Hidari-uchi

(striking to the left)

A single blow to the left temple is regarded as sufficient practice to this side, which is the easy side. In normal practice the Hidari-do (left Do) plate 123, and the Hidari-gote (left Kote) plate 124, are out of play. These come into play if the opponent adopts an initial variation Kamae (posture) and thus conceals or restricts the targets. This does not apply to actual processes of attack.


The above attacks are known as Men, Hidari-men, Migi-men, Kote, Do, Hidari-do and
Hidari-gote in their shortened form.

Migi-do-uchi

(striking the right breastplate)

This is shown in plate 121 and consists of a low diagonal blow to the right side of the breastplate. Note that the technique is delivered a little more deeply than for the Men and Kote attacks and again the cutting edge is turned inwards. It will be seen that the arms are well extended forward into the line of attack and that the left hand remains inside the Chushin-sen
(body centre-line).Plate 122 shows the first follow-through step after cutting the Do, as the attacker passes to his own right. So as to pass clearly the blade is snapped back to the attacker's right shoulder when passing. This form of pass can also be used when attacking the Migi-gote, if the opponent's Shinai happens to be high.

These are the five basic striking attacks in Kendo and all are precisely the same in nature, merely directed to various targets. The direction is forward when cutting, neither downward in cutting the Men, nor sideways when cutting the Do.

Migi-yokomen-uchi (striking the right side mask)

This is shown in plate 118 and is exactly the same as Hidari Yokomen. It is normal to pass to the attacker's own left after cutting to this side.


Migi-gote-uchi (striking the right wrist)

In its basic form this consists of a vertical blow which strikes over the joint of the right wrist. Note that the arms are extended and the blow is again delivered with the cutting edge of the Dage-kibu. As can be seen the Migi-gote is the only directly open target, plate 119.

Plate 120 shows the first follow-through step as the attacker passes to his own left. Note that the Shinai is carried forward and brushes over the opponent's right shoulder.

Hidari-yokomen-uchi

(striking the left side mask)

This is shown in Plate 117 and after lifting the blade exactly to the centre it is canted over to strike diagonally to the opponent's left temple. Note that the cutting edge has turned inwards to strike the rim of the grill at ninety degrees. The follow-through will appear exactly as for Shomen and apart from the canting over, the same form applies.

Shomen-uchi

(striking the front mask)

This is shown in plate 115 and consists of a vertical, or straight blow to the centre of the mask. Note that the blow is delivered on the reinforced padding above the grill, with the cutting edge of the Dage-kibu (striking base).

Plate 116 shows the position during the follow-through, on the first step, as the attacker passes to his own right and carries the Shinai forward. In actual fact the attacker is dashing past at this point, rather than standing.

Uchi-dokoro

(striking areas)

The target areas in Kendo are classified as Men (the mask area above the ears), Kote (the glove, just above the joint of the wrist), and the Do (side portion of the breastplate). All blows must be declared loudly by name as they are struck to the targets. In general terms, the complete top section of the head is counted as Men, the gauntlet portion covering the lower forearm as Kote and the entire lower section of the breastplate as Do. The only thrust in Kendo is termed and declared as, Tsuki.irect attacks are known as Shodan-waza whilst composite techniques or two separate attacks used in combination are called Nidan-waza (two step techniques). The most complex form employed are Sandan-waza (three step techniques) and if no score is made the participants must separate and re-start. The following classifications refer to delivery and are not specified when declaring.

All bows are performed as naturally as possible, with rather a military flavour, avoiding both casual half bows and heavy elaborate ceremony. The bow is a courtesy or greeting to the opponent and should be treated as such. Its meaning is that all students help one another to progress and wish to understand one another by direct technique and spirit during practice or competition.

