First impressions of a Kendo bout could be that it is aggressive, loud and of course, being a full-contact martial art, appears to be somewhat violent. This notion could not be further from the truth. Kendo, without a doubt, is totally dynamic. Practitioners of the art (Kendoka) display high levels of skill and concentration, while encompassing a freedom of movement, co-ordination, grace and agility that any dance choreographer would appreciate. The spectacle of Kendo being practised can look almost theatrical. The pure energy and noise generated cannot fail to send a shiver down the spine of any spectator. It is truly awesome.
What is Kendo? Kendo, the art of Japanese Swordmanship, has a long and rich history. It is arguably one of the oldest martial arts. The origins of the art, as we know it today, lie back in the HEIAN period of Japanese history (around the year 940). It was about this period when sophisticated sword techniques, especially designed for the Japanese foot soldier, utilising lightweight protective body armour, began to appear. These techniques were developed, refined and tried and tested on the battlefield. This was the period when the sword techniques used today, Kendo began to change. The All Japan Kendo Association was founded in 1912 and formalised methods of teaching in schools throughout Japan were established in 1936. Kendo, banned during the war years, re-emerged in 1952 stressing the importance of healthy living and a sports approach and philosophy based on its long history. As of 1989, some seven million people practised Kendo in Japan. No longer limited to Japan alone, Kendo is now popular all over the world and Kendo players in many countries continue to grow in numbers. Kendo is practised by people from all walks of life. There is no restriction on who can participate. Age, sex or indeed disability need not be a barrier. Modern Kendo involves players trying to strike targets on designated areas of their opponent's body with a bamboo practice sword (Shinai). These targets are protected by lightweight body armour (Bogu). Strikes and thrusts with the Shinai form the Kendoka's personal attack (shikake) and defence (oji) techniques (waza) which are directed at the opponent's target areas. Strikes are restricted to basically three areas of the body. The head, top, left and right sides (men), the forearms (Kote) and the trunk (Do). Thrusts are usually permitted only to the throat. All strikes can be delivered forwards or backwards. It should be noted that these target areas were chosen purposely as the most difficult areas on the body to strike. It is not enough for your shinai to just hit the opponent, strikes or thrusts can only be considered correct if the attacks are executed properly, to the exact target area, with controlled Kiai (voice-spirit) and demonstrating Zanshin (awareness). An analogy may be scoring a hole in one at golf and having the score disallowed because your swing was incorrect. Kendo basically comprises of 3 main elements. Kendo practice (Keiko), Kendo match/competitions (Shiai) and Kendo Kata pre-arranged swordwork based on traditional forms.
1. Kendo Practice (Keiko) Within Kendo training and practice there is no place for ego. It can be suggested that the Kendoka's great mental triumph is to become one with the sword. The Japanese phrase for this is Ki-Ken-Tai no icchi. They say that the spirit, sword and body should be as one. You do not strike with your sword and then your body. Everything: body, sword, mind and intention should be as one. This is difficult to achieve on a consistent basis and demands that the Kendoka constantly practice the same technique repeatedly until a strike or thrust can be delivered without thought. If you only follow your instincts in Kendo you will be defeated. In Kendo you are trained to see things with your eyes, react immediately to the situation and make instant judgements with your mind. During a Kendo practice, session or match, you observe your opponent with your eyes, react quickly and positively to his moves and create the initiative for your attack, as seen through your mind. You must look at your opponent's heart, his spirit and eyes. You must see him as he is. To do this you must defeat not only your own ego but also the eye of your opponent. Your mental attitude is important: it can decide whether you beat your opponent or yourself.
2. Kendo Match (shiai) Competition is of considerable significance within Kendo as it provides the opportunity to try out techniques and skills you have developed during daily practice, with an opponent, while having the external pressures of time and penalties enforced upon the match. Some of the essential elements in a Kendo match are as follows: POSTURE No matter what posture you assume adjust your opponent offensive or defensive, none of them will guard you unless backed by a determined sperif. A kendo matmch is ultimately decided by the difference in mental power between you and the opponent. KI-AI In Kendo, to be full of Kiai is to be full of spirit. Kiai should be used sparingly. It is most effective when used in the following three situations:
In the initial moment when one comes face to face with an opponent.
When attacked by the opponent
At the time of attacking a specific target.
