The draw is one of the defining features of Iaijutsu. Known as nukitsuke, it is often the first movement of a kata and the moment where everything either begins to flow… or falls apart.
For many students, the draw is deceptively difficult. Done properly, it’s a seamless motion—drawing the sword, cutting, and stepping in perfect unison. Done poorly, it can be disjointed, tense, or misaligned. But like most things in classical sword arts, it’s not about speed or strength—it’s about precision and timing.
What Is Nukitsuke?
Nukitsuke (抜き付け) refers to the initial draw-and-cut motion in Iaijutsu. Rather than drawing the sword and then attacking, nukitsuke combines both into a single, decisive action—ideally surprising and disabling the opponent in the same instant.
But achieving this fluidity requires attention to a few essential elements, which we’ll break down here.
Common Struggles with Nukitsuke
Before we look at what to do, let’s briefly acknowledge what often goes wrong:
- Dragging or snagging the sword on the koiguchi (scabbard mouth)
- Lifting the sword vertically rather than drawing horizontally
- Pulling with the right hand instead of pushing with the left
- Cutting without coordinating the step or hip turn
- Mismatched hasuji (blade angle), causing a blunt or unrealistic cut
Recognising these issues is the first step to correcting them.
Tips for a Smooth, Functional Draw
1. Push, Don’t Pull
The draw starts with the left hand, not the right. Rather than yanking the sword out with your right arm, push the saya (scabbard) back with the left. This action—called saya-biki—creates clearance for the blade and starts the cut with correct alignment.
Tip: Think of the saya hand as opening the door for the sword. Don’t try to force the blade through a closed frame.
2. Keep the Blade Horizontal
A good nukitsuke almost always involves a horizontal (yokogiri) or diagonal (naname-giri) cut as the sword exits the scabbard. Make sure the kissaki (tip) doesn’t lift upward prematurely.
You should feel the sword glide out flat, not scoop upward or swing downward.
3. Coordinate the Step with the Draw
The footwork and sword movement should be one unified motion. If the sword comes out before you step, or if you step before you start the cut, it will look disjointed and feel unbalanced.
A good rule:
- Right foot steps as the sword begins to clear the koiguchi
- Cut completes as the front foot settles into stance
4. Lead With the Saya Hand During Training
In solo drills, exaggerate the saya-biki motion slightly so you can feel how much clearance it gives you. Over time, you’ll find a more refined balance.
Try this drill:
- Slowly draw the sword while keeping the right hand still.
- Let the left hand do all the work of saya-biki.
- Watch in a mirror—ensure the blade comes out straight and level.
5. Relax the Right Arm
Tension in the right shoulder ruins the draw. Keep the right elbow slightly bent, relaxed, and let the sword follow the line set by the hips and hands—not by brute force.
Think of guiding the sword rather than forcing it.
Bonus Tip: Use the Obi as a Reference Point
If the sword gets caught during the draw, your angle or saya-biki might be off. One practical check is the position of the sword relative to your obi (belt line). The sword should glide just above or along it—not below the waist or flaring too high.
The Goal: Seamless and Natural
A good nukitsuke doesn’t draw attention to itself. It’s simply the beginning of motion—the natural way the sword comes out to address a threat.
Once you can draw and cut in a single, calm motion—without adjusting mid-movement or fighting your own posture—you’ll start to feel how Iaijutsu flows from the draw, not after it.
Final Thought: Fast Comes From Smooth
Many students try to be fast with their draw. But true speed doesn’t come from rushing—it comes from efficiency. When you stop wasting energy and movement, you automatically become faster.
So next time you practice nukitsuke, don’t chase speed. Chase clarity, connection, and calm precision. Speed will come when the path is clean.