Most movements

of the Shinai, including the attack stroke will be found to consist of interplay between centrifugal and centripetal force and also of relaxation and tension. If great strength is applied the result will be rigidity and the accumulation of force described in principle two cannot flow freely into the blade. If the tension is timed too early the blow will be dead for the same reason and the same will apply if it is too late. A nice technique results in perfect co- ordination of all factors.

blade

Note that the blade thrusts forward before it lifts and that the head line is virtually level throughout. The cut is coordinated with the stamp of the right foot and the left is drawn upalmost simultaneously. Numbers 2a and 2e comprise the development of the stroke and from this point the left hand having thrust forward and upwards then pulls downward and throws forward, much as if throwing a knife. The right hand does almost nothing only guiding direction and aiding in the control on impact. The arms and hands should be supple and relaxed until about two or three inches above the target, there is then an instant of tension in the Shibori (wringing) and Ki-ken-tai-ichi as the action is concentrated. There is then another moment of relaxation in taking off and a slight tension in controlling the following-through blade.

Co-ordination

Diagram 11 shows the coordination of arms and legs during the attack step. 11a is the starting posture, 11b shows the Shinai thrusting forward as the right foot begins to rise. 11c shows the Shinai lifting and still thrusting forward, whilst the right knee begins to punch upwards. 11d shows the highest point of the stroke, with the arms stretching upwards. 11e shows the mid point of stroke the whole body is in the air and the blade is in roughly the Jodan (high posture) position. 11f shows the moment of impact as the Shinai is thrown forward. The action of taking off on the first Tsuzukete (follow-through) step will be approximately that of 11c.

Shibori

Shibori (wringing) is another most important action on striking. The effect of the hands being in different positions will be to drag the Shinai off centre and the Shibori action of squeezing the hands into the centre negate their effect by opposition. Shibori steadies the blade and gives definition and control to the stroke and it must be timed to co-ordinate exactly with the moment of impact. The actual physical effect of the blow is more via kinetic energy than actual downward force.

Immediately after the blow lands the hands are relaxed and the Shinai passes off above the target in a very natural fashion. This is likened to the effect of a ball which will bounce upwards at the same angle at which it approaches the floor, but will still continue in the same direction.

The stroke

is very rapid and normally made during the first few years with a wide and full swing to loosen the joints and to develop a free and easy style. When we cut we either stop the action dead, at head level if exercising alone, or strike to just below the surface of an imaginary target area. The effect of merely chopping downwards makes the action difficult to control, especially if the student attempts to directly oppose the arc of the stroke. By flinging forward at the final moment the Shinai is easy to halt and the right arm acts rather as the tall- chain on a lorry since the major downward force has been redirected forward. A well controlled blow lands sharply and cleanly, with a crisp snap, and follows through smoothly and easily.

9b shows

the same condition but in this case the Shinai is metaphorically flung forward on impact and in the crucial instant this has the effect of countering the centripetal effect. The result is the introduction of centrifugal force, along the length of Shinai. The result will be a new penetration angle bisecting the two forces at an angle of forty-five degrees, and an efficient
'slicing' action is implied.
9c shows the force line of the body moving forward and the final angle is again bisected to arrive at a very efficient slicing angle of penetration. In this way the downward cutting action of the stroke is directed forward and the penetration action is implied rather than factual. The Kiai or shout is uttered at his moment and serves to throw the mind and spirit into the Shinai.

10 shows merely the final effect in reverse, when a cut is made with a backward step. In this case the arms are straightened but the Shinai is drawn back in imagination and the whole direction reverses inside the arc of the stroke.

Having understood

the first two principles we must now examine the final result in the moment of cutting, called Ki-ken-tai-ichi, or the moment when 'spirit-sword-body' become 'one'. At the moment of impact there must be focus of all available forces to one point and this is best developed in three explanatory diagrams.

9a shows the angle of approach as the Shinai strikes. In this basic action the only available force is that implied by the radial velocity, which will fall at a tangent to the arc and results in a 'penetration angle' of about ninety degrees. This is not good since it is as though we cut a loaf of bread by pressing straight downwards. The centrifugal force being countered by centripetal force.

