The right foot

is advanced about the distance of its own length. There is just sufficient room for the left leg to pass in front of the right if necessary and the toes of both feet point directly forward. If the left toes are allowed to point sideways (a common fault) or if there is too much lateral distance between the feet, the thrusting action of the left foot will tend to throw the body over to the right and balance will be lost. The left foot should be as close to the centre-line as possible, but not so much as to cause loss of balance or awkwardness. Balance is greatly aidedby turning the toes slightly inwards, which has the effect of steadying the body inwards to the centre-line, rather similar to the result of Shibori, as will be seen later.

Shintai Dosa

(basic footwork)

If it is understood that Shisei (fundamental posture) is the foundation of all techniques it will be equally clear that the only way to preserve this position is by footwork. All footwork is designed to preserve Shisei and generally speaking to maintain the advanced position of the right foot to facilitate instant attack at any moment. The basic aim is to step forward and strike the opponent in a special way and the only method of closing this distance without loss of Shisei or balance is by the correct step.

In the basic waiting position the left heel is lifted clear of the floor and the right knee slightly bent so that the body is inclined forward and some seventy per cent of the total body weight falls on to the ball of the right foot. In Kendo we are not concerned with attacks from the side or rear. There is only a single opponent who will always approach from the front. The basic posture is rather weak to the sides and backward movement is also less efficient but the whole body is poised for forward attack when required.

The Tenno-uchi

(inner palm) of the left hand is the main cutting source and the placing of the left hand most important. The right hand does almost nothing, merely supporting the Shinai and guiding direction. Once the correct grip is understood the left hand is aligned with the Chushin (body centre) and thrust about four inches forward.

Students should avoid grasping squarely since this stiffens the arms and shoulders, or allowing the hands to slip around the sides of the hilt. In this case it is impossible to control the cutting and movements of the Shinai.

The Tuska-gawa

(hilt leather) of modern Shinai are constructed with more length and the right hand is placed with an inch or so clearance below the guard. This is to avoid the excessive wear of the glove constantly rubbing against the guard.

The wrists are snapped well inwards so the hands lie along the top of the hilt and the knuckles of each fore-finger should be aligned with the edges. The Shinai should form a natural extension of the arms and the hands be in the ideal position for maximum control. The correct grip will only be possible if the wrists are supple and again this is a question of practice.

Nigiri (the hand grip)

The method of gripping the hilt is the foundation of the cut and the movement of the Shinai. If the hands are incorrectly placed it is impossible to deliver a correct stroke, especially with regard to the left hand. Because of the gloves, this is difficult to see clearly but the position is the same as in the plate.

The left hand is always at the very end of the hilt, regardless of whether the student is left, or right-handed. The hilt lies transversely across the palm of the hand along the line of life, crossing under the base of the index finger and the butt lies in the heel of the hand. The threesmallest fingers curl back over the hilt to point back at an angle of forty-five degrees to its length, and tighten firmly to pull the butt into the inner palm which we call Tenno-uchi (inside hand). The fore-finger and thumb just curl about the hilt in a comfortable position.

Hasso-kamae

is also a Sutemi Waza and has little use in modern Kendo but with Waki- gamae, Gedan, Chudan and Jodan, completes the five fundamental postures.

There are literally dozens of other postures - many very ancient. Some better known ones are the Kasumi-kamae found in low, middle, and high positions in which the arms are crossed over so as to partly conceal the technique; Kasumi means 'mountain mist'. Another variation is the Kongo-kamae in which the blade is held vertically in front of the face. There is a particular phase during which such postures appear attractive to the student but he should not become involved in them. It is, however, as well to learn by experience and it will soon be found that such postures are too restrictive under modern conditions.

The essential posture to concentrate on is the Seigan (natural posture) and this is absolutely essential as a basis for anything else. To enable the hands to grip as naturally as possible it will be noted that the elbows are slightly sprung outwards. The Shinai is exactly in the centre line and the posture should be relaxed and comfortable. An amount of stiffness and awkwardness is inevitable at first but if no effort is made the position cannot be achieved with ease at a later date.

Hasso-kamae

(figure of eight posture)

Hasso-kamae is not illustrated but the Shinai is carried almost vertically at either shoulder, so that in combination the two complimentary sides are likened to the Japanese figure eight, or Hachi. These are sometimes referred to as Yo-no-kamae and Inno-kamae, Yo-in being the positive/negative principle (Yinyang in Chinese). Hasso has variations in the Jodan and Chudan positions, the former high above the head and the latter low at the hip and canted backwards. As a minor point Waki-gamae takes what would be the Gedan position of Hasso, except that the blade is reversed.