Before any practice,

exercise with a partner, or contest, the following form is always followed. The junior approaches to the senior and both make Tachi-rei as in plate 112, in this case the Shinai is at an angle as though in a scabbard. Next the two participants move to Ma-ai
(fighting distance) and drop down into the Sonkyo (crouch position) and make the motion of drawing a blade with the right hand, over the head and down into the Chudan (middle step) position. The left hand is placed in position as in plate 113, and upon standing and assuming correct Seigan (natural posture) as in plate 114, they are ready to begin. The same form applies in reverse on finishing.

A high ranking

A high ranking teacher will often be accorded the courtesy of a special salutation and on the command 'Sensei-ni-rei' (bow to the teacher) the class bows whilst the teacher remains in Seiza position. Japanese Dojo have a Kamiza or shrine and a bow is made in this direction. It is also etiquette to pass in front of the teacher and perform Zae-rei by way of thanks after an evening's instruction and also to other students.

After the Rei have been completed a short period of meditation is made to calm the mind and settle the thoughts. At the command 'Mokuso' (meditation), or 'Muso' (no thoughts) the hands are folded in the lap, right over left (negative over positive) and silence reigns for about two or three minutes. Students concentrate on breathing or the Chushin (body centre) and attempt to gain the right frame of mind. This whole procedure is performed in reverse at the end of the evening.

Plate 110

shows the Seiza (seated posture). The spine and head are erect and the body sits well back on the heels. The body-weight is dropped to the stomach and the hands placed on the knees. The Shinai is placed to the left side with the guard level with the knee and the mask laid on the gloves, to the front, with the towel draped across the top. The Senior student ensures all
are ready then shouts 'Kyo-tsuke' (attention) and everybody braces up and pays attention. The second command will be 'Rei' and the class and teacher perform Za-rei' (kneeling bow) as in plate 111. The left hand is placed on the floor followed by the right, the elbows lowered to touch the floor and the forehead to touch the hands.

The correct

style of entry to the Dojo is shown in plate 109, the breastplate and lower armour have been donned in the dressing room and the head towel, gloves and loose cords placed inside the mask, which is carried grill downwards under the left arm. The Shinai is carried in the left hand, parallel to the floor. A Tachi-rei (standing bow) is made on entering the Dojo and the more senior students line up in order of grade to the instructor's left-hand side.

Reishiki

(Ceremonial Form)

Reishiki is important for self-discipline and safety during the practice, since it reminds the students that they are there to study seriously. The details of laying out equipment and the precise form Reishiki takes will vary from Dojo to Dojo but that given here is fairly typical. The student when visiting merely follows the particular form of that school. A training session without Reishiki will be casual and lacking in form, which prevents the development of united spirit among students and also leads to accidents. The effect of Reishiki is that from the moment of entering the Dojo all outside thoughts are to be put aside until we leave again and to create a proper atmosphere for serious study. The atmosphere should not be over strict or depressing. Amusing incidents often occur and the students should feel free to laugh or talk providing that this is not interfering with training. In actual fact the student is normally fully occupied during training and so discipline is hardly a problem. Enforced discipline is of little worth. The student must himself want to follow his own discipline and etiquette to build his character.

Correct footwork

will also cause blistered feet until the soles harden, after which very little trouble is experienced. The only injuries normally resulting in Kendo are a few bumps and bruises from blows and sprains or self-inflicted dislocations. At any rate there are few serious accidents although Kendo often appears dangerous. The student should ignore any painful blows and never duct or show any sign of discomfort. In actual fact a blow is far more painful if the student cringes. To ignore a blow means that it is rarely felt and normally bruises are only noted when changing after practice.

It is really true

that no progress is possible without Suburi training and the keen student should set himself a target of 500 or 1.000 cuts per days if conditions allow.

It will be noted that in the final action the right shoulder swings a little forward since the right hand is advanced on the hilt, but the hips remain square. This swinging forward should not be exaggerated and the student will find it occurs naturally if he concentrates rather on keeping the shoulders square but letting the shoulder come forward a little if this feels awkward. The student will almost certainly find his hands blister until a tough hardened palm develops. Callouses along the forefinger show that the technique is incorrect, the areas of callous as shown in diagram 12 give a good guide to correctness of technique. The right hand is hardly affected.