A very common fault

of people not understanding this principle or who cannot be bothered to study it during their practice, is to attempt a levering type action with the right hand and pivot the Shinai from the left hand. Whilst the ratio of correct stroke is 24 to 1 the latter ratio will only be about 3 to 1 so whilst, the levering section appears easy through ignorance it is in fact making very hard work of the cut. It is better to start correctly from the very beginning and loosen the shoulders well. The outward feeling and spaciousness of technique is also essential in developing the Kokyu or 'breath power' essential to Budo.

The first principle

of the stroke is that a perfect circle is made, as in diagram 7. The two forces of centrifugal force (Enshin-ryoku) and centripetal force (Kyushin-ryoku) play a great part in our handling and control of the Shinai. It will be noted that if the Shinai revolves an inch or so from the hilt end the motion/force/speed ratio increases to approximately x24 at the tip. It is therefore a great advantage to turn from one end and strike with the other. The Shinai is divided into three sections on the blade the Dage-kibu (striking base) above the leather Musubi, or thong, the Chu O (centre section) and the Tsuba-moto (guard base). As a general rule blows are struck with the Dage-kibu and the opponent's blade controlled or taken off along the Tsuba-moto which

The human body

is a perfect circular machine, designed to turn on pivots and capable of extremely harmonious and smooth movements if properly directed. To make ugly, stiff actions or to force our limbs into a straight line by our human conceptions of speed and directness is as though we took up a finely made pair of compasses and proceeded to draw straight lines by constantly altering the radius. A circle viewed from the side is a straight line and a straight line can be followed by a gradual unwinding of the joints and the basic attitude of mind is to let the circles play themselves out and not keep our attention on the straight line as such. In Kendo even the thrust is regarded and understood as merely a different direction of circle, or cut.

Fluidity

of technique comes with the understanding of the basic principles involved in the movement of the body and the swinging of the Shinai (bamboo sword). As mentioned earlier the great principle of Nature operates on circular or cyclic action and this holds true not only with the physical plane but also abstracts and conditions. In macro-cosmic proportion the planets turn and in micro-cosmic proportion the pattern repeats in the wave flow or vibration of matter. This is also reflected in the 'Turning' of the seasons and the transmigratory nature of all existing forms and things. With an axis which revolves the simple circles appear as a spiral and should the spiral also be spiralling the resulting motion is too complex to understand. In actual fact the common factor in all motion is that it shall be relative to itself rather than to the surrounding space. By this means we return to the fundamental circle as a basis both for our actions and viewpoint and our particular school is known as Kyu-shin-do or 'heart of the circle'.

Two directions

of cut are included, with the blade moving forward Oshigiri, or backward, Hiki-giri. The angle of stroke is either straight vertical, or diagonal lateral. For simplification all diagonals are expressed as forty-five degrees. With two directions and two angles it is therefore possible to strike any portion of the opponent's body by adjusting the direction or distance in which our body moves. The diagonal stroke is just the same as the vertical except that the arc of the stroke is canted over to either side.

The Principles of Cutting

The essence of Kendo consists in Kiri-otoshi, or 'striking downwards' and each technique is virtually the same. If we can master a single technique of delivery this may be applied with equal facility in any direction or angle. For clarity we are forced to separate various actions into sections but the student is advised to regard all techniques as simple variations of the basic fundamental action.

It is necessary

to make a definite step when cutting, or if the distance does happen to be just correct, then the motion of a step or a stamp is made and co-ordinated precisely with the cut. Cuts to the front are very much easier than cuts made whilst reversing and thus a forward side- step or diagonal will often provide just that little extra space necessary to cut forward rather than backwards. Backward cuts are quite valid if correctly performed but the student should concentrate on forward attacks as much as possible since constant retreating and backward strokes result in a negative style and make it impossible to understand Kendo.

Another

very important aspect of footwork is the distance factor, since only the top portion of the blade is used to strike and thus the distance and range of each attack step must be requlated with the appropriate footwork. As the opponent attacks the length of our own attack step shortens proportionately. This is similar to the 'deflection' factor in shooting against a moving target and whilst this stepping, in relation to where the opponent will be, is difficult, it comes with experience.

Almost

any combination of step may be made, according to circumstance and diagram
6 shows one in which a Mae-hidari Ugoki (forward left) side-step is changed to a Migi-mawashi
(right) swinging step by turning on the sole of the foot. The circumstances in which this type of step might occur would be in attacking the right wrist or Kote or in performing certain counter techniques to this left hand side.