Its purpose is to eliminate the sickness of doubt, fear, perplexity, hesitation and surprise. MA-AI Literally meaning 'distance between'. Ma-ai in Kendo is referred to as distance and timing. Ma-ai involves more than just the judgement of distance between opponents, it actually refers to space. A Kendo player needs to control the space during a match at any given time. It is necessary to develop the ability to 'size up'. ZANSHIN (awareness) The Kendo player must employ Zanshin at all times while training and be in a sustained state of alertness with the aim of assuring strategic victory. A Kendo match is a series of actions, both offensive and defensive, requiring uninterrupted concentration. Kendo is a continuing training of the mind and body. It is a life long pursuit often extending into one's 70's and 80's years of age. Throughout this time the element of competition is still relevant, although the emphasis will most certainly change from an external to an internal (self) opponent.
3. Kendo Kata Although in modern Kendo the points of attacks are limited, the strikes and thrusts that are performed during practice involve a freedom that inevitably leads to an element of competition. Taken to the extreme, Kendo can degenerate into a contest carried out solely for the purpose of winning or losing. When this occurs the purity within the Kendo technique is lost. Kata is therefore a means by which the Kendo player can improve and maintain technical purity within shinai Kendo. In direct contrast to other forms of Kendo, Kata are performed without any protected covering. All Kata are executed with a wooden sword (boken). The study and practice of Kendo-no-kata enables the Kendoka to develop a sincerity and understanding of all the fundamental aspects of Kendo techniques, all of which can be easily adapted into shinai Kendo. The above is a brief overview of kendo, its practice and basic philosophy. It can be said that Kendo philosophy and practice has a lot of applications in day-to-day life. It is very positive, you learn to grasp situations quickly and become aware of any subterfuge in other people's attitudes.
Iaido - overview
The arts of the sword as we know them today probably began with Iizasa Choisai the founder of the Tenshin Shoden Katori Shinto Ryu. This school included the use of many weapons from sword and stick to spear and throwing knives. One part of its curriculum was the fast draw and instant use of the sword, either in self-defence or as a pre-emptive strike. This section of their study is called Iai Jutsu. Hayashizaki Jinsuke Shigenobu (1542-1621) like Iizasa Choisai is reputed to have received a divine inspiration which led to the development of his art called Muso Shinden Jushin Ryu Batto Jutsu. Here Batto means simply to draw a sword. The significant factor common to both of these schools as with many other sword schools which concerned themselves predominantly with the drawing of the sword, was that the art was practised purely as kata. How then can a martial art be fully effective when it it is practised only as solo kata against an imaginary opponent? This is a much more difficult question than it at first seems, the problem begins when trying to define 'fully effective', and consider what 'effect' is required. Of course, in kata there is no repeated opportunity to prove your technique in combat as there is in fencing kendo, and in the repeated patterns of kata there seems to be no opportunity to modify your movements in response to those of your opponent. As a fighting art of the modern world it is all too easy to see the sword arts superficially and criticise them as inappropriate, simply because we do not walk along the street carrying a sword.The way of the martial artist should be to avoid conflict. This was explained thousands of years ago by Sun Tsu in The Art of War and later by masters of strategy. The martial artist who trains fully and correctly, directed by a sensei, will develop an ability to recognise difficult situations and avoid them before they become a problem, or will engage the conflict before it has grown to become a significant matter, or will maintain a state of mind and body that will not offer opportunities for an aggressor. This is the meaning of Iaido.
The kanji (character) 'I' can also be read as 'itte' and ai' as 'awasu' in the phrase 'Tsune ni itte kyu ni awasu' which means: wherever you are and whatever you are doing, always be prepared. Prepared means not only to have an aware state of mind, but also to have trained rigorously so that if necessary a decisive technique can be used to end a conflict. With a sword of course the cut is deadly, there are no hold-downs or restraining techniques, but this is not the whole point. In business you must be prepared and act decisively when required, do you have the confidence? When a friend lets you down can you deal appropriately, fully understanding the implications and effects of your actions? When crossing a road and a car appears 'from nowhere', or something falls on you as you walk along the street, is your body sufficiently balanced and your mind sufficiently clear to deal with these situations and be safe? All of these are examples of self-defence, and all as important as the superficial interpretation of self-defence equals fighting. Kata is a very difficult study.
