Notes based on articles in Kendo World (vol 1 no 3)

posted by Gary O'Donnell

Various degrees of striking men:

The size of a cut depends on the distance. It is necessary to match the type of cut to the prevailing circumstances. You must always be on the look out for a chance, and in a chamae that will allow an immediate response to any threat or opening. Even very small strikes can be called as valid although they may lack power. Getting in very close and hitting very quickly with small waza is liable to reduce the power in the cuts, but can be a way to win matches. The most important thing to consider when cutting is the hasuji (line of cut). If this is correct even the lightest contact could cause severe damage with a real sword.

Swinging the shinai:
In effective furikaburi we must thrust the left hand out and up to break the opponent. Generally if the left hand is pulled back then the process of seme that we use to open the opponent for a cut becomes broken, this leads to gaps in our attacks(on occasions we may wish to pull back the hands like in Katsugi waza, nuki waza or for any very big over the top style cuts. The most important thing is to have a sharp action that is continuous and done in a timing of one!

Leverage and sharpness:
Push with the right hand and pull with the left. This is the tenouchi that we talk about at the end of a cut. When this is combined with a wringing of the hands it makes for a very sharp and powerful cutting action (even when using very small cuts). SAE (crispness or sharpness) is essential for elegant accurate cutting with power. It can only be achieved if the hands and arms are relaxed enough to allow the sword/shinai to accelerate to its target.

Zanshin:
After cutting, drive through in a relaxed state. Do not bounce your arms up in the air as this is not what cutting looks like and is not the outcome of sharp powerful cuts. Maintain mental alertness, keep your eyes on your opponent even if he is behind you and keep your body loose and fluid so that you can react to new opportunities or threats.

The best cut to use in any situation is the one that best suits the type of opponent, the space between you and your own state of mental power. Relying on favourite techniques makes you susceptible to waza o korosu. The only way to develop the best cut is to practice with lots of opponents in lots of different circumstances (1000 keiko makes better kendoka).

Ashi sabaki:
Ichi Gan, Ni Soku, San Tan, Shi Riki. The footwork is second in importance in kendo only to the metsuke (gaze). Being spirited or strong is of no use if your feet cannot effectively drive you into an attack. Of the two feet the left is the most important as it is this foot that drives your body forward. The left leg must be held straight. If it is bent this will lead to a flexing of the leg as you begin your attacks, flexing the leg makes a change in your body shape that gives away your intention to cut right at the start of the action. Flexing the leg and then straightening it takes time and therefore slows the cut.

Balance:
The feet should be about as wide apart as your shoulders and arranged so that the left toe is in line with the right heel. The left foot must always be raised about 1 inch off the floor. When in position, there should be slightly more weight on the left leg than the right (60/40). A light feeling in the right foot allows easier movement. When moving balance should be maintained as much as possible over the centre of the feet and evenly dispersed. Breath control is linked to balance. This is physical and mental in nature. When you are out of balance breathing becomes ragged and the techniques lack sharpness and power. You are unable to react instantaneously. Breath control comes from mental balance. This in turn can only be achieved after physical balance. When the body is positioned correctly breathing will be controlled and you will have fudoshin (immovable mind). The body will be in a continuous state of readiness and this will be immediately apparent to an opponent.

Soshi said that: "normal people breathe through their throats, but shinjin breathe through their heels" (shinjin are people who are walking the path of sincerity). Having a solid platform where there is tension in the left calf allows a build up of tension in the abdomen (tanden), it is this power in the abdomen that maintains the shape of the body as we move forward. When you attack push your tanden forward at your opponent to make a cut. Paradoxically we straighten the left leg and stand tall, stretching up the neck, whilst at the same time pushing down in the abdomen and feet. There is tension in the legs and abdomen but the upper body must be fluid and relaxed. In a state of balance (fudoshin) you will never be broken by an opponent. For this reason balance is the essence of kendo, balance in all aspects: keiko, waza, kihon, kata, shiai. The function of seme is to unbalance the opponent.

Seme and Kigurai:
You can only unbalance an opponent by applying presence. If you step in and he is threatened your seme is successful and you will be able to cut. If he is not threatened you will have stepped into cutting distance giving your opponent an opportunity. If you then find yourself unbalanced by his presence you will of course be cut. Sumi sensei talks about mind contact, I think that this is what he means. It is not the physical act of stepping in that makes a chance it is the effect that your presence has on your opponent that makes a chance. Kigurai is about the way that you present yourself. Musashi talked about not being misled by exterior show: flashy postures or waza, expensive armour, mixing with the right people etc. does not make you strong. You must look to the heart of the matter. In doing this if what you see is excellent then you are lucky as you have a found a quality teacher. Of course you could also count this as being unlucky. You have found an opponent that you will be unable to beat, but this is a very negative view. After all kendo is about training together to improve not about beating people.

Breath Control
In kendo we must develop deep abdominal breathing. This calms the body and mind and can give a sense of euphoria. Mokuso at the start and end of a practice is the perfect opportunity to develop this type of breathing. It is also useful in focusing the mind and separating from the stresses and troubles that we all carry around with us. Breathe in quickly through the nose then push your breath down into your abdomen. Slowly breathe out until you are totally empty and then stop. As you breathe out force tension into the abdomen so that it remains "full". Your breathing cycle will quite naturally restart itself when the time is right. After 10 to 20 repetitions of this you should be ready for anything.

The next steps:

Use deep abdominal breathing during kata, kirikaeshi and kihon.

Breath control during kakari geiko.

Breath control in matches

Kino no ware, kyo wa katsu beshi

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