Kamae

(positions of posture)

Kamae actually means 'Posture' but in context is more clearly expressed as 'position' since it refers specifically to the position in which the Shinai or bamboo practice sword is held. The height of blade is divided into three levels or Dan (steps) and designated as Jodan (high step), Chudan (middle step), and Gedan (low step). 'No-kamae' means 'posture of', but the short form as above is general.



Gedan-no-kamae (low posture)

Gedan is still used to some extend and in this case the attack line is opened by dropping the point. In some variations the Sinai may be turned off to either side and Gedan is in itself an invitation to attack the head. The posture is defined as when the point drops below horizontal.

Judan-no-kamae

(high posture)

Jodan is the only important variation used today and is favoured in contests. Jodan has a very strong character since it is very aggressive. 'Jodan' is universally taken to mean Migi- jodan-no-kamae (with right foot advanced) unless otherwise specified. But the more common or comfortable form is the Hidari Jodan (left foot advanced) this makes single handed cuts very convenient as explained later. The angle shown is fairly conservative (about forty-five degrees) but this can vary a good deal from almost perpendicular to nearly horizontal. Some schools suggest that the arms be as shown - in a natural position - whilst others allow the elbows to spring out. The body direction can be square or slightly turned to either side. Sometimes the Shinai is held in this line whilst at others it may be canted over or held almost cross-wise. Much of this variation is due to the particular techniques specialized in or according to personal taste. At any rate the only classification made is left, or right foot advanced. An exception to this is the radical Katate Jodan (single hand) postures in which either hand will release its grip on the hilt and the blade is balanced back on this hand which supports the back edge of the blade.

Any form of Jodan completely opens the front attack line and the student must have a good sense of timing and outmatch his opponent if he is to take any advantage.

Seigan-no-kamae

(natural posture)

Seigan (natural step) is the more common name for Chudan. The right foot is advanced with the knee slightly bent; the left leg is straight with the heel clear of the floor. The Shinai is held in front of the body with both hands, in a natural manner that does not interfere with the basic Shisei. The sword points directly at the opponent's eyes and crosses his point about three to four inches from the tip. This is at a distance of some seven to seven feet six inches and defined as Ma-ai or the theoretical distance from which an attack can be launched with a single step attack.

Seigan (or Chudan) is defined as when the blade points forward from the left hand, which is held in line with the Chushin (body centre), at an angle above horizontal and below the opponent's eyes. A lower angle more completely covers the front attack line whilst a higher angle to cover the eyes has more psychological effect on the opponent. Seigan is the most important posture to study and understand. It is the only position which covers the front attack line and also the only position to give equal facility for offence or defence as required. All variations are virtually a weakening of this basic stance, used to deliberately provoke an attack by the opponent.

What we term

the Chushin-sen (body centre-line) is an imaginary line which we visualize as passing through nose, navel and striking the floor exactly between the feet. Regardless of changing foot positions or widening the stance the Chushin-sen must be kept straight to maintain balance. This line is important as related to technique and in most cases the movement of the sword follows this line.

Shisei can be simply regarded as the basic posture of the upper torso and head in relations to floor and hips. In Kendo the basic Shisei should hold true, regardless of the movements or position of arms and legs at any given moment. Naturally enough, the position of Shisei is very similar to meditation posture and known for thousands of years in the East as the ideal and natural positioning of torso and head. One should not be confused by different circumstances in other Budo arts which demand variations due to the different techniques. Essentially the Shisei is the same.

The hips

and shoulders should be square, the spine and head erect with the chin tucked slightly in. The body should be relaxed but firm, neither rigid and tense, nor loose and drooping. Equally the mind should be calm and watchful, but not committed to any specific attitude. Any heavy extreme is bad and it must be remembered that each negative expression includes a little positive expression within itself and vice-versa.

The natural physique of a human being is shown by an upright spine and head whilst excessive egoism results in hunched shoulders and rigidity without suppleness. The shoulders should therefore fall downwards to their natural position and the body-weight dropped to the Chushin (centre of gravity) just below the navel, and the general feeling of balance carried in this area. Balance is of more importance in Kendo than in the other Budo arts in that the student has no contact with his opponent to aid or assist his own balance. The student must act and move in a completely independent fashion, automatically harmonizing with the opponent's actions but having little control over them.

Shisei

(general posture and carriage)

Shisei forms the foundation and platform from which all actions must spring and the techniques will only be as stable as the base provided. The simple way to view the repertoire of techniques is as each being the spoke of a wheel. To one side branch the purely aggressivetechniques and to the other the more passive techniques. The waiting condition should be in the centre, where a free adoption of other techniques can be made with equal facility depending on circumstances. Any intellectual planning or concentration on one aspect will inhibit the technique at the crucial moment. The basic posture should therefore express the neutral and natural condition of the human being and this applies equally; both externally and internally.