The Fundamentals of Kendo

Ability and progress in Kendo is said to consist of some eighty per cent posture and only twenty per cent technique. In Kendo we are not merely attempting to hit the opponent, but to deliver a correct technique in a specified manner. From this viewpoint Kendo has much in common with shooting, since both posture and breathing are of importance. But the situation is more complex in Kendo; both attacker and target are very likely to be in motion. Aiming has little to do with Kendo and we do not even watch the target as we cut. Aim develops quite naturally if left to itself. One does not make a fully conscious effort when reaching to pick up an object and in the same way the precise target areas may be easily struck immediately by the novice, providing that he is not inhibited by the concept of aiming, or it being particularly difficult.

Kyu

(Student) and Dan (Step) grades are awarded in Kendo for proficiency and are the exact equivalent of other Budo art grades, except that no belt or distinguishing mark is worn. It is easy to assess a student's ability by the way he sits, stands or moves about the Dojo. Grading is a relatively modern idea and as a general rule not much attention is paid to this. It is normal fashion to ask the grade of a strange student prior to, or after, practice but a more common question is merely how long he has been training.

As a very broad guide to progress the grade of Sankyo (3rd Kyu) normally means the student has probably trained two or three evenings per week over about a year. The grade of Shodan (1st Dan) may take anything from three to five years and progress through the Dan ranks becomes progressively more difficult. The average European could expect to pass a number of years equivalent to the next Dan rank taken. Mastery is generally accepted as being 6th Dan or above and even in Japan may take from fifteen to twenty years unless the student is particularly brilliant. Only three or four Judan or 10th Dan exist at any one period and these are elderly gentlemen who display not only technical ability but possess very real human qualities as well. It has not been uncommon to find Kendo Masters in their nineties who train five hours every day retaining agility and skill.

Grade refers to a certain level of technical proficiency and is not necessarily relevant to ability or the understanding of Kendo. Since we have competition without any direct physical contact Kendo is predominantly psychological by necessity and since the full personality does not develop until about the age of forty there is no noticeable drop in ability with advancing age. In pre-war years, when a deeper study was made, the Champions were always at least in their fifties and Kenshiro Abbe Sensei tells of his own teacher at the Busen College, who, at the age of seventy-five, could not be touched on the body by any young students or even young teachers.

It is not thought necessary to describe equipment here, since this will be seen clearly enough once training is begun and the same applies to individual Dojo (training hall) regulations. The widespread attitude of behaviour and etiquette in the Budo arts derives from Kendo since it was foremost of such studies in former times. The only Budo are pre-dating Kendo is Kyudo
(archery).

Philosophy and semi-religious attitudes, as a universal concept of swordsmanship, is regarded as dating from the sixteenth century although the broad field of techniques and movements can be traced to the ninth century and the introduction of the modern Japanese sword. The term Kendo (Sword-Way) has only been in general usage since 1895 and prior to this many terms were in use at various periods. Whilst Kendo derives directly from swordsmanship it must be understood that the wearing of padded armour and of the bamboo Shinai or practice sword changes many aspects, both physical and mental. Swords are still sometimes used in Kata or pre- set 'Forms' but the real appreciation of the 'heart' of Kendo is only gained in direct combat and is thus very difficult to understand in modern times.

This does not mean that every student must involve himself in complicated metaphysics but these laws of Material Nature still exist and cannot but become clear during the course of study. Kendo in itself is a vigorous and healthy activity, developing a strong physique and sharp mind. There is no reason why it cannot be practised and enjoyed purely and simply as a sport, or interesting game; even just for exercise. Kendo also has within itself the capacity to include the deepest significance of life and the highest goal of human conception. The student should concentrate firstly on the purely physical aspect of training, since interest in other aspects will occur naturally as they become problems.

The student involved in the sheer physical problems of training will scarcely be aware of his mind, but once the body is reasonably under control it will be seen that the mind is the real bar to progress, for one reason or another. The human being consists of both a spiritual and physical side. Too much concentration on one aspect will lead to an unbalanced life and the student should attempt to develop both parts equally. The student who is too prone to think, should train harder and with greater regularity whilst the student more sluggish of thought should strive to improve his mind and increase his intelligence by thinking things out, and reading.

Once past the first initial stages Kendo is a battle with oneself to catch the mind and force it to obey the will. Over the years the student will pass through periods of elation and depression, keen enthusiasm and lack of interest. The main object is to overcome all difficulties and to press forward with a firm mind and iron will. The student who misses classes because he cannot be bothered to attend, feels tired or thinks that he is getting nowhere has defeated himself from the very beginning. The senior grades and masters are merely those who have had the tenacity of purpose to continue in the face of any difficulty.

