Mawashi

(wheeling)

This is best performed against a limp opponent and in this case the opposing Shinai is wheeled off with a spiral action, as shown in Mawashi-gote in plates 133, 134 and 135. Although the opposing blade is more or less 'scooped' aside the factor to concentrate upon is maintaining the point of contact as the blades twist about each other.

These are the more important Shikake-waza and as a rule the following stroke is short and sharp rather than wide. The actual Shikake action may at first be made with a half step forward, then later included in the initial development of the cut. Another name for Shikake-waza is Saki- waza or point techniques since the control the point of the blade.

Hajiki

(springing)

This is best employed against a very stiff opponent and in pressing slightly to one side the opponent will react by pressing back and by sliding our blade off the point the opponent is caused to swing to the reverse side. This is shown in a very wide action in plates 130, 131 and
132, this opens the outside line and instead of Hajiki-gote as shown the attack could as well have been Hajiki-men. Hajiki-dzuki can be made by slipping the point underneath the opposing blade.

The inside line is opened by pushing from the opposite side but only opens the Men attack line. By pressing downwards the opponent can be made to spring upwards to his left side and expose his Do. The Hajiki principle is very useful at very close range, which we term Irimi, or Tsubazeri-ai. The pressure should not be too obvious or the opponent will realise what is happening.

Uchi-otoshi

(striking down)

This is not illustrated, but will appear very like plate 128 and is employed when the opponent adopts a low Chudan (middle posture) or Gedan (low posture). The angle of approach is as for Osai but instead of pressing, the blade is smacked sharply downwards with the side of the attacker's blade. A powerful form of Uchi-otoshi is often employed to disarm.

Osai

(pressing)

A stiff opponent will instinctively swing his point back to the centre, so that in this case the blade is pressed aside by turning the attacker's edge to his right and running down the opposing blade, pressing the point off and controlling until the point is cleared. Rather than pressing directly to the side, we thrust obliquely across the blade and Osai-men is shown in plates
128 and 129. Osai-dzuki is more awkward and so this technique is normally followed by a Men
attack.

Harai-men

is shown in plates 126 and 127 and can also allow for Tsuki. The outside attack line is opened by circling over, or under, and snapping the opposing blade to the attacker's right. This exposes the Men, Kote and Tsuki, and if taken correctly will also open the Do line. A very wide sweep is classified as Nage-barai, or long sweep, whilst a sharp sweep caused mainly by Shibori (wringing) is termed Hari-barai.

Harai (sweeping)

Harai is performed with a semi-circular sweeping action, which spirals forward to turn the opposing blade aside. On an advancing step the attacker's blade is circled to the right, downwards then upwards to the left, striking the opponent's blade sharply to his own right and opening the inside attack line. The action is made by turning the blade with the left hand, as shown in diagram 13.

Shikake-waza

(initial opening techniques)

When practising, the teacher will open his attack line to allow the student to cut but this will not hold true in practice. The opponent may not respond to Renzoku-waza and so another method of removing the point is necessary. The majority of these actions are employed in counter techniques as parries and are important movements of the Shinai.

Renzoku practice

is extremely good for judging timing and distance as well as developing speed of thought but all Renzoku-waza are restricted to Sandan-waza or three step techniques, after which the match must be restarted. This is merely to eliminate scrappy play and the factor of luck rather than correct application of technique.

There are many variations, many of which depend upon the individual opponent's reaction against certain attacks. This is a matter of practising the basic forms, which can be easily worked out and adapted to circumstances at the time.

Renzoku-waza

(combination technique)

Combination attacks are one or two attacks used to create an opening at another point. It is impossible to simultaneously cover all points at once and if the defender's mind stops on parrying, or he can be tricked to move in one direction, a clear chance is gained to attack.

The first style of Renzoku-waza is to make positive attacks which the opponent will parry and thus expose another point. This idea can be extended by circling around so that the point circles over the opponent's blade, as though to attack the Kote, then continues underneath, up to its original position and thence to a Men attack. Meanwhile the opponent swings to the right to protect the Kote. Later still just the merest gesture can cause a reaction or in the extreme a strongly projected idea of attack in a master's mind can cause the opponent to react. Whilst we must always call the attacks correctly, we can think strongly about another target and if we lift the Shinai and think strongly about the Do the opponent will often catch this thought and defend whilst we attack the Men.

The easiest method

of defence is Hiraku or 'turning open' in which, for example, as the attacking blade cuts down to the Kote the defender slips his own point to the right and the attacking blade slides down the inside. This can be applied in other cases. The attack to Do is almost impossible to defend against efficiently and will often be simply blocked with the hilt section, between the hands. It should be remembered that in the cutting position the opponent's guard will always return to the centre-line so that it is important to cover this line.

Bogyo

(defence)

Bogyo is not really bothered with in Kendo other than as a means to create an opening for a counter-technique but certain methods do exist.

Uke-dome (defence stop) is described later and is more or less the direct parry. There are other methods of deflection or blocking and all avoid direct clashing with the opponent's Shinaiand normally attack the downcoming Tsuba-moto (guard base) which is moving relatively slowly.

The simplest Katate-dzuki

(single hand thrust) in which the left hand throws the blade forward into the neck; this can also be the means of simultaneously escaping a Kote attack. The Do and Kote are rather unlikely targets in this style.

