SwordsIn the modern world it is not common (at least not where I live) to encounter someone armed with a sword. This is a thankful state of affairs! However through historic tradition jitsuka are trained in the very basics of sword techniues or Ken Waza. !hat is a sword"# sword is a wea$on that is usually made of metal. It has a %long% blade and a hilt & usually se$arated by a hilt. Swords are used in a variety of attacking styles' thrusting' slashing and even bludgeoning. # little historyThe (a$anese are recognised as the first $eo$le to create truly shar$ swords. )efore this swords were rarely able to slice into $eo$le rather they were used to bludgeon an o$$onent into unconsciousness and the sword could then be used to cleave and stab. However the folding of steel and other metals led to stronger swords that retained their shar$ness for more than a few blows. It was these swords that the samurai used in their battles and it is these swords that are used in jiu jitsu. The art of using a sword is an entire martial art (or several) in it%s own right. The art of the sword is not one where the blade is swashbuckled around or fenced & at least not with the sword of the samurai' the Katana. Ken Do (the way of the sword) is the most famous $ractice of (a$anese sword work' but there are many other arts of the sword to learn. The art of Iai Do for e*am$le focuses solely on the art of drawing the sword from it%s sheath' whereas Tameshi Giri concentrates on the art of actually cutting with a sword. !hy train with swords"In jiu jitsu as with most of the gentle art' only the surface of a set of techniues is touched u$on. There is always a life time of study to be s$ent on each techniue. (udoka for instance often s$end their entire lives $erfecting a single throw. (iu jitsu aims for an all round coverage of techniues so that no matter what the situation the jitsuka can react a$$ro$riately. Therefore whilst there is so much to learn about the sword' jitsu $rovides some knowledge about swords. #fter all $erfecting a throw such as koshi guruma may not be as hel$ful against a sword as gaining a com$etency in a much larger range of throws. The +atanaThe katana is a versatile sword and is only one of several ty$es of (a$anese sword' but it was the $referred sword of most samurai. The katana is a fairly long sword normally used two handed' but light enough to be wielded one handed when reuired. +atana vary in uality and in $rice as well as their $articular style. ,any katana $osess ornately carved hilts with dragon heads or gold wire handle. Scabbards are also freuently etched and embossed in a (a$anese style. ,ost of these artistic designs are for ornamental katana which are ineffective in combat' but there do e*ist some which are not. therefore on the mat do not be com$lacent in thinking that a katana is not %real%' no matter how it looks. It may well be shar$er than you think. It was not an infreuent occurrence for the Samurai to carry a katana and a waki-ashi (see below) into battle' one sword in each hand and fight with both at once. The smaller waki-ashi made a good wea$on for the off hand' and such a combination was referred to as diasho meaning the long and the short. The katana in the correct hands is a deadly wea$on. In the wrong hands it a deadly liability to the $erson who is attem$ting to wield it. It is normal $ractice however to train (at least initially) with a bokken (see below) and then move on to a katana that has been $ur$osefully blunted. .ven blunted katanas are dangerous. They won%t $ierce the skin whne $ressed gently to it' but they will cut if force is a$$lied. ,ore senior grades ($ur$le onwards) ty$ically s$end time learning how to strike effectively with katana. This then allows them to train safely with one another in $racticing defences against attacks with a katana. The !aki-ashiThe waki-ashi is a shorter sword than the katana and is of a similar construction. The waki-ashi was another $referred wea$on of the Samurai and was often used in the off hand to the katana. The waki-ashi is not as obvious as a katana' and so whilst not as visually im$ressive' it can be more easily concealed & making at least eually as deadly if not more so. The /o 0achiThe no dachi is an im$ressive two handed sword over five feet in length and very shar$. ,uch heavier than a katana' the no dachi can easily cause grevious wounds on an attack' but it is not as maneuverable or fast as a katana' and so defences against them tend to be easier & assuming it doesn%t hit on the first attack. This sword is not well suited to thrusting attacks' but more to downward slashes' and so the attack is more easily $redictable. /o dachi are rarely used in jiu jitsu since the katana is at least as challenging a wea$on to master. The )okken)okken are wooden swords about the si-e of a katana. They arte essentially $ractice wea$ons' and $otentially safer than a metal sword. 1f course if you are hit by a fast moving three foot $iece of solid wood & IT !I22 H34T 513! )okken are still wea$ons as much as a baseball bat could be used as a wea$on. the bokken is carved so that it has a slightly cureved katana like blade' and a distinct handle. )etween the handle' modern bokken also have a tsuba or hilt to $rotect you when $racticing fighting or kata with another. The tsuba is held in $lace by a rubbery band called a habaki. ,any other ty$es of swords e*ist' and may be found in dojos across the world' but the $rinci$les of using them are similar' as are the defences against them.3sing SwordsSwords are highly dangerous wea$ons. 6or centuries they were man%s $rimary wea$on for close combat on the battle field. Swords should be res$ected at all times whether they are blunt or shar$' wood or metal. !earing your swordThe swords used $rimarily in jiu jitsu are the katana and the waki-ashi. )oth of these wea$ons have slightly curved blades' and when they are worn' are worn on the o$$osite hi$ to the sword hand with the slicing edge of the blade $ointing u$. The tsuba is $ositioned so that it lies ne*t to the knot of the obi. The sword scabbard should slide through between the two bands of the obi. The sword scabbard often has securing ta$es on it. These should be loo$ed through and under the obi a few times to make sure that the scabbard does not sli$ out from the obi. If you are using a bokken' this will not have a scabbard' but if you take the overla$ of the obi at the back and bring it around to the side where the scabbard would be (this is easily done with a cou$le of fingers)' the bokken can be slid into the cross as shown in the diagram. 3$ inside the outer band over the inner band' then under the inner band' and over the outer band. 6inally you should always try and kee$ your off hand on the scabbard of the sword. 