Kakari-geiko

(teaching practice)

In Kakari-geiko the teacher opens the attack line and indicates various attacks or combinations and yells encouragement as the student dashes in, cuts, dashes past and turns to cut again without pause or rest. This style of practice is very exhausting and the teacher will often take a rough attitude and strike the student if he pauses or even hit his legs or back if he does not dash past. Two or three minutes at a time is normally quite sufficient if the student is expelling his full effort and shouting loudly.

Kakari-geiko is often sub-divided into Dai Ichi, Ni, or San Kyoshu (first, second, or third teaching action) according to the complexity of attacks indicated. This training builds up stamina and gives full facility in delivery of blows. Sometimes the student holds his breath for a full minute or so of vigorous action. Nobody enjoys Kakari-geiko but it builds up spirit and tenacity.

Practice and Contest

Keiko means 'practice' or 'training' and can take various forms. The normal type of instruction consists of one or two techniques, exercises and various types of Keiko for application. Keiko is normally preceded by Kirikaeshi (cut and return) or exercise to develop the stroke in which one student will take the teacher's action and accept or defend against attacks according to a pre-set pattern. The most common forms are an initial Shomen-uchi (striking the front mask) followed by a series of Yoko-men-uchi (side mask attacks), delivered in rapid succession to alternate sides whilst moving forward and backwards. The teacher normally parries the side cuts and then allows the student to strike a final Shomen-uchi and dash past, to complete the exercise. The style of Kirikaeshi may vary from place to place but follows this universal form.

In olden times it was the Samurai custom to look into the eyes of other passing swordsmen and test their spirit. If the fighting mind is suddenly taken off and replaced with a vacuum the other's spirit is taken away and a peculiar feeling is felt in the stomach. In this way the Samurai could assess his rival and it was not necessary to draw swords to discover who would win unless the loser could not understand this factor. More of this timing or spiritual feeling can develop without dedicated training and it develops quite naturally of itself so the student should concentrate on his exercise but also train this other side from time to time.

Returning to the aspect

of 'mind stopping' it is obvious that in the vast majority of cases we are struck merely because the blow was not seen in time, and this because our mind was held at another point. The idea of non-stopping of the mind is expressed in the Zanshin or 'lingering of the heart' in that awareness should be maintained even after cutting and the mind is not stopped at that point.

Providing the opponent is practising seriously it is possible either to draw him forward to attack, or to make it very difficult merely by our own spiritual condition. If we take a positive mind and press our spirit forward the opponent will reciprocate and a pressing feeling arises which feels like two opposing magnetic poles. If the opponents are both very strong willed, it may even appear that the tips of the Shinai or swords are clamped together. If one side suddenly draws his spirit inwards the opponent is forced to attack without his own volition and although he may not be aware of this he will be completely under the control of his opponent. This is a little difficult for the average Westerner to grasp but is easily demonstrated by causing a student with closed eyes to sway forward or backward at will merely by suggestion.

This is necessary to take advantage of the five basic times of attack:

1. A moment of distraction, breath change, a blink or outside disturbance or thought (Sen- sen-senno-waza).


2. Immediately prior to the beginning of any action (Sen-senno-waza).


3. As the mind is involved in beginning the action (Dehana Waza and Senno-waza).


4. As the mind is involved ni the finish of the action (Renzoku and Oji-waza).


5. As the mind relaxes just after the completion of the action (Hiki-waza).

Each of these points is known as a Suki or 'mind stopping' and it is only at these times that it is possible to strike. It is impossible to be so fast as to hit even a novice, providing he has normal reflexes and a basic knowledge of Kendo. Speed is of importance but of no use unless timed correctly. The crucial moment which will decide whether or not the attack is a success is not the moment at which the blow lands but the moment at which the blow starts. Since we can hit many times, even in the early days this aspect is often not fully understood and since the above five moments are constantly occurring and re-occurring there are plenty of opportunities. The idea is to take them as definite applications rather than merely by luck.