Kyu-shin-do

also states that the accumulation of effort is a steady motion about the radius and centre of gravity and that all things resign to this basic cyclic pattern. The normal perception and focus of awareness in the human being, flies along the outer periphery of existence, events flash past too rapidly for the mind to grasp. By re-discovering the original centre of things, events turn more slowly in perception and the general scheme is more easily viewed. All this refers directly to the original Great Principle of Creation, under which the Universe was first formed. By understanding and harmony with this Principle of God a better purpose of life isbrought about. Instead of hopeless repentance or regret for bad things, the human being should strive for good actions.

The specific theory or system of Budo (Martial Arts) created by Kenshiro Abbe Sensei is termed Kyu-shin-do and its application is particularly easy to understand through Kendo. Kyu means a sphere, or circle. Shin means the heart, or nexus point and Do means the way or path. There is little space here to deal adequately with this ancient Japanese philosophy but its three fundamental precepts are:


a. Bambutsu Ruten - All things existent in the Universe turn in a constant state of flux.


b. Ritsudo - This motion is rhythmic and smooth.


c. Chowa - All things act in a perfect accord.

Kyu-shin-do is a Japanese equivalent of the Buddhist Karmic cycle especially as far as its application to life is concerned. This is an old Japanese idea but the writer's teacher was the first to grasp its real significance in relation to Budo. To attain perfection in technique means to attain to perfection as a human being and through our studies to become a better person and a useful and positive factor in society.

The Introduction

This section on Kendo is more a manual for students thana 'Teach Yourself' attempt. It has been taken for granted that the reader is either a student already or considering starting. True Kendo, in common with older Martial Arts, will lack clarity unless it is practised.


The writer studied Kendo under Master Kenshiro Abbe Sensei during the period 1955 to
1964 and wishes to thank him for all his help. He is well known as one of the leading Martial Arts teachers - he was the youngest-ever All Japan Judo champion, and also studied Kendo, Aikido and Juken Jutsu (the art of bayonet fighting derived from spearmanship).

Until the end of the Second World War, the Butokukai (Martial Arts Society) controlled all gradings and teachings and Kenshiro Abbe Sensei was awarded a 6th Dan in Kendo from them, in 1945.

Conclusion

There is no such thing in Aikido as a contest. It is against all the principles of the art. Thus, if you practise 'contest' Aikido, you are not practising true Aikido but street fighting. It is therefore better to practise in the streets as it is cheaper and the training is not so hard!

In Aikido, you must remember that your partner is not your enemy but your friend. Look after his welfare as well as your own. Help him to learn Aikido. If you injure him purposely then he will go away and you will not progress by yourself. There is an old Japanese saying: 'It takes two hands to make a noise; one is no good by itself'.

I truly believe that by giving to others you can obtain a great deal of pleasure. Higher grades must be kind to lower grades and help them in their difficult periods. Lower grades must have respect for their seniors and listen to them when they are teaching. In this way, improvement can be assured.

16. Breathing Exercises

Sit in an upright position with your legs folded underneath you. The small of your back must be straight, the shoulders relaxed and your hands in your lap. Push your hands out to your front bringing them up and out so as to open your chest. At the same time, breathe deeply in through your nose. Your hands come back to catch the left hand in the right. Push your breath down below your navel. Hold this for a few seconds. Now blow your air out of your mouth whilst your hands are pushing forwards. Repeat this exercise four or five times before and after training.

From a standing position bend your knees and try to imagine that your body is a ball. Keep your body in a crouched position. Now roll back. Do not roll right over as in the backward roll. As your head touches the mat regain your balance by rolling forward.

Exercise for One Person

Often Aikidoists should supplement their Dojo training with practice at home. The exercises I am giving here are for you to practise by yourself for the purpose of building your Ki power, movement and balance. They are also good for relaxing your mind. Stand in left Hamni posture, your hands having the feeling of pushing down and out. Step forward, with your right foot turning at the same time. Repeat with your left so that now you are in the reverse position. Do not stop dead. Repeat the movement. Keep this movement going so that you build up a smooth and fast movement. On no account jump when you are doing this exercise. Keep your centre of gravity down.
In the next exercise take the posture of left Hamni. Now with your arms pushing forward and your fingers open and stretched out, keep the small of your back straight, shoulders relaxed and head upright. As you push forward with your arms slide slightly forward and bring them back to your side. Keep doing this until you can get someone to test you by standing in front of you when you push out. See if they can push you back by holding your wrist. Practise this exercise on both sides.

