Many thanks indeed for posting up the link again in this thread, Brian - I must've missed that the first time round.
Finding video of 'proper' MJER is like searching for the unicorn so it's very much appreciated when someone finds gems such as these :tup:.
They're not 'show stoppers' but they are quite distinct e.g. the absence of evasive body positioning in ukenagashi, the flat angle of the cut in kaishaku, the oddly (to me) emphasised stiff furikaburi in yaegaki.
It'd be interesting to get a fuller explaination of how he came to implement these 'differences' and the bunkai behind them - I'm surmising that it is simply that Sensei Suino was taught that way by Yamaguchi Sensei.
It is very, very hard to find good MJER out on the internet. Glad you liked them.
This puts a 'wind' into the hips allowing for more snap in the turn to face the opponent.
Watching again tho', the biggest difference we have is that we lean much further back to avoid the follow up cut to the hip/ribs, raising the right foot as a counterbalance and then stamp into our cut.
Interpreting what I see (always a dangerous process ) I think where the difference comes in is that the bunkai envisions a less 'late' response than my sensei proposes. If the reaction begins as the opponent closes then I can visualise that the form makes sense. For us, the cut is practically descending when we begin to respond i.e. we've been very complacent and only start reacting as the first overtly aggressive move is seen.
As ever, this is hard to describe and a picture/video would speak a thousand words (or more ).
The kaishaku cut is the one that confuses me the most as it is exactly the sort of cut that I've been trained not to make. I think again it must all come down to the bunkai. If it is assumed that the person committing seppuku does not drop their head forward to receive the cut then the flat angle makes sense.
As Brian says, there are always small differences between sensei and I like to investigate their interpretations of the meaning of the kata (this is akin to trying to read the poetry behind the mechanics of verse structure :O).
One thing that my sensei has always been at pains to stress is that, when you are training in iaido, the fundamental spirit is one of adapting to the requirements of the situation. The extent to which you manage to do so shows how well your studies of the use of the sword are progressing.
He himself has trained under and with a number of MJER noteables (such as Iwata Sensei) and says that each of them has had their own interpretation of kata and bunkai.
In all cases where you are under the guidance of a senior grade, he feels that if you encounter an approach that is different from how your own sensei has taught you, it is encumbent upon you to adapt your execution to the liking of who is teaching you. There is an important "But" in caveat (isn't there always ?), you do not put aside what you have already learned. Rather, you add to your repertoire. It's a bit like the adage about the exchange of ideas whereby you end up with more than you started with.
I suppose the precis is that it is not only good manners to take 'on board' what is being shown to you but it enriches your understanding of the art and your ability to handle the sword.