This other

sense is vital to proper Kendo but cannot be developed properly unless practice is made every day. During a period when this is possible the student will find he can sense the attack before it begins, know the place of attack, or even the nature of the combination to be employed and this is before his opponent has moved. This is termed Senken (seeing before) or precognition and the instant of attack can be felt building up, even when watching. The spiritual build up of the time of the attack can be caught even by relative novices providing it is pointed out to them. The flow between the opponents can be strongly felt almost as a physical force.

When practising with a highly graded Master the blows are either not seen at all or appear to be merely 'lucky hits' taken just because we were not prepared. It is only when this happens again and again that the student realises that this is in fact the real essence of the technique. In a case where the teacher is seen to step forward very casually and strike, whilst we just do not move, or react far too late, this means the attach time at the turning of the breath has been taken. As the breathing changes and turns, so the consciousness lapses for an instant. This timing can be taken accidentally but in reality the opponent's breathing cycle is sensed and one's own breath keyed in to compliment this so that any attack made to our breathing phase will be timed exactly.

The Oji-waza

or reply techniques are often designated as Go-no-senno-waza or techniques
'after-before', since they occur after the crucial time. The above techniques of Sen-Sen, Dehana and Senno-waza are regarded as the most important since they illustrate the real heart and spirit of Kendo. 'As your opponent attacks ... you attack' this is often said and no thought of defence should occur if Kendo is to be understood fully. In olden times it was necessary to dispose of the enemy and the loss of one's own life was regarded as a fair bargain if no other alternative was possible.

Sen-senno-waza

This literally means 'before-before' and whilst this may sound strange it forms the best opportunity in Kendo. Sen-senno-waza means the attack is made just in the instant before a movement is made. This is done just before the opponent's point stirs and whilst his mind is occupied with the decision to attack. In this split second he can neither defend, nor perceive our own attack.

In my own experience with high ranking teachers nothing will happen until the student decides to attack. But as the thought arises it is suddenly too late, since the teacher has just stepped forward and struck. As with most Kendo the observer will note nothing other than one side has struck. But to those concerned a very definite and skilful technique has been employed. Whilst the lower Dan grade students may catch this timing occasionally it is a permanent factor with skilled teachers and is again a question of sense and intuition. There are said to be such techniques as Sen-Sen-Senno Waza but I must confess this is beyond me at present!

Dehana-waza

De means 'at the outset' and Hana 'coming out'. This is similar to Senno-waza but in this case the attack is made just as the opponent starts to move. The most common form is a cut tothe Kote, just as the blade thrusts forward to begin the attack and this is known by the short form of Degote.

Dehana-do is taken just as the opponent raises his arms and clears the Do and of course any combination of attack against any movement may be made as appropriate. The reverse of Dehana is Oi or 'following' in which an attack is launched to follow a retiring opponent. It is common practice to step backwards and forwards rhythmically in practice or contest and attacks made on the advancing step are classified as Dehana whilst those on the retiring step are classified as Oi-waza.

Do-senno-men

is shown in plate 147 and as the attacking Shinai swings across to the left the Men is exposed. The illustration shows clearly the method of carrying the Shinai off after cutting and dashing past to the left.

In these techniques it must be remembered that the opponent is himself leaping forward and our own attack is very short, often a mere quarter step. This idea of distance is essential to keep the delivery within the Dage-kibu (striking base).

Men-senno-men

can be made by attacking directly forward as the left hand passes down below the attacker's face and is taken to the right. Men Senno Dzuki is performed by dropping the point and thrusting upwards but this is very dangerous unless both the attacker and attacked have a good idea of what is happening.

Kote-senno-gote or Kote-senno-do can also be taken but the timing is more difficult. Do- senno-gote is easier since the attacker's Kote is entirely open as his Shinai swings inwards.

Senno-waza

Sen means 'before' and these techniques apply to attacks made just before the opponent's stroke is delivered. In Kendo it is impossible to cut without exposing the body to attack, since the act of lifting the Shinai opens the attack line.

Men-senno-do is to attack the Do as the opponent strikes down to the Men, this normally takes the form of Nuki Do (drawing Do) and the side-step avoids the cut as the counter attack is made.