Irimi-nage

(enter body throw) 5th form attack against stick

Here is another defence against a man with a stick. It calls for perfect timing and speed as well as relaxation. You are attacked from the front to the centre of your head. First of all look to see which of his hands is leading. As he brings the stick to your head, move directly towards him. Keep your body in an upright position and step with your leg into his right side. Turn your hips and head as you step so that your chest is nearly touching his back. Your left hand catches his neck and your right hand goes over the top of his right wrist so as to stop him bringing the stick back. Step ninety degrees with your right foot to the rear, bringing your partner in a wide circle. Now take his head close to your right shoulder and with your right arm coming over his head throw him down.

Your partner

grasps your right forearm with both hands, his right hand round your wrist. Step back to your right corner with your left foot. Your right hand follows in the same direction. Catch the finger of his right hand with your left and lock them against your arm. Make a big circle, coming back into him with your right arm. Your hand now goes over the top of his wrist and pushes him to his right side so as to bend his elbow. Begin to move backwards at the same time bearing on his wrist. Bring your right hand towards your own stomach and he will crumple on the ground. You can immobilize him as in Nikkyo 12th form.

Irimi-nage (enter body throw) 15th form

Your partner catches you from the back by the shoulders. Step forward and bend slightly to one side. On the next step bend slightly the other way. Then make a ninety degree turn into your partner. Take your head and the arm that is furthest away from him between his two arms. Keep moving until you feel that he is coming off-balance. Now change your direction by stepping back with one arm coming in the direction of his head. Do not knock him down but steadily push him. Keep your body moving backwards until he falls to the mat. Your partner escapes with a backward ukemi.Nikkyo (second principle) 10th form attack

Kaiten-nage

(spiral throw) 2nd form left side

Your partner's right hand grasps your left wrist. Keep your left arm straight and step with your left foot to the left. Attack your partner's face with your right hand. Follow down with your right hand pushing it under your partner's right arm. Step with your right foot so as to turn your hips, going underneath his arm with your head coming through last. Catch the back of his head with your right hand, your left hand grasping his wrist, and push his arm in the direction towards his head thus throwing him. Try not to break your own balance when you throw. But if you are off-balance, take another step forward to regain it, keeping the front leg slightly bent.

Let us assume that your partner has obtained Nikkyo on you. Go forward, pushing your elbow into his body and turning it across his chest. Catch his thumb between your thumb and forefinger and move your left hip out. Now you will be able to catch the back of his hand with your own left hand in the Sankyo position. Draw his hand down to the mat. At the same time push your left hand downwards just above the elbow, with your body moving backwards.

When you are practising these counter-throws, try to keep you mind always going forward. If you let your mind go back it will be too late for you and his technique will win. This is the real fight in Aikido - to try to completely give yourself to him. This lets your partner feel that he has secured the technique and won. This lulls him back into a false sense of security and you will be able to counter him. If you cannot control your ego and try to show that you are the stronger by resisting him, you will lose.

Counter techniques,

2nd form Nikkyo (second form) into Sankyo (third form)

With counter-techniques you must completely follow your partner. At no time resist his technique, otherwise you will find that you cannot counter him. This is a very good exercise for harmony and relaxation. Make sure that you first try to 'give' yourself to your partner. Do not practise these techniques too fast until you have learnt to completely relax.First I will describe 2nd form Nikkyo. Your partner grasps your left wrist with his right hand. Step back with your left foot towards your right corner. Your right hand attacks your partner's face. Carry down his arm to grasp his right hand at the back. Now bring it up until his little finger is uppermost and his hand is resting on your left shoulder. Your left hand should be grasping his wrist. Now by bringing your left elbow over push down and out. So as to bend his elbow do not stay in this position but move backwards. Bear down on his wrist. These movements should not be done too sharply, but smoothly.

Henka-waza

(combination technique)

The idea of combination techniques is to train the individual to change from one technique to another. Thus if your partner escapes from one technique one can quickly switch to another. Also by being able to follow him by the feel of his movement and direction, combination techniques give you control over your partner the whole of the time.

There are many combination techniques but you will find that if your practise properly they will come automatically through your Aikido movement. This will eventually come to you without you thinking about them. I will give you the basic idea from 1st form Shiho-nage into Kote-gaeshi and then into Ikkyo.