7lace the hand on the u$$er end and $lace the thumb over the tsuba. This means that when you rei to someone' your sword does not slide out onto the floor making you look very silly and leaving you $ractically disarmed. 0rawing the swordThe art of drawing a sword is Iai 0o' and is an entire martial art in itself. In the very basics of sword work' it is enough to focus on drawing the sword smoothly and uickly into the first strike or into a ready $osition. !ith a long sword it often hel$s if you turn your hi$s away from the direction you are drawing the sword as you are doing it. This will hel$ you get enough distance in your draw to get the ti$ of the blade out of the scabbard. In drawing the sword' you should try to follow the curvature of the blade. 6or a straight bladed sword draw in a straight line. 6or a curved blade sword draw in an arc the same sha$e as the curve of the blade. It will also hel$ if you slowly breathe out in a smooth continuous breath as you draw the sword. This will sto$ you tensing and jamming or jerking the sword in the scabbard. Holding a katana# katana is ty$ically held in both hands with the right most hand nearest the blade. There should be about a finger%s distance between the inde* finger of the right hand and the tsuba. The left hand should gras$ the lower $art of the hilt away from the blade. The left hand%s little finger should lie just beneath the hilt of the sword as though su$$orting the entire sword. !hen $re$aring to strike' the hand is o$en' the sword being gri$$ed only by the left hand%s little finger and the thumbs 8 $alms of both hands. #s the strike is made' both hands gras$ the sword fingers curling into $lace as the strike is made. This gri$$ing strategy may at first feel uncomfortable' but like a true randori judo gri$ where only a few fingers are used until the attack is made' this allows you to move the sword in a more rela*ed and free manner and $ut the necessary force into the strike at the end when it is needed. This also means that your hands will be able to hold the sword comfortably for a much greater length of time. #ttacksThere are many ty$es of attack that can be made with a sword. Some more sim$le attacks to try are9& Shomen 3chi & The leading foot is drawn back to a cat stance (:;< weight on back foot' =;< on front foot' back knee bent slightly' and front foot u$ on the ball) as the sword is take directly back over the head so that it $oints vertically down. Then as you ste$ back to the initial stance' the sword is swung directly over the head into the target. 1n the strike do not let the ti$ of the bokken dro$ below the hori-ontal. Thrust & # sim$le attack from the initial stance draw the sword hilt back towards you and slightly to one side as determined by the stance. 6rom there $ush hard off the back foot and let the front foot slide smoothly across the floor. #t the same time e*tend both arms driving a little body weight and shoulder into the thurst. +ee$ the ti$ of the sword above the hori-ontal. 0efencesSwords are dangerous wea$ons' but the Samurai realised that they may be disarmed on the field of battle' and may have to defend theselves against a sword armed attacker. To this end jiu jitsu develo$ed several defensive techniues to 'ahem' obtain ownershi$ of the sword. #s usual if we assume that most $eo$le do not intend to attack themselves with their wea$on' then the best $lace to be to avoid being hit by the wea$on is where the attacker is. Taking the $reviously described attacks as e*am$les the following techniues could be used9& 6rom a vertical attack (or a >?@ attack)' the jitsuka must move into the attack and try to stand in the same $lace as the attacker whilst taking control of the sword. The sword will not suddenly sto$ dead when blocking the arms' so it is better to control the arms and kee$ the attack moving through. The best e*am$le of a techniue to do this would be yama arashi. This can allow the jitsuka to lock both arms and because it is a hi$ throw will allow the jitsuka to assume the $osition of the attacker and to $ut them to the floor in one swee$ing movement. If the attack is seen early enough' the jitsuka may be able to rush the attacker. Ste$$ing uickly to the outside and $lacing a covering hand on the hilt of the sword' the other hand can come forward to take the face nad eyes in order to take the attacker%s balance backwards causing them to fall & $robably onto their own sword. 6rom a thrust' the jitsuka needs to sideste$ the attack. 6rom the side' the jitsuka then must take control of the sword. )ecause a thrust tends to be for the gut or abdomen' the arms tend to be too low to lock u$ into something like arm lock si*. Instead the jitsuka should try to focus on the wrists. Aovering bothe hands' the jitsuka should be able to continue the movement of the thrust going and use it against the attacker to then take them into a wrist lock. !hilst $utting the wrist lock on it may even be $ossible to strike the attacker with their own sword by their own hands. #n im$ortant thing to remember about swords is that they are long' and whereas a knife that has been %secured% may not be able to slash you' a sword that is %secured% may have a lot more movement at its ti$ than you would at first think. ,ake sure that when you do take control of the sword you can see the end of the sword. 5ou know where the attacker is... there the one screaming in $ain at the other end of the sword. Aoncentrate on the sword & you can even use it to finish off the attacker or if numbers are a $roblem the ne*t attacker & "I'm sorry m'lud, he came at me with this sword and I just turned him round and, well he just stabbed his mate with it.". IntroductionThe jo is a stout wooden stave fashioned from (a$anese oak which was originally used as a substitute for the long sword and the short s$ear. The $rinci$le use for the jo is as a wea$on to counter and attack other aggressors who are armed with similar wea$ons or as a wea$on to neutralise an unarmed attacker. 