Generally speaking, footwork should be as smooth and precise as possible, so as to avoid
'Rocking' the body backwards and forwards. No mater what direction the step takes the action is always that of thrusting with the rear foot; if retiring the right foot becomes the 'rear' foot in the context. The Tsuzukete (follow-through) will be found difficult but must be concentrated upon. The Fumikomi is very vigorous and all other steps smooth, so that the body glides over the floor and the feet are constantly in contact, ready to leap forward as an opportunity occurs.

Mawashi

(turning steps), mainly used when meeting an attack, shift the body out of the attack line and turn the receiver's own centre-line inwards, to allow for a counter stroke. Since the opponent is attacking, the distance is rapidly decreasing and thus, although vigorous, the Mawashi step is very short and balance to the side is not threatened. Diagram 5 shows merely the basic side movements of Mawashi and in the case of movement along either diagonals the sequence of steps will be as for Ugoki. Where possible it is better that the first foot be placed directly in the new line to avoid spinning on the feet. Only a relatively short step is necessary to clear the attack line and if the feet stamp down properly the balance is better preserved.

Ugoki

(side steps) are mainly employed to pass by the opponent after attack and normally comprise the first of the Tsuzukete (follow through) steps. Diagram 4a shows the Mae-migi Ugoki
(forward right) and Ushiro-hidari-ugoki (rear left) diagonal and by definition these are Tsugu-ashi

(following feet). Diagram 4b shows the Mae-hidari-ugoki (forward left) and Ushiro-migi-ugoki
(rear right) and to prevent the feet crossing over and to avoid tripping, these are technically in Nami-ashi (succeeding feet) style. Because of this, movement along this latter diagonal is avoided where possible. The Ugoki step has the effect of taking the body out of line whilst maintaining the shoulder and hips square to the direction of movement. If the body is allowed to swing sideways in passing, balance will be very easily lost.

Diagram 3

shows a combination of Nami-ashi and Fumikomi in a method of attack from long distance, often used in competition. To cover the extra distance the left foot comes forward in advance of the right and the right foot is then advanced in normal Fumikomi style. In this specific case the advance of the left foot does not inhibit the attack since it is contained within the actual process of attack as the initial phase. With this type of attack it is possible to cover double the distance or more.

Nami Ashi

are normal 'pace' steps in which one foot is advanced from the rear. Nami-ashi means 'succeeding feet'. As the left foot advances in Nami-ashi any attack action is very difficult and because of this, Nami-ashi is avoided altogether except when well out of range. In Nami-ashi the feet are still slid smoothly along the floor, without lifting up, so that constant contact is maintained.

As will be seen later,

a full Fumikomi (attack step) means that some three feet to three feet six inches must be covered and so the Tsuzukete not only aids balance but also gives a smooth finish to the technique. It also has the extra function of avoiding any retaliation by the opponent. For clarity the Tsuzukete is shown in a direct line but in actual fact it is necessary to sidestep to avoid crashing into the opponent.

The method of keeping the right foot advanced is termed Tsugu-ashi (following feet) and is the method of stepping employed at any time when the opponent is at Ma Ai distance or attack range. When stepping backwards the right foot pushes back and is drawn back afterwards. A single Tsugu-ashi step is two separate movements of the feet made almost simultaneously, ie,
'one-two", 'one-two' and so on.

Fumikomi

(diagram I) shows the actual attack step and in all illustrations the starting position is shown as shaded whilst the number refers to the sequence of steps. Fumikomi means
'jumping in' and this is the only occasion when the feet leave the floor. By studying diagrams 1 and 2 this may be clearly followed. The left foot thrusts the body forward and the right knee punches upwards, the right foot strikes vigorously into the floor as the cut lands. This is followed almost simultaneously by the left foot, which is drawn up into its original position. As the cut lands the body is virtually travelling forward in the original Shisei position. At this moment the direction of body-weight is direct forwards and downwards at an angle of forty-five degrees to assist balance. There is a very brief pause as the cut lands. Then a series of smaller steps are made until the forward momentum is dissipated. This follow-through, or Tsuzukete, continues to maintain the right foot in advance whilst the left foot constantly pushes. The result should be that the feet slide smoothly across the floor in a fast 'shuffling' action.