Stages in training
1. Keiko. This means quite simply training or practice. This is the stage during which the essential movements are perfected by slow repetition, by breaking the kata down into its component parts, by understanding how the techniques work in a fighting situation. With this practice the swordsman begins to understand the principles of Metsuke (correct use of the eyes), Seme (pressing or pushing) in order to control the opponent, of Maai (combative distance) and Ma (timing). This study takes about five years of regular practice. Overlapping with it, from about the third or fourth year, the swordsman will begin the practice of Tanren.
2. Tanren means to forge in the same way that a sword blade is forged, with hard work, and sweat, and many hours of dedication, folding together the hard and soft elements in the body, mind, and movement just as the sword gains its strength out of hard and soft steel. The student increasingly practises without concern for the correctness of the movements (though they must remain correct and effective) and repeats the kata uninterrupted with a feeling of Shinken Shobu (a fight to the death with a real sword). During this phase posture improved, movements become more natural, techniques become more effective because timing is better controlled and less predictable. As confidence increases and Kigurai (bearing, demeanour) develops, training moves into the phase called Renshu.
3. Renshu. Ren means to polish, to perfect by continued practice of both keiko and tanren. It also means to polish the spirit and character through the requirements of detail and interpretation. To demonstrate a compassionate nature that can pass on knowledge without egotistical pride and arrogance. This leads to the award of Renshi meaning a person whose performance and character is polished by training. This grade is not awarded below the rank of 6th Dan and is only available from the All Japan Kendo Federation (ZNKR). After this stage the actions become slower and softer, appearing to a bystander to be less effective-but the technique comes from refined efficiency, not using force-until the moment the sword is actually cutting, remaining relaxed in body but constantly aware and prepared in mind. Only after leaving all of these stages in the past and demonstrating the simplicity of the correct action and knowing all of these stages by direct experience can the student who has by now gained 7th Dan receive Kyoshi (teacher grade) from the ZNKR.
The Curriculum
After learning basics of how to hold a sword and cut with it the beginner is gradually introduced to the ten kata of the All Japan Kendo Federation. These forms were developed in the 1960's and 70's as a national and later, international, standard for teaching, grading and competing. The moves are derived from the most popular of old styles (koryu), and, although they represent basic study in preparation for koryu practice, they continue to be the forms through which instructors and sensei demonstrate basic principles at all levels. Following these there are old style kata. Most common in the UK and Japan are Muso Shinden Ryu and Muso Jikiden Eishin Ryu, both of which are off-shoots from the Muso Shinden Jushin Ryu Batto Jutsu mentioned above.
These schools have five sets of kata, three of one-man sword drawing (Iaido) and two of two-man techniques (ken jutsu). As the student progresses through the sets, the range of interpretations widens, so that whereas the beginner had a very strict defined set of moves, the more advance student is able to imagine Kasso Teki (his imagined enemy) moving or acting differently, and adapt the kata accordingly. Similarly, with the two-man kata the student (Shidachi) must learn to cover his weak openings (Suki). If he does not the teacher (Uchidachi) will show him where he is weak by attacking other than as prescribed by the kata. This is the start of how we learn to become prepared for any eventuality in Iaido.
The Equipment
Iaido is normally practised wearing a hakama (baggy pleated trousers) and keiko gi (training jacket). An iai obi (sword belt) is worn under the hakama cords to hold the sword in place. The hakama is usually black or dark blue, and the keikogi matching colour or white. A white hakama can be worn, but this is usually considered to be summer dress. There is no indication of grade by any means in the costume. A zekken is worn on the left chest indicating your name and club, or country when attending international events. The swords used range from bokuto (wooden sword) for beginners, to iaito (plated alloy blunt practice swords) for the more experienced. Please don't turn up to a dojo for your first lesson with a sharp sword and expect to be allowed to use it! The dojo needs to be an area of plain floor, preferably wood, without mats, and with sufficient head-room to swing the sword. For individual practice I find a squash court to be ideal.
The format of a practice
After warming up and stretching the practice begins with opening etiquette consisting of kamiza ni rei (bow to high side), sensei ni rei (bow to the teacher) and to rei (bow to the sword). Then follows suburi (cutting action practice) and kihon including Chiburi (blood shaking action) and Noto (re-sheathing). Depending on the size and level of the class further techniques derived from the kata may be practised individually before the kata practice begins. The kata practice often begins with the teacher explaining points to be practised, either to the class as a whole or to groups at different grades as appropriate. Then follows either a formal practice in which everyone performs together, following the timing of the dojo leader, or a free practice when everyone performs the kata in their own time while the instructor wanders from student to student correcting points as necessary. At the end of the session everyone performs the finishing etiquette together.