3se of the jo is also a very good method of achieving co&ordination of body' limbs and mind' and to this end' many e*ercises have been develo$ed using it. (o Suburi.ach of the following twenty suburi should be $ractised carefully and with feeling. )reathing is very im$ortant and you should inhale before you start the movements' allowing your breath to $ass out of your lungs as you $erform the suburi' and e*haling shar$ly as you finish the final thrust or strike of the suburi. #lways check your $osture at the beginning and end of each suburi to ensure that you have started and finished correctly. Bood $osture before and after $erformance goes a long way towards correct $osture during the suburi. =. AH1+3 TS3+I & This is the basic thrusting movement which is featured in many of the jo wa-a (jo techniues). Aommence in basic $osture' hidari hanmi' with the jo resting on one end vertically on the mat immediately in front of your left foot. Hold the jo with your left hand. 4each down with your right hand to gras$ the jo near its base. 5our left hand should lift the jo as you do this. Slide your right hand down to the end as you bring the jo to a hori-ontal $osition' tsuki no kame. Slide the jo through your left hand back and then forwards' swinging your right hand u$ to the front of your centre. )oth feet slide forwards as you lower your $osture during this forward thrust. C. +#.SHI TS3+I & This is actually a counter to a thrust from your o$$onent. Aommence in left $osture as for the first jo suburi. Bras$ the to$ of the jo with your right hand' thumb downwards. )ring the jo u$ in a circular motion as you move to your left with your left foot' bringing your right foot around to remain in hidari hanmi. #s you move' thrust the jo forwards to your o$$onents centre' your left hand on to$ of the jo. .*$el your breath e*$losively as the thrust is $erformed. D. 3SHI41 TS3+I & This is a thrust against an o$$onent who is behind you. Aommence in basic $osture as for the $revious suburi' bringing your right hand to the to$ of the jo' thumb u$wards. 2ift the jo $lacing it along the underside of your left forearm while sliding your left foot back beside your right. Ste$ back with your left foot' thrusting the jo straight to your rear and turning your body to your left as you do this. >. TS3+I B.0#/ B#.SHI & This is the first of two combinations of movements which incor$orate the first jo suburi. Aommence in hidari tsuki no kamae' holding the jo hori-ontally in your left hand with your right hand at its base' your feet in left $osture. Swing back with your right hand to make choku tsuki (first jo suburi)' sliding your feet forwards. Slide your left hand towards the front of the jo' and ste$ backwards and to the right' remaining in left $osture as you $ush the jo back $ast your right side through the right hand. Turn your hi$s to the left' ste$$ing forwards with your right foot' and bring the jo around at knee level to strike at your o$$onents lower legs. 5our right hand should be behind the jo $ushing it round to make contact. ?. TS3+I (10#/ B#.SHI & This combination introduces the striking techniues which are to follow in the ne*t five suburi. 5ou commence in hidari tsuki no kamae. Swing back with your right hand to $erform choku tsuki' sliding your feet forwards. ,ove backwards and to the right' still in hidari hanmi' bringing the jo u$ to $rotect your head (sliding your right hand u$ to your left). Tum it over your head to the striking $osition in $re$aration for shomen uchi strike (right wrist twists' left hand moves to end of (o). The strike is $erformed by swinging the jo in an arc over your head and down onto your o$$onent as you ste$ forwards with your right foot. E. SH1,./ 3AHI +1,I & Aommence in right $osture holding the jo in front of you with your left hand at the end of the jo and your right hand a uarter of the way u$. Ste$ back with your right foot' raising the jo above your head' $ointing it towards the ceiling and angled slightly back. #s you ste$ forwards with your right foot' bring your hands down and forwards' striking with the jo to your o$$onents centre. F. 4./G1+3 3AHI +1,I & Aommence in right $osture and $erform shomen uchi komi (si*th jo suburi). Having $erformed the strike in right $osture' move your weight forwards on to your right foot and bring your hands u$ to the front of' and just above' your head with the jo $ointing to your right. Ste$ forwards with your left foot' turning your hi$s into left $osture. )ring the jo round to e*tend behind you and make hidari shomen uchi to com$lete the suburi. H. ,./ 3AHI B.0#/ B#.SHI & Aommence in right $osture and $erform shomen uchi komi. !hen the strike is com$leted' e*tend your right hand to the end of the jo' swee$ it back to your left side and move back and to your left. Ste$ forwards with your left foot. )ring the jo round in a strike to your o$$onent%s knee' kee$ing your left hand behind the jo to give $ower to the strike. :. ,./ 3AHI 3SHI41 TS3+I & Aommence in right $osture and $erform shomen uchi komI. #s the strike is com$leted' slide your right hand to the forward end of the jo' turn your hi$s into left $osture and $erform a thrust to the rear as in ushiro tsuki. =;. B5#+I 51+1,./ 3SHI41 TS3+I & Aommence in right $osture as if you had just com$leted shomen uchi komi' bringing your hands u$ to the front of' and just above' your head with the jo $ointing to your right. Ste$ forwards with your left foot and $erform hidari shomen uchi. Slide your left hand to the front end of the jo' turning your hi$s further into left $osture and $erform ushiro tsuki to your right side at chest level. ==. +#T#T. B.0#/ B#.SHI & This is the first of the suburi which features one&hand gri$ and uses wrist movement for successful com$letion. Aommence in hidari tsuki no kamae' sliding your left hand to the forward end of the jo. 7ush the jo back through your right hand' bringing your body back and to the right as in the fourth suburi. )oth hands should now be at the forward end of the jo. Take a long ste$ forward with your right foot' swee$ing the jo forwards across an imaginary o$$onent%s face' holding it with your right hand only and catching it with your left hand over your head on the left side after the swee$ is com$lete' finishing in a defensive $osition. =C. T1,# +#T#T. 3AHI & This movement is used to e*tend the jo forwards to reach a considerable distance $ast your normal fighting range. Aommence in hidari tsuki no kamae and draw the jo back over your head to your left with your right hand' resting the forward end of the jo on your left forefingerIthumb cleft. 