Mae-ato-suburi

are the normal form in which cuts are made forwards and backwards in a rhythmic fashion, with the cutting action coordinated with the footwork. A more exhausting form of Suburi for stamina training, are Tonde (with a leap) Suburi in which a jumping or skipping action is made rather than a simple sliding step. Sonkyo (crouching) Suburi strengthens the legs and may take the form of cutting whilst sinking and rising from this position or may consist in bouncing up and down whilst cutting from this position, or even cutting and walking. The most exhausting of all are Tobigaki (jumping) Suburi in which the student leaps as high as he can and attempts to touch his buttocks with his heels as he raises the Shinai and cut as he lands again.

Suburi

are always made in this very wide and exaggerated action to give maximum exercise and often the novice cuts only in this way throughout his initial training. The cutting at head level may be varied by diagonals but it is not necessary to exercise cuts against other targets in this way since only a matter of height is involved. This is automatically adjusted just as we adjust to varying heights of opponent without effort.

The Preliminaries

San-kyodo-no-suburi (cutting in three stages) is the basic form. The first action is to raise the blade, thrusting forward and upwards as in diagram 11. After the highest point, 11e, the arms are folded back as in plate 106 and the body is stretched upwards so that the fullest possible circle is made and the joints well stretched. To do this the right arm must relax its grip and revolve about the hilt as it is turned by the left hand; this is shown in plate 107 and it will be noted that the left hand has retained its grip so that the cutting edge of the Shinai faces to the direct right. The Shinai touches the base of the spine and the hands have turned inwards. The cut is performed by simultaneously stepping forward with Tsugu Ashi (following feet) and cutting by throwing the Shinai upwards and outwards with the left hand. The right hand gradually revolves as the left hand turns the Shinai to its original position, but in this case the action is delayed so that the correct hand position is re-assumed at the exact finish of the cut. Plate 108 shows almost the final instant. The left leg is just drawing up to position and the hands are just about to squeeze as the wrists snap inwards. The cut is halted at head or eye level.

Suburi

(foundation action)

An evening's training normally begins with some form of callisthenics to loosen up and what we term Suburi or practice swings of the Shinai. These preliminary exercises are sometimes performed individually by students and also in group form. Suburi is the most important exercise in Kendo since it develops the stroke and can also be employed to build up stamina and strength, which is naturally important for drawn-out matches or practice sessions.

Timing of co-ordination

The initial action is for the novice to raise his Shinai before stepping forward since the arms normally lag behind the feet when untrained. The second phase is when the Shinai is raised as the step is made, giving less warning to the opponent. As the timing sense grows finer the lifting action can be delayed still further as necessary.In diagram 11 the action will appear almost the same for diagonal cuts except that the blade will cant over on the downstroke. By raising each time to the direct high centre position, the minimum of warning is given.

This power

which develops is from out imagination and not muscular. In olden times swordsmen frequently cut an opponent from head to groin with a single stroke. This factor of training should be employed against inanimate objects to be understood, but never used in practice since armour is no protection.

The whole spiritual aspect of Kendo cannot really be discussed and the student will do better to study this directly from his teacher. However, the whole idea is aided by loud, drawn- out shouts and one hundred per cent vigour in performing attacks. The more running about and shouting, the better the training and the more easy it is to see the conception of Kendo.

Kiai

Kiai means 'spirit meeting' and is only referred to as 'shouting' by association. True Kiai is the force of the spirit power, and can be equally as powerful if silent. In Kendo this serves the double function of 'calling the cuts' although a short sharp Kiai is often common as in all Budo arts.

The Chushin (body centre) is often called Saika-tanden or Shita-hara and is regarded as the centre of motion and the source of Kiai and Kokyu (breath power). The student should imagine a volume of sound already contained in his stomach, the mouth opens and the sound comes out, not from the throat but deep in the lower belly. As the breath is expelled the stomach drops downwards with the body weight.