The structure of the kata
Each kata follows the same basic design of four sections: Nukitsuke (draw and cut) Kirioroshi (main two-handed cut down) Chiburi (blood shake-off) Noto (re-sheathing) There are within this format considerable variations. The most common variations include: Strike forwards with the hilt before drawing, pull the scabbard back off the blade and thrust immediately to the rear. Cut at an angle other than horizontally, e.g. vertically downwards, vertically upwards. Turn to various directions to cut opponents, or re-position the sword and stab. Deflect an initial attack instead of the single handed cut, then follow immediately with a two-handed cut.
Iaido is a fast-growing art in the UK with nearly 300 people practising in the BKA this year. The BKA welcomes anyone who has no experience of sword arts, and those who practise other recognised Ryu.
Kendo Reigi (Etiquette)
One bows upon entering and leaving the Dojo.
All students will purify the Dojo without hesitation.
One does not wear a hat or any head covering unless invited too.
One does not wear shoes directly on the Dojo floor.
One does not bring food or beverages onto the Dojo floor unless invited too.
When entering or leaving the Dojo, the student greets or takes leave of the head Sensei
first.
Proper salutation to the Sensei: Last name first, then title (Last name-Sensei).
Bow to the Sensei with utmost respect.
Upon completing the session, an additional bow is done in front of the Sensei(s) for further
instruction unless directed not to.
One should ask for permission from the Sensei to leave early or at a specific time. This is
done before class starts.
Always hold the shinai, bokuto and iaito with both hands when drawn.
Never lean on a shinai or bokuto like a cane.
When walking in front of people extend your right hand, fingers pointed forward, downward
angle and bow slightly.
Students will move with promptness.
One should be attentive - ALERT!
Never touch another's dogu, shinai or bokuto without seeking permission first.
Always be alert and aware of others and your surroundings.
WORDS TO REMEMBER
COMMANDS:
Start of Class: Seiza Meso Yame Rei
(sit) (meditate) (finish) (bow)
End of Class: Seiza Meso Yame Rei Wakare
(sit) (meditate) (finish) (bow) (dismissed)
Domo Arigato gozaimas (thank you very much)
Gomen na sai (Excuse me...Sorry!)
A) Sensei Teacher I) Hai Positive answer
B) Kamiza High position in Dojo J) Hajime Start
C) Dojo Training hall K) Yame Stop
D) Bokuto Wooden sword L) Kamai On guard
E) Kata Classic form M) Nuke Toh Draw your sword
F) Shinai Bamboo sword N) Same Toh Sheath your sword
G) Kiai Voice, power from within O) Sonkyo Squat
H) Hara Inner power P) Ki o tsuke Attention
Counting: (1) Ichi
(2) Ni
(3) San
(4) Shi
(5) Go
(6) Roku
(7) Shichi
(8) Hachi
(9) Kyu
(10) Ju
CHI NO MAKI (CHI)
To build a solid foundation, the student must have the "Beginners mind". Ask the
question to challenge the unknown. The Sensei always has the "Best Way", but the
student must not get complacent........ strive, formulate and create for the "Student's
Best Way". Learning Attitude!
MIZU NO MAKI (SUI)
I Studied and practiced so that I have absorbed "Chi" into my life.
HI NO MAKI (KA)
I Have an opponent...... I must create a relationship..... WIN!
KAZE NO MAKI (FU)
I am ready to test myself against other schools.
KU NO MAKI (KU)
What have I learned?
Relationship:
Who creates the Relationship and When? If he created the Relationship, I am under his
control.
1) According to Takano Sasaburo sensei, the Shi Dachi is the “Main character”
and the Uchi Tachi is the “Supporting character”.
2) The Shi Dachi is the one who pressures Uchi Tachi, so that the Uchi Tachi has
to respond to the Shi Dachi’s pressure.
3) Most of the footwork, in present/modern day Kendo, is stamping, jumping,
kicking, etc., the movements in Kata are Suri Ashi.
4) All in smooth Ayumi Ashi or Tsugi Ashi without any abrupt or responsive
movements.