0raw your weight back onto your right foot. #s you start to swing the jo around with your right wrist' commence ste$$ing forwards with your right foot' swinging the jo at your o$$onent%s head and around to be caught by your left hand down by your left hi$. =D. +#T#T. H#AHI&/1&(I&B#.SHI & This incor$orates a double wrist action to loosen your wrist and serves as the $recursor to the hasso techniues that will follow. Aommence in left $osture. Hold the jo in your right hand on your right side' the end resting on the mat. Tum your wrist forwards' raising the jo and' while ste$$ing forwards with the right foot' swee$ the jo across your imaginary o$$onent%s face. catch the jo high on your left side in your o$en left hand. Swing your hi$s back to the right' changing $osture into hidari hanmi while ste$$ing back with your right foot as you $ush the jo across to your right with your left hand. S$in it around your right wrist' catching the short end in your left hand' beside your head on your right side. =>. H#SS1 B#.SHI 3AHI & The ne*t five suburi all incor$orate the hasso techniue which consists of ra$idly twirling the jo from a forward $osition under your wrist and u$ to above your right shoulder beside your head' as you do to com$lete the thirteenth suburi. Aommence in ken no kamae' sliding your right foot back as you e*tend your left hand forwards and u$wards' letting your right hand slide a little further towards the centre of the jo. #s you ste$ back with your right foot' $ush shar$ly down with your left hand on the jo to swing it down and u$ to your rear. Bras$ the bottom end with your left hand as it comes to a vertical $osition at the right side of your head in hasso no kamae. Start to ste$ forwards with your right foot as you bring the jo u$ to your head changing the gri$ with your right hand' and com$lete your ste$ forwards as you strike with shomen uchi in right $osture. =?. H#SS1 B#.SHI TS3+I & Aommence as in the $revious suburi twirling the jo to assume hasso no kamae. 6rom this $oint' e*tend your left foot forwards' bringing the jo down to $erform a straight thrust to your front. Slide your right hand forwards and $erform hasso gaeshi once more' bringing your left foot back a little to finish in hasso no kamae. =E. H#SS1 B#.SHI 3SHI41 TS3+I & Aommence as in the $revious suburi by twirling your jo to assume hasso no kamae. 6rom the vertical' dro$ the to$ of the jo forwards' e*tending your left hand to its front end and thrusting the jo to your right rear (migi ushiro tsuki). 6inish with your hi$s facing to the right. =F. H#SS1 B#.SHI 3SHI41 3AHI & Aommence as in the si*teenth suburi assuming hasso no kamae. Tum your hi$s further to your right and strike down and around to your rear with a round swee$ing blow' kee$ing your feet in the same $osition as they were in hasso no kamae. =H. H#SS1 B#.SHI 3SHI41 H#4#I & Aommence as in the $revious suburi assuming hasso no kamae. Tum your whole body to the rear' swee$ing your right foot back and round whilst swinging the jo in a swee$ing strike to an imaginary o$$onent who is standing behind you. =:. HI0#4I /#B#4. B#.SHI 3AHI & These final two suburi are designed to hel$ im$rove your body movement as they incor$orate a flowing combination of strikes. Aommence in ken no kamae (right $osture)' ste$$ing back with your right foot to $erform shomen uchi komi (si*th suburi). #s the strike is made turn to your left' bringing the jo around as you e*tend your left hand forwards to catch it. 6rom here' take the jo back over your head. 5ou should now be facing your rear as you $erform right shomen uchi strike to the imaginary o$$onent who is now standing in front of you. C;. ,IBI /#B#4. B#.SHI TS3+I & Aommence in ken no kamae' ste$$ing forwards to $erform hidari shomen uchi. #s you com$lete the strike' ste$ back and round with your right foot' turning to your rear to block across your head 2ower your hands into hidari tsuki no kamae and $erform hidari choku tsuki to deal with the imaginary adversary behind you. .J.4AIS.S 614 I,741KI/B #AA34#A5 !ITH (1 14 )1++./7aul 6indley $afLioc.co.uk Here are a few e*ercises which will hel$ im$rove your accuracy with a bokken (or jo for that matter). 6or shomen uchi9 Have a $artner hold a jo hori-ontally in front of you so that the jo is $arallel with your shoulders. The jo should be fractionally below the height of your natural cutting action. 5ou should make a few $ractice cuts to establish the correct height. !ith the jo in $lace' cut shomen uchi re$eatedly with your bokken' trying to come as close to the jo as $ossible without touching it. 5our $artner can indicate how close &&& or far away 9M) &&& you are. #im to cut with the last cou$le of inches of your bokken. Try not to look down at the jo' look straight ahead instead. 5okomen uchi9 Have your $artner sit sei-a directly in front of you and hold a jo vertically. !ith your bokken' cut yokomen uchi alternately to the left and right of the jo. #gain' the idea is not to touch' but to come very close. 1nce you get the hang of these you can ask your $artner to move the jo about a bit. Ho$efully your cuts will remain consistent as you adjust your $osition and $osture to co$e. 6or tsuki ($oke)9 0raw a small circle on the wall at your natural $oke height (hmm' sounds disgusting 9M()' and try to tsuki inside the circle every time. If it%s too easy' make the circle smaller. # wall is $robably a bit too solid for this really and you might annoy its owner too' so $erha$s fi* something with a bit of give to the wall (back to tyres eh") 7aul 6indley D=&count jo kata and kumi&joby (onathan 0iesch6or this transcri$tion' I have tried to avoid using ja$anese terms for various techniues' $artly because I can never remember them all' and mostly because it will limit the number of $$l who can follow what I%m saying. This is only a descri$tion of the kata as I know it' and may bear no relation whatsoever to anything your sensei has taught you. Throughout this transcri$tion 513 are %doing% the kata side' H. is %doing% the Nanti&kataN. numbers =&D= are you' numbers =a&D;a are him! =a9 starting 2 $osture' he makes a straight thrust to your chest. =9 Starting 2 $osture' you ste$ off the line to your 2 and make a reverse thrust over his jo' to the chest. Ca9 ste$$ing back' and slightly left' he rotates his jo to cause a deflection of yours' taking your balance to your rear 2' and then makes a straight thrust to your face. C9 Ste$$ing to your 4' you raise your jo to $rotect your face' and block u$wards' cocking your wrists as you do so' to kee$ contact' and sto$ his jo flying off into s$ace. 6rom here rotate your jo from under his to on to$' and strike it down' taking his balance to his front 4' and... D9 Thust to his 2 floating ribs. Da9 kee$ing the end of his jo low' he ste$s back into 4 $osture' and turns his hi$s towards you' blocking your strike with his jo vertical. 6rom here he makes a s$iral movement with his jo' that brings on&line with your face' and takes your jo' and your balance' to your rear 2. Then he makes a straight thrust at your face. >9 5ou avoid this thrust by making a )IB ste$ to your 4' across the line' raising the jo to $rotect your face' /1T blocking him! #s you bring the jo u$' allow your back hand to slide into the middle of the stick' then let go with your front hand so that you can rotate the jo through =H; deg. catch the end again' ste$ forward and... ?9 make a straight cut (shomen). ?a9 ste$$ing back' he absorbs your cut by making an identical cut to yours' in mirror&image. E9 So dro$ the end of the jo to your 4' ste$ forward' around the end of his jo' and cut again. 