Jo-Ha-Kyu...
is a fundamental concept from traditional Japanese art that describes a three-part rhythm: Jo (序, beginning), Ha (破, development or break) and Kyu (急, conclusion or acceleration).  
It originates from the Noh theatre, where Zeami Motokiyo theorised it in the 14th century, and is used in many disciplines such as tea ceremony, martial arts (e.g. iaido), music, ikebana and renga poetry.
Origin:
Jo-Ha-Kyu originated in Noh theatre as a principle for harmonious performances in which each scene begins slowly, rises dynamically and ends quickly. It reflects the natural flow of tension and relaxation and also influences modern applications such as project management or presentations. 

The three phases:
Jo (beginning): Slow introduction, preparation and foundation; creates space for attunement, e.g. characters in Noh or basis in martial arts. 

Ha (development): Acceleration, conflict and deepening; builds tension through dynamism and complexity. 

Kyu (final): Rapid climax and conclusion; powerful and abrupt, followed by calm, like the final strike in Iaido.

Applying the principle in martial arts such as Iaido or Kendo, it structures movements for natural flow and efficiency. In everyday life, it promotes conscious sequencing - preparation, execution, reflection - and fits in with Zen principles of continuous improvement (Kaizen). If you are interested in Iaido, you will recognise it in kata, where it combines precision and rhythm.  

What is „Kime“?
Kime is a central term in Japanese martial arts such as Iaido and literally means „focus“, „decision“ or „conclusion“. 
In Iaido, it describes the concentrated, explosive concentration of power at the end of a technique, such as the final cut or the noto position, which rounds off the entire movement and conveys stability. This sudden tension is created by uniting mind, breath and body to generate maximum power without unnecessary tension during the movement. 

Application in Iaido:
In Iaido, kime is particularly emphasised in nukitsuke (pulling and cutting) and chiburi (drawing blood), where the practitioner stops the energy abruptly to demonstrate precision and mental clarity. 

Meaning for the practitioner:
Kime promotes mental discipline and physical efficiency as it prevents unnecessary waste of energy and teaches the practitioner to be fully present at crucial moments. In your Iaido practice, it can enhance the quality of kata by focussing on harmonious acceleration (Jo-Ha-Kyu) towards a strong finish. 

Maru ni Ken Katabami Kamon...

is a traditional Japanese family crest (kamon) and the kamon of the Muso Jikiden Eishin Ryu, showing a stylised wood sorrel plant (katabami, oxalis) with sword-like blades (ken) between its three leaves, all enclosed in a circle (maru). This design symbolises resilience, familial prosperity and martial strength, as the robust wood sorrel represents a persevering lineage and numerous offspring, while the swords add a warrior motif. It was used by samurai clans such as Nakamura, Shibuya, Hirano and Naruse and often appears on armour, flags and sword fittings. 

Shingitai (心技体)...
in Budō refers to the unity of mind, technique and body.

Meaning of the three characters:
Shin (心): Mind, heart, inner attitude; includes such things as determination, concentration, motivation and character development.
Gi (技): Technique, ability, skill; i.e. the execution of waza, principles of movement and methodical practice.
Tai (体): Body; physical condition, posture, strength, coordination and the ability to use the whole body sensibly.

The concept in Budō:
Shingitai describes the complete development of the human being („san mi ittai“ - three principles in one body), in which the inner (mind) and outer (body, technique) are inextricably linked. In many martial arts, if one of the three areas is neglected, harmonious development and real progress on the path (dō) is not possible.

Practical relevance:
In training, Shingitai is expressed, for example, in the fact that correct posture (shisei), breathing (kokyū) and the use of the centre (hara) permeate the technical movements.
An experienced teacher structures lessons in such a way that not only sporting performance but also personal development („personal growth“) is promoted through the unity of mind, technique and body.