5) Kendo Kata is a predetermined form, the Uchi Tachi is the leader, and the Uchi
Tachi must have “compassion” towards the Shi Dachi, as though saying, “Are
you ready for the next move”? Since the Shi Dachi is in a position to pressure
the Uchi Tachi, he would have the bold attitude like saying “I’m ready anytime
that you are, go ahead and make your move, I’ll be with you on the spot”.
6) There are no Harai, Maki Otoshi or Kiri Otoshi waza. This could be interpreted
as: “The opponent’s sword is in the way and bothering me, therefore I must first
do something with his sword before I execute a Waza”.
There could be numerous Waza with Harai, Maki Otoshi or Kiri Otoshi. Like, Harai Men,
Harai Gote, etc. The same goes to Maki Otoshi Waza. However, both Harai and Maki
Otoshi could be a Seme. Seme having sword contact, without a Datotsu. Therefore, I
must wait for my Teki to respond to my “sword contact” Seme.
7) Breath control in the Kata Relationship is very important. Can I synchronize my
Teki’s breath to my advantage so that I can detect his movement before he
makes his move?
Note:
On Nihon Kendo Kata – “Blade Contact”
There are two ways to cut: Non Blade contact and Blade Contact.
A) Non-Blade Contact.
There are three kinds of Waza with no blade contact.
1) Where your “Seme” is so strong that the “Teki” freezes… Just walk in then
strike.
2) Where your “Seme” is strong enough you force your “Teki” to make the first
move then you use your “Debana Sen” to strike.
3) Where your “Seme” is strong enough you force your “Teki” to make his first
move, and then you use your “Nuki Waza”.
B)
There are three kinds of blade contact Waza.
1) Nayashi Waza – Where you slide your “Teki” Tsuki and thrust back.
Ex. – Tsuki Nayashi Tsuki
2) Kaeshi Waza – Where you clip “Teki” sword and make a Men cut.
Ex. – Kata #4 Tsuki Kaeshi Men. Also in Kodachi #1, #2 – “Men Kaeshi Men”
Left side Men and Right side Men.
3) Suri Age Waza – Where you clip “Teki” sword on the right and make a Men cut.
Ex. – Kata #5 “Men Suri Age Men.
Kata #6 “Kote Suri Age Kote” Small Suri Age Kote is where you clip
“Teki” sword on the left and make a Kote cut.
4) The others; are Kodachi Kata #3. “Suri Age”, “Suri Otoshi”, “Suri Nagashi” and
“Suri Komi”.
The Kenkyukai practice this month was held on September 5th and was led by Teshima Sensei. We learned the All Japan Kendo Federation’s Kihon Kendo Skills using the Bokuto. The purpose of this Kihon Kata is “to master the basic Kendo skills, remembering that the Shinai represents the Japanese sword, and to study the principles of the sword (Toho) and manners (Saho), and interactions with each other using the selected Waza using the Bokuto.”
The basic procedures of the Kihon Kata such as the footwork, Maai, Ritsurei, etc., all follow that of Nihon Kendo Kata. The two people involved in the Kihon Kata are the receiver called Motodachi and the trainee called the Kakarite. There are nine fundamental Waza in the Kihon Kendo Kata:
1. Ippon Uchi No Waza (single hit): Men, Kote, Do, Tsuki
2. Nidan No Waza (double hit): Kote-Men
3. Harai Waza (sweeping up): Harai Men
4. Hiki Waza (retreating): Men-Tsubazeriai-Hiki Do
5. Nuki Waza (dodging): Men, Nuki Do
6. Suriage Waza (brushing up): Kote, Suriage Men
7. Debana Waza (thwarting): Debana Kote
8. Kaeshi Waza (turning over): Men, Kaeshi Do
9. Uchiotoshi Waza (striking down): Do, Uchiotoshi Men
Bei mir im Dojo heißt die erste Kata 'Kihon no Kata'
die Reihenfolge ist:
Kote / Do
Kote / Men / Do
Men / Men
Tsuki / Men
Tsuki / Do
Men / Tai atari / Sagari Men
Men / Tai atari / Sagari Do
Men / Tai atari / Men
Men / Tai atari / Do
http://www.hawaiikendo.com/Kenkyukai/curricu.htm
OBJECTIVES AND RULES
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TariSoa