5ou should now be in 2 hanmi. Ea9 he makes another identical cut' but is a little slow with it' this time you catch his jo' and send him off&balance to his rear 2. He should now be in 2 hanmi. F9 5ou now $ivot to face the o$$osite direction' and make a straight cut to an imaginary $ersons% head. Fa9 he recovers his balance' and attem$ts a straight thrust at your back. H9 5ou ste$ forward' making shomen again. Ha9 he raises his jo to hit you on the head' ste$$ing forward into 4 $osture. :9 5ou are in 2 $osture' 2 hand forward on the jo. 5ou raise the end of your jo to your front 2' and then make (kaiten&ashi) by $ivoting on the balls of you feet through =H; deg. then ste$$ing 614!#40 with your 2 foot. #s you do this swing the jo round' and down diagonally' to strike at his knees. .nsure that you turn your wrists over so that you 73SH the jo round not $ull it. If you $ull you cannot sto$ the jo easily. 0o not allow the jo to go further than :; deg $ast his knees. :a9 with his jo still raised he ste$s back (uickly!) then ste$s in again to strike your head. =;9 Ste$ forward on your 2 foot' bringing the jo u$ hori-ontally under his elbows' to $revent him cutting you' I42 you go under his chin' or $ut the ti$ straight in his throat. ==9 now dro$ the end of your jo' allowing him to finish his cut' ste$$ing round to your 2' and making shomen. ==a9 he avoids being hit by drawing back' and meeting your strike' =C9 5ou are now in 2 $osture' so is he. This is a neutral $osition. 4elease the jo with your 2 (back) hand' uncross your hands and gri$ the jo firmly' $ointing towards him maintaining -anshin. =Ca9 he does the same as =C. =D9 Ste$ forward' 2 $osture' and thrust to his chest. =Da9 he ste$s to his 4' and s$irals under your jo' as in no Ca' then thrusts at your face. =>9 Ste$ across to your 4' and avoid the jo as in no > =?9 ,ake shomen as no ?. =?a9 he ste$s back' and makes a mirror image shomen' as no ?a. He is now in 4 $osture' with the 4 hand forward. =E9 To avoid having the end of your jo smashed by his shomen' $ull the jo back along your 2 side. 7ull the jo with your back hand' through the front until the end of the jo is in your front hand' then $ush the jo through the back hand with your front. If you do this in reverse you will get your hand broken! +ee$ the jo in close to your body' with the front 4 hand at about chest height. 5ou should be in 4 hanmi. =F9 /ow ste$ forward with your 2 foot' around his jo' and $unch it forwards to strike his 4 knee. =Fa9 he ste$s back into 2 $osture' and simultaneously turns his hand over' allowing the end of the jo to dro$' he $uts his left hand in front of the 4' and slides the 4 hand to the back of the jo. This blocks the knee strike' and e*$oses you to... =Ha9 he draws his jo back' and makes a straight thrust at your kneeIthigh =H9 you ste$ forward and to the 4' turn to face him' and rotate your jo through =H; deg. to strike his stick down with the back end' being carefull to kee$ the jo at an u$ward angle so that he is knocked down and away from you. This also e*$oses his leg' so... =:9 0raw back slightly' and thrust at his #/+2.. =:a9 he ste$s back' drawing his 2 foot out of the way' and turning to face you' as he does this he lifts the back end of his jo' so that is vertical' and blocks your ankle thrust to the side. #t this $oint he thinks he can hit you on the head' so raises his jo for shomen uchi. C;9 5ou raise your jo to $rotect your head' but then realise that you can hit his 4 knee' so ste$ forward and to your 4' turning 2 to face him' and strike to the back of his knee' dro$$ing onto one knee as you do so. C;a9 having raised his jo above his head for shomen' he sees you going instead for his knee' so ste$s back to withdraw the leg' and swings the jo back down to block your strike vertically. C=9 5ou $ull you jo back against your side' to avoid it being hit' as in no =E. CCa9 he raises the jo to make a straight strike to your head. CC9 5ou are in 4 $osture' sitting on your 2 leg' you stand u$ and ste$ forward' bringing the back end of the jo forward' to thrust at his chest. CDa9 to avoid this thrust he $ivots his lead foot' turning off the line' and facing you. the jo is still raised. He then slides the jo though his hands to thrust downwards at your chest' over the to$ of your jo. CD9 5ou ste$ to your 4 side' turning to face him' and rotate the jo vertically through =H; deg. to strike his jo downwards and away from you' e*$osing his side. C>9 5ou make a straight thrust at his 2 side. C>a9 he $ivots to his 4' avoiding the thrust' then back to his original $osition' at the same time he dro$s the end of his jo under yours' and s$irals it over the to$' knocking you off balance to your front and 2' this is similar to nos Ca and =Da' only u$side down. C?9 5ou draw your jo back to regain your $osture' and make another straight thrust to his ribs. C?a9 he turns to his 2 again' this time rotating the jo through =H; deg. vertically to strike your stick down. He then makes a straight thrust to your face. CE9 5ou make a )IB ste$ back and slightly off the line to your 4 $ulling the stick back to your 4 side' as in no =E CF9 /ow ste$ forward' $unching the jo forwards to strike his knee as in no =F. 5ou are now in 4 $osture. CFa9 he ste$s back' dro$$ing the front end of his jo to block CH9 Ste$ forward' and to your 2' moving $ast the end of his jo' and raise your jo #)1K. your head' so that you can thrust downwards at his chestIneck' with the lower end. CHa9 he lifts the front end of his jo to vertical' and ste$s back' avoiding the thrust. #s he does so' he strikes the end of your jo sideways' and he finishes with the jo held vertically' to side of his head (hasso no kamae (")) C:9 !hen your jo is stuck sideways' allow it to rotate H14IG1/T#225 through =H; deg. then dro$ the jo down to a mid&level $osition' and... D;9 thust at his chest (chudan tsuki). D;a9 he ste$s off the line to his 4' and makes a straight strike to the end of your jo. D=9 #bsorb the force of his strike' letting the jo travel naturally around your body' ste$ forward and to your 2' turning to face him' and strike him $owerfully across the back of his head' caving in his skull' and finally finishing the whole business! 