Hazushi-waza

can be performed by stepping backwards or to the side and also by releasing the right hand and cutting or thrusting with the left, as described before. If we move too soon the opponent will merely follow and if cutting against a real Master one normally thinks the blow has landed and in this moment the reply suddenly snaps in as a complete surprise. This precise timing is not a matter of judgement but a certain feeling or sense that develops with training, an intuitive feeling for the correct time to move which can only be discussed in the vaguest of terms.

These are the more common counter-techniques and in any case where the blade is to be swept aside or touched, the defending blade should have the cutting edge turned away to follow the spirit of the old sword techniques.

Hazushi-waza

(avoiding techniques)

These are not illustrated but consist in allowing the attacker to almost complete his stroke, then suddenly avoid the cut and reply before he can recover. It is not considered good form to
'dodge' about or 'duck' and Hazushi-waza are performed in correct posture, normally raising the blade at the same time.

Kaeshi

(reversing)

As in plates 144, 145 and 146 the defending blade thrusts forward into the attack, then suddenly reverses so that the opposing blade slides away and from there is swung up into the Jodan (high posture) position to strike. Great suppleness is necessary and the twisting off action should be smooth. This can be very easily performed against Tsuki and can be performed to either side. It is normally necessary to step further out to the side with Kaeshi-waza, so as to allow more room for the reply.

Suriage

(brushing upwards)

Suriage is an action peculiar to counter techniques and is shown as Men-suriage-men in plates 140 and 141. The defending blade thrusts forward and slides up the attacking blade, from Tsuba-moto to Dage-kibu. Whereas the Harai is a clash, the Suriage is a soft, sliding action, particularly useful against a thrust, or thrusting cut. After brushing the attack aside the defending blade will be close to the Jodan position and a reply stroke is easily made.

Plates 142 and 143 show a variation of Men-suriage-do in which the blade is drawn back to the defender's left shoulder to facilitate a reply to the Do, in this case Nuki-do.

Uchi-otoshi

Harai give the greatest variety since they can be performed to both sides and against any attack. The effect of Harai is a sharp clash which knocks the attack aside.


(striking down)

This is in effect the reverse of Harai, in that in this instance the semi-circle strikes downwards instead of upwards. This is not illustrated since it will appear the same as plates 138 and 139.

As with Harai the defending blade clashes against the Tsuba Moto (guard base) of the attacking blade but is normally less efficient since it is necessary to lift the blade again to make the reply cut, and time is lost unless the attacker is striking to either the Kote or Do. In the case of Do, which approaches at a very oblique angle the action is very similar to that in the Uchi Otoshi of Shikake-waza, except that the defending blade points towards the opponent's right shoulder and hip.

Harai

(sweeping)

This is the same action as in Shikake-waza but instead of a full circle only a semi-circle is necessary, to sweep aside the down-coming blade. Men-barai-men is shown in plates 138 and
139. The action of Harai is to thrust the defence spiral, or cone obliquely into the attack arc, so as to cant it over and tilt the axis off, see diagram 13. Strong Shibori (wringing) action is made when sweeping and the hands and palms should relax again prior to the actual cut.

As a general rule, the Hidari-men defence will allow a Men or Do attack whilst the reverse Migi-men defence will allow all three attacks in reply. The Kote-uke-dome is performed lower at the hip and can be followed by Kote or Men and the same applies to Do. They are signified as Men-uke-dome-men or the attack, the action, and the reply, whichever may be appropriate.

Uke-dome

Kaeshi-waza means 'returning techniques' although the currently favoured term Oji-waza, or 'replying techniques' is less confusing since one of the categories is known as Kaeshi. Oji- waza are methods of deflecting the attack, or avoiding, in such a way as to allow a counter blow.


(defence stop)

This is the straight 'parry and riposte', plates 136 and 137. The attacking blade is caught and held in the Hidari-men-uke-dome (left mask parry) position and the counter attack stroke made before he can react. In this action the blade is canted forward and across the body, whilst being snapped backwards so that strength enters the blade by the linear motion applied along its length. The point of the defending blade remains along the centre-line to aid in delivering the counter-blow and strikes against the opposing blade's Tsuba-moto. Instead of a clumsy side movement this snapping backwards keeps the blade perfectly under control. This position is in itself too weak to parry the attack so it must be ensured that the blade is actually snapping backwards as the attack strikes.