Take your partner into 1st form Shiho-nage as I have explained. Now when you are throwing him he will make a backward breakfall, so make certain that you keep hold of his wrist with your right hand. Now take hold of the top of his hand with your left hand. Your right hand catches the back of his hand. At the same time, step back with your left foot, throwing him with Kote-gaeshi. Keep hold of his hand with your left hand, your right hand coming over to grasp his wrist. Switch your left hand grip to just above the elbow. Turn your body to the right, throwing him in Ikkyo.

Irimi-nage

(enter body throw) 7th form attack

Your partner punches your stomach with his right hand. Use your right hand to deflect the blow. At the same time, step with your left leg into his right side.

Now catch your partner by the shoulders and push him down so as you move past his back, bending your knees as you do so.



Ikkyo (first principle) 3rd form attack

Your partner catches your left shoulder from one side. Step back to your own right corner, bringing your right hand up to attack his face with either a punch or a blow with the side of the hand. Follow through brushing the back of your hand down his arm. Catch his wrist with your right hand and place your left hand just above his face. Bring your body back and push his arm into the mat to immobilise.

Kote-gaeshi

(small hand twist) 5th form attack

To counter an attack to the centre of your head, turn your body to the outside, at the same time follow his hand down with your left hand until contact with his hand is made. Your body should be moving towards his back, bringing him in a circular movement. Make certain that you keep your arm straight. Now change direction, stepping back with your left foot. Put the palm of your right hand on the back of his hand. Then push his hand over with your hands thus throwing your partner.

Aiki-jyo jutso

(stick technique)


Techniques against a stick are very popular in Aikido. This is one of them.

Your partner thrusts to the stomach with the end of the stick. Move to the outside - as shown in the photo - and catch the stick with your right hand. Bring your partner round in a circle. Then grab the centre of the stick with your left hand, bringing your right hand over your own head. Push the stick in front of your partner's body. Turn your own body by swivelling on the balls of your feet and throw him backwards.

Kokyu-nage, 13th form

Your partner grasps your wrists from behind. Move your body backwards and push your hands forward. Simultaneously, twist your wrists slowly and lower your body by bending at the knees. Escape to your partner's side. Still pushing your power through your fingers, lower your hands to the mat, thereby throwing your partner. This technique calls for complete harmony and understanding between partners. If you use strength, you will make your partner resist or break his grip.

Your partner attacks

both shoulder from your front. Step back with your left foot to your own right corner. Counter with an attack to his face. Follow through, bringing the back of your hand down his right arm so as to break his balance. Catch the back of his hand with your right hand and bring it back so that his little finger is uppermost.

Keep his hand close to your shoulder, your left hand bending his elbow. Now step in with your right foot to the front of him and put pressure on his wrist. At the same time move backwards so as to bring him face down on the mat. Kneel down with your right knee by his neck and your left knee next to his armpit. Use your left hand under his elbow to turn it over. Grasp his hand in the crook of your bent left arm. Bear down with your right hand on his shoulder joint and turn your body to the right until he submits.

At all times when going back you must think about going back. When coming forward think forward. It is no good thinking forward when you are going back or vice-versa.

Irimi-nage

(enter body throw) 8th form attack

Your partner catches the back of your collar with his left hand. Attack his face with your right hand - usually the side as in the Karate shuto techniques. He will defend against this attack with his right arm. As you hit his arm, step into his right side with your left foot deflecting his right arm down. Now catch his neck. Step back with your right foot making a ninety degree turn, bringing him with you. At the end of the movement, bring your arm over his face throwing him backwards. He should escape by a backward roll, so as not to injure himself.Nikkyo (second principle) 12th form attack

Sankyo

(third principle) Koshi-waza 13th form attack

Your partner holds both your wrists from behind. Moving your body into a crouched position push your hand forward and twist them. At the same time, catch the back of his left hand with your right in the Sankyo position. Do not worry if he is still holding your right wrist. Now push your hips through to his right side so that you are in a 'T' form. The small of your back is against his thighs below his belt. Look up at your partner. Now to throw him turn your head to your left, your right arm following him at the same time.

Koshi-waza

(hip technique)
The hip techniques are different to those in Judo.

In Aikido, we make what we call 'T' form. This is not so much lifting your partner up as using your hips as a see-saw. Imagine that the thrower is the upright part of the 'T' and your partner is the cross. There are numerous techniques that one can do with Koshi-waza. But usually these are not taught until the grade of 1st Kyu because of the special use of the hips and the breakfalls involved. I have selected two main ones for this book. This is one of them.