5ou should finish in 2 $osture' with your right hand forward on the jo. He should be flat on the floor' bleeding' or alternativley in 4 $osture' with his 4 hand forward on the jo. This is not a $erfect transcri$tion' many of the techniues are really hard to e*$lain in words' as you have $robably seen(!) So dont take this as gos$el! (also dont lea$ down my throat for getting it all wrong!) I am intending to $ut a $am$hlet together with a full set of $hotos to illustrate this kata at some $oint' $erha$s then it might make some sense 9) The following descri$tion is that of the D= (o +umi (o kata' taught by Saito Sensei.These words were written by Sensei 7aul ,cBlone (yondan)' Traditional #ikido Iwama 4yu B). To uote Sensei ,cBlone N The following $ages have been com$iled .... to $rovide a basic guide.. these $ages should /1T be regarded as an unalterable %bible%' as they have in the $ast and no doubt will in the future be revised..N + stands for $erson doing the +ata' #+ for $erson doing the #nti&+ata (initially attacking)' and the Aount (= to D=) is shown in suare brackets). The movements are given in (a$anese and if this a $roblem then I might suggest a revision of the C; (o suburi. #fter all' we should walk before we might try to run O;) D= kata no kumijo+9 )asic $osture as first (1 S3)34I#+9 TS3+I /1 +#,#. then make AH1+3G3+I +9 +#.SHI G3+I P=Q#+9 0eflect and make AH1+3G3+I +9 Ste$ to right with overhead defence PCQ then turn (1 over on circular movement to knock $artner%s (1 down and to the left' then enter with AH1+3G3+I in HI0#4I H#/,I PDQ#+9 Ste$s to right' catching 3+.%s (1 and covering own u$$er body' then turning (1 over in circular movement to swee$ 3+.%s (1 down and to the right' then enters with AH1+3G3+I +9 ,oves to right' raising (1 to catch 3AHI%s (1 and cover own u$$er body' P>Q then enter ,IBI SH1,./ 3AHI +1,I P?Q#+9 Ste$s back with defensive SH1,./ 3AHI in ,IBI H#/,I +9 ,akes HI0#4I SH1,./ 3AHI +1,I PEQ#+9 Ste$s back with defensive SH1,./ 3AHI in HI0#4I H#/,I +9 Turns to rear to make SH1,./ 3AHI PFQ#+9 7auses +9 ,akes HI0#4I SH1,./ 3AHI +1,I PHQ#+9 .nters to ,IBI H#/,I $re$aring to raise (1 for SH1,./ 3AHI +9 Turns to rear to make 3SHI41 )#4#I P:Q#+9 Ste$s back into HI0#4I H#/,I raising (1 shar$ly' avoiding 3+.%s swee$' then start to make SH1,./ 3AHI +9 ,oves out to left' raising (1 shar$ly under 3AHI%s arms to halt attack P=;Q#+9 Sto$s SH1,./ 3AHI $artially e*ecuted +9 .nters to make B5#+53 51+1,./ 3AHI P==Q#+9 Ste$s back into HI0#4I H#/,I and blends with and $arries (1 +9 Hand change' and settle into TS3+I /1 +#,#. P=CQ#+9 Hand change' and settle into TS3+I /1 +#,#. +9 ,akes AH1+3G3+I P=DQ#+9 Ste$s to left' deflecting 3+.%s (1 to right' then makes AH1+3G3+I +9 ,oves to right in HI0#4I H#/,I' raising (1 to catch 3AHI%S (1 and cover own u$$er body' P=>Q then enter ,IBI SH1,./ 3AHI +1,I P=?Q#+9 Ste$s back into ,IBI H#/,I cutting SH1,./ 3AHI in defence +9 Immediately slide (1 back to left hand side P=EQ and ste$ forward making HI0#4I B.0#/ B#.SHI P=FQ#+9 Ste$ back into HI0#4I H#/,I moving left hand to front half of (1 and using front end to defend knee' then make AH1+3G3+I +9 Ste$ to right in HI0#4I H#/,I and turn (1 end over end to strike 3AHI%s (1 away to left P=HQ then make B.0#/ TS3+I to 3AHI%s knee P=:Q#+9 Ste$ back in HI0#4I H#/,I raising (1 in basic defence +9 Ste$ forward with 51+1,./ 3AHI +1,I to 3AHI%s knee' dro$$ing onto own right knee' PC;Q#+9 Ste$ back into ,IBI H#/,I' cutting against 3+.%s (1 as defence. +9 Slide (1 back to left hand side PC=Q#+9 4aise (1 for SH1,./ 3AHI and ste$ forward to strike 3+.%s e*$osed head +9 0raw (1 across the body with right hand' sliding (1 through left hand' at the same time rising u$ and ste$$ing forwards with left foot' then making TS3+I to 3AHI%s chest PCCQ#+9 Ste$ to left with left foot' avoiding 3+.%s thrust' then sliding right hand u$ to to$ end of (1' enter with left foot' thrusting (1 over to$ of 3+.%s (1 to 3+.%s chest +9 Ste$ to right in HI0#4I H#/,I and turn (1 end over end to strike 3AHl%s (1 away to left PCDQ then enter in H#0#4I H#/,I making AH1+3G3+I PC>Q#+9 #llow (1 to follow circle created by 3+.%s strike and ste$ straight back' maintaining HI0#4I H#/,I and dro$$ing centre' blocking 3+.%s (1 away to right. +9 #gain enter in HI0#4I H#/,I making AH1+3G3+I PC?Q#+9 Ste$ to right in HI0#4I H#/,I and turn (1 end over end to strike 3AHI%s (1 away to left' then start to make AH1+3G3+I +9 Slide (1 back to right hand side' PCEQ and ste$ forwards into ,IBI H#/,I making B.0#/ B#.SHI PCFQ#+9 0raw (1 back to right side of body then ste$ back into ,IBI H#/,I making B.0#/ B#.SHI as defence +9 0raw (1 back with left hand' raising (1 to chest height' then make TS3+I to 3AHI%s chest PCHQ#+9 0raw (1 backwards through right hand until the right hand is about a foot from the end. Ste$ back into HI0#4I H#/,I swee$ing (1 u$ and across to right' striking 3+.%s (1' then as (1 a$$roaches right shoulder' left band dro$s to gri$ lower end' so that you assume H#SS1 /1 +#,#.. +9 ,ove right hand u$ and to the. left' to blend with strike' then release (1 with left hand allowing (1 to rotate' and catching free end with left hand above head PC:Q .nter with ,IBI H#/,I AH1+3 TS3+I PD;Q#+9 Strike 3+.%s (1 with a $arrying blow turning your right hi$ forwards as you do so' then ste$ into ,IBI H#/,I and make AH1+3G3+I. +9 #bsorb $ower of 3AHI%s cut' then raise (1 as in ?th +./ S3)34I' entering with HI0#4I H#/,I to left of 3AHI%s (1' avoiding his thrust' and immediately cutting B5#+53 51+1,./ 3AHI PD=Q #ikido bokken kataby Julian Frost The $ur$ose of the NkataN is to demonstrate the relationshi$ between swordwork and the eight variations of shihonage that Ahiba Sensei regularly teaches. Brab a $artner' in #i Hanmi or Byaku Hanmi and see if you can see how it works! !hich of the H techniues above is #i Hanmi' and which is Byaku Hanmi is left as an e*ercise for the reader! 9&) The N7art CN that I refer to remains the same for each of the H $arts of this NkataN... Starts in right $osture' chudan kamae9 =. Ste$ back with the front (right foot) and shomen' then ... ($art C) and re$eat on other side. C. Ste$ forward with rear (left) foot and shomen' then ... ($art C) and re$eat on other side. D. Turn tenkan cutting u$ the vertical line. Aontinue the cut u$' over your head' until you%re facing the front again' then ... ($art C) and re$eat on other side. >. 7ivot to face the rear' then ste$ forward with the rear (right) foot' cutting u$ the vertical line. Aontinue the cut u$' over your head' until you%re facing the front again' then ... ($art C) and re$eat on other side. ?. Ste$ forward with the rear (left) foot from the E o%clock $osition to the D o%clock $osition' at the same time' and in one motion' the ti$ of the sword dro$s to guard your right side from attack' then comes over your head and does shomen (you%re now facing D o%clock). Then ... ($art C) and re$eat on other side. E. Ste$ forward with the rear (left) foot from the E o%clock $osition to a $osition just infront of your right foot. #t the same time' and in one motion' the ti$ of your sword dro$s to guard your right side from attack' then comes over your head and does shomen as you ste$ back with the right foot (you%re now facing D o%clock). Then ... ($art C) and re$eat on other side. F. Ste$ forward with the rear (left) foot to $erform irmi&tenkan. The ti$ of the sword dro$s during this motion to guard your right side from attack' then as the tenkan is com$leted' comes over the head to do shomen. Then ... ($art C) and re$eat on other side. H. Slide the front (right) foot over to the D o%clock $osition' then move the left foot to where the right foot was. 7ivot so that you%re facing : o%clock. #t the same time' and in one motion' the ti$ of the sword dro$s to cover the 2.6T side of your body' then comes over the head and does shomen. Then ... ($art C) and re$eat on other side. 7art CSte$ forward with the rear foot and thrust chudan. Smoothly raise the hands over the to$ of your head' $ivot on the balls of the feet to face =H; degrees in the o$$osite direction' and lower the sword back to chudan kamae (you%ll have the o$$osite foot forward to the one you started with).