The main use of Katate-waza are from Jodan (high posture) and the blade is thrown forward just as the opponent attacks. The main defence against Jodan is to raise the Shinai point to cover the high attack line, in a rather high Chudan (middle posture). The easiest targets are the Tsuki or the Kote, both Kote and Do are in play if the opponent adopts Jodan. In this case the man in Jodan will sometimes use the Katate cut to simultaneously avoid a Kote attack, drawing the hand back as he cuts.

Katate-waza

(single hand techniques)

Single hand techniques are valid if correctly performed but should not be studied until the Dan ranks are reached. The main difficulty is achieving the effect of Shibori (wringing) by snapping the wrist inwards as the cut is made. Either hand may be used and the body is turned sideways to the appropriate side. The left hand is much easier to perform and gives greater control, besides adding some eighteen inches to the reach.

Katate-waza from Seigan (natural posture) consists of circling the blade backwards and sweeping it up over the head and throwing forward. This is normally used merely as a 'trick' or
'surprise' attack and is rather dangerous unless controlled.

Naname-waza

(oblique techniques)

Naname-waza are not illustrated but consist of blows delivered obliquely, by entirely changing the body-line. Naname attacks can be performed to any point but are easiest against Do or Kote targets. Naname-waza are employed in contests since the side-step takes the body out of the attack line and the return cut is made without swinging the body inwards.

Nuki-waza

(drawing techniques)

Nuki means a drawing action, such as pulling a cork from a bottle and can refer to drawing the opponent forward to take an advantage. Nuki-waza are also the types of strokes in which the blade is drawn back, very similar to Hiki-waza but more deeply on the blade, from Chu O to Dage-kibu (centre to striking base). Whereas the Hikigiri slides backwards the Nukigiri drags backwards a little more deeply.

In actual fact Nukigiri is rather more an old fashioned sword technique and is modified for practice today. The main technique which will concern the student is the Nuki-do in which the breastplate is struck simultaneously with a side-step to the attacker's right. The blade is drawn obliquely across the opponent's body as the left hand crosses underneath the right and drawsdownwards towards the right knee.

Nuki-do can be performed when close to the opponent or in the face of an attack and to avoid the downcoming blade, is normally performed directly from the shouldering position. The blade follows the right foot in this case and whilst the step is normally fairly wide the Shisei
(posture) and head remain upright. Nuki-do cannot be easily performed against a static target.

Hiki-waza

(reversed techniques)

Although students below the Dan grades have little chance of scoring with a backward cut these are practised, especially when the first attack may be blocked. In this case the student, instead of passing, steps quickly backwards and cuts to another undefended point. Hiki means
'pulling' although the student should not be mislead by this. The action of Hiki-giri is exactly the same as a forward stroke, except that the body is moved backwards. The actual pulling action is achieved by the left hand pulling back with the Shibori (wringing) and the arms remain outstretched.

With a forward stroke the point passes over the target whilst in a backward stroke the blade is passing the other way. Sashigiri cannot be made backwards and neither can the thrust. The important factor of Hiki-waza is footwork and timing.

Hiki-waza comes under the definition of Nidan-waxa (two step techniques) since either an initial attack, or a defensive action will occur prior to a backward cut. The method of delivery looks exactly the same and the difference is only felt. For general classification Zenshin means attacking forwards and Kotai attacking backwards.

The deliveries are as follows:

The Tenno-uchi and especially Sashigari cannot be understood unless correct action has been learned by constant Jodan-uchi in the initial stages. The normal idea is for students of 3rd Kyu status to begin a study of Tenno-uchi and 1st Kyu students to begin Sashigari. This does not mean that such techniques may not be experimented with but if allowed to form the basis of technique too early, the technique and style cannot develop.

Jodan-uchi

- Blows delivered from the high position.

Dai-jodan-uchi - Blows delivered with the widest possible action, touching the back each time when lifting the blade. For exercise and development of technique.

Tenno-uchi - Blows delivered with the hands where instead of lifting to the Jodan position as usual, the blade lifts in a limited action and both hands perform a 'levering' action which results in a short sharp blow suitable for free practice or contest. Tenno-uchi should not be confused with 'inside palm' and when striking the Kote the blade merely passes over the opponent's point and when striking the Do it is canted back to the attacker's left should, much as when passing after cutting.
Sashigari - thrusting cut. This is often termed Oshigari (thrusting cut). The blade is not lifted above the target level but thrusts straight forward and a sharp crisp blow results in positive footwork with well-timed Shibori (wringing action) as well as complete suppleness during the delivery. In normal cases the Kote must be attacked by passing over the opponent's point to the other side but with this technique the attacker can drop his own point and pass straight in. This is sometimes termed Maki-gote (winding in).

Tsuki

(the thrust)

The only thrust in Kendo is to the throat guard or Kubi-tare, the stiff pad at the lower bottom of the grill. The Tsuki is very dangerous since the Shinai is a rigid weapon and this thrust is forbidden below the rank of 3rd Kyu. At all times the Tsuki should be performed with caution. A wild jab can easily damage the neck, or slip under the pad and cause permanent damage to the throat. The Tsuki should only be employed when it has been properly taught and practised. This is shown in plate 125 and it is not possible to pass so a step backwards follows the thrust.