unsuccessful, there is something in the method left unaccounted for.