=D (o kataas taught by ,orihito Saito senseiStart in jo kamae' (left hanmi' jo vertical in left hand' ti$ on ground) =. Ahoku tsuki & in left hanmi C. (odan gaeshi M shomenuchikomi & ste$$ing forward to right hanmi D. (odan gaeshi & sliding back' still in right hanmi >. Ahoku tsuki & right hanmi ?. Hasso gaeshi & turning =H; deg to right' left hanmi E. Shomen uchi komi &ste$$ing forward to right hanmi F. Ahudan gaeshi & turning =H; deg to left' right hanmi H. Ahoku tsuki & right hanmi :. Bedan gaeshi & slide back in right hanmi =;. Ahudan gaeshi & ste$ forward into left hanmi ==. (odan tsuki & left hanmi =C. Tsuki kamae & slide back in left hanmi =D. Ahoku tsuki & left hanmi =D (o +ata (after Saito sensei)3chiStart with jo hori-ontal=. Ahoku tsuki (enter to front) C. Ahoku tsuki D. Ahoku tsuki >.?. Ahoku tsuki (from behind) E. Ahoku tsuki F. Ahoku tsuki (from behind R original front) H.:. !ithdraw' $ull jo back' but kee$ in front of body =;. Ahoku tsuki. ==.=C. Ahoku tsuki =D.3ke (=D $oint kata) Start with jo on ground=. Ahoku tsuki (irimi' offline to left to evade thrust) C. Hayashi gaeshi (like jodan gaeshi yokomen uchi with less block) D. 0efensive $arry to right >. Tsuki ?. Hasso gaeshi defense E. ,enuchi (moving to right to avoid his thrust) F. Turn' high defense' $oint of jo u$ H. Tsuki :. 7ut jo back behind body =;. High $arry (like gedan gaeshi' $oint u$) ==. High tsuki (s$ear) =C. Strike down jo (move right and reverse jo' striking to left) =D. Thrust (ribs) )okken workby )ob !helan' Sandan !hat I have tried to do is summari-e the instruction I have received from Sekiya Sensei' Inaba Sensei (at the Shiseikan 0ojo $reviously referred to in a +ashima Shin 4yu $ost)' +anai Sensei' Ahiba Sensei (and by e*tension' with his student 2orraine 0i#nne Sensei)' Saito Sensei' and Saotome Sensei. Some of this e*$erience is as a deshi while the bulk of it is through consistent attendance at seminars over more than C; years with the freuency of contact reflected in the above seuence. (It is not intended reflect any judgement of a hierarchy of ability.) #lthough there are many nuances of style and a$$licationO what I have tried to do is cite only that which all seem to share in common. Aonseuently' the logic of my $ersonal study is that the Nessential $ointsN would be what they all seem to agree u$on. These are the things that I am still working on and likely will always need work. #s the sword is a bladed instrument' (rather than a club for e*am$le)' the goal is to allow the blade to do the work. If free to do so' the edge will find its own $ath so there is no need for the wielder to do anything e*tra. Thus the boken is not NhittingN or NsawingN anything' rather it is NslicingN. In addition' as one a$$lication of sword techniue would have been on the battlefield with multi$le attackers' this must be done with minimal effort and yet with s$eed. This would allow the samurai to deal with an indefinite number of o$$onents ra$idly and without fatigue. Aonseuently' there should be no tension or strength whatsoever in the shoulders' arms' wrists or hands. The shoulders $articularly must stay rela*ed in order that they might receive the $ower that will be generated from the hi$s and the foundation of a firm center. The hands should gri$ the boken the way one might hold a live birdO firm enough that the bird cannot esca$e yet light enough that it will not be crushed in any way. In addition' the gri$ should be $rimarily with the little finger and then ring finger with the middle finger somewhat less involved (some note $ercentages of each but this varies). The $lacement of the hands on the hilt is in the same manner that one does yonkyoO as this techniue is actually an a$$lication of the sword gri$ to the back of an o$$onent%s forearm. )asically' the knuckle of the right inde* finger is just under where the sword&guard (tsuba) would be and the little finger of the left hand is at the base of the hilt. This leaves a s$ace between the hands which is roughly the euivalent of a hand%s width. The inde* finger on the right hand could be thought of as NaimingN or directing the blade in a manner similar to how one might $oint' (although this is more a visuali-ation' as neither inde* finger should be e*tended' but instead gently curled around the gri$). The little finger of the left hand is used to sto$ the $ath of the blade as indicated in each s$ecific cut. (In +ashima Shin 4yu it is actually curled under the hilt to serve as a Nsto$N during tsuki thrusts' so that the sword doesn%t sli$ back' but this is not the case in #iki&ken.) 4ather than try and hit something' (like one might with a baseball bat)' attem$ts should be made to e*tend a clear but rela*ed focus (this is hard for me to e*$lain and these words just don%t do it e*actly but I%m trying) to a $oint on the blade edge of the boken about an inch or so from the ti$. This is where the blade is beginning its cut and will move from here NthroughN the intended target '(as o$$osed to NatN it' as one might hit)' until the cut com$letes itself. The gruesome reality is that the cut (for e*am$le a kesa giri with enters at the juncture where the neck meets the shoulder and e*its just above the hi$ on the o$$osite side' thus cleaving the o$$onent in half) must travel through dense muscle and several thick' hard bones. This can%t be N$ushedN. The blade must find its own way. To ma*imi-e $ower from the hi$s and maintain the boken as a $art' or e*tension of the wielder' it is necessary to stand erect but not strained. The shoulders are less Nthrown backN than the chest is No$enedN' (again to avoid tightness there). The back of the neck is also straight but not strained' as if you are Nholding the sky u$ with your headN. The knees are always bent and Ns$ringyN. This is both to allow movement of the hi$s but also to allow the body weight to be transmitted through the NcenterN to the blade' as the weight shifts with the cut. #s the blade falls and NslicesN' the NcenterN must also be able to dro$ in unison with the cut. I have been told (but cannot verify) that in #iki&ken the turn of the hi$s into the cut' (from a more $er$endicular relationshi$ of hi$s to blade into a more $ronounced hanme) was an innovation of 1 Sensei. The logic was that' in the event of a Nmutual killN situation resulting in simultaneous thrusts' the swordsman who retreated his hi$ would avoid the stabbing. In addition the sna$$ing return of the hi$s to the original $osition adds e*tra momentum and $ower. The bending of the knees has another very critical and necessary function. It hel$s unify the center of one%s weight with the center of one%s height at the None $ointN. It might be hel$ful to use the meta$hor of how a Nrange finderN focus works in a camera. In this instance there are two Nfu--yN images that NmergeN into a single clear one. In general' the NcenterN (haraItanden) is a$$ro*imately the distance of a fist below one%s navel. This is likely be the center of one%s weight' but that weight is distributed uneually along the height of the body. Therefore' it becomes necessary to lower one%s height' (again in general)' to Neuali-eN the weight distribution and bring the mid&$oint of one%s weight and the mid&$oint of one%s height to a single NfocusedN $oint at one%s NcenterN. If one kee$s the u$$er torso com$letely rela*ed and $liable then this action will significantly stabili-e the hi$s and add much more substance and NrootingN to one%s $osture. It a$$lies to #22 techniue. .veryone will have to find their own $ersonal center though. The choice of footwork varies slightly but there seems to be agreement on the $ur$ose. The variations seem to be related to how tight the hanme is (e.g. if you retreat the forward foot does it collide with the rear foot because they are on the same line") and the timing of the foot $lacement (e.g. does the ste$ occur during the cut or just before"). The majority o$inion seems to be that the ste$ occurs just $rior to the cut' however the movement is so close that it is virtually coordinated. The logic is that the blade must swing from a foundation that is Nalready stableN rather than a foundation in the $rocess of Nbecoming stableN. The ste$ should never be longer than a shoulder width so that one maintains a NdefensiveN $osture. The feet slide as if one could almost' but not uite' sli$ a sheet of $a$er between the sole of the foot and the mat. If one were walking along a straight line' like a seam in the canvas of the mat' then that line would bisect both feet from s$ace between the big toe and second toe (where you would sli$ the thong of sandals) to a $oint very slightly to the outside edge of the center of the heel. This will result in both feet turned slightly to the outside and a somewhat narrow hanme. The advantage here is that when you $ivot =H; degrees to the rear' as you do in Ha$$o no Biri' you are in e*actly the same stable hanme as before and no foot adjustment is reuired. /ow this is already uite a bit to $ractice! Training methods used for these details consist $rimarily of very slow walking along a line with something like a tsuba' or round block of $ine' balanced on the to$ of the head. 1ne first' takes the hanme with awareness of all the factors described above. Then' after checking $osture' one $laces the block on the to$ of the head on the s$ot which re$resents the to$ of the a*is of one%s back bone' (as if it e*tended through the skull). /ow' with the block on your head' you $ractice walking in the method indicated above. #fter awhile you add the movement of $ivoting your rela*ed shoulders arms and torso from side to side around this a*is' with a very low center and s$ringy knees. This $ractice $rogresses to going u$ and down into sei-a while walking' to tenkans' and knee walking added in between $eriods of walkingO all while kee$ing the block balanced. If you tie your belt so that the knot is at the s$ot that you have determined is your $ersonal center' you can add the further refinement of focusing maintaining a hard center throughout the training. This can be initially done by $ushing the one $oint against the knot in the belt. However' one must aim to maintain this focus !ITH13T fle*ing or straining the abdominal muscles. The visuali-ation is that one .JT./0S from the internal $oint ultimately to all directions but you can use the belt knot as a starting cue. This is more than a visuali-ation' however' because you actually can get to a $oint where you can make the center hard and firm. 1nce one has this ability it is a$$lied along with an e*hale to the com$letion of any techniue. 1n to$ of this foundation one adds the cut. The cut actually emanates from the center. The stance is firm' o$en and rela*ed. The center is dee$ allowing one%s weight to be dro$ down from it (like a N$lumb bobN toward the earth) with the weight more or less eually distributed between the feet. The sense is that one%s center e*tends out as the boken rises and then dro$s as the boken falls. The blade falls virtually under its own $ower but accelerated by the momentum transmitted to it from the center of a unified body that is None with the bladeN. This movement is timed with an e*hale as the center also dro$s with the blade. The weight shifts slightly to the forward foot via the Ns$ringN in the knees. # diagram with the footwork for Ha$$o no Biri can be found in one of Saito Sensei%s books. )asically though' you a$$ly all of the above. In this instance' start in right hanme' and $erform a shomen cut (an overhead cut straight down from one%s own middle to slice the o$$onent in half). !ith feet in $lace first cut forward (/orth)' then (still with feet in $lace) you $ivot =H; degrees and cut behind (South). /ow using the rear foot as a cue as to which direction to ste$ (in other words' your rear right foot is slightly $ointing to the right so move it in that direction into right hanme) you move to your right (!est from the starting orientation) and cut. Then you kee$ your feet in $lace and $ivot as before to cut behind (.ast from the starting direction). This has given you the first > directions. 6rom this $osition to change direction to give you the final > directions. In this $osition your rear foot is slightly facing the right again. So now ste$ diagonally to the right (South .ast from the starting orientation) and re$eat all of the above for the ne*t > directions. The seuence when starting in right hanme would thus be9/orth&South&!est&.ast&Southeast&/orthwest&/ortheast&Southwest. #t the end without moving your feet you $ivot back to face /orth into the same right hanme where you started. #s you turn the blade of the sword should be facing the direction of the turn. #t the start and finish of each shomen cut the arms are e*tended in a natural curve (as in they are in Nunbending armN) with the hilt e*tended from one%s center and the $oint aimed at the center of the throat of an o$$onent your own si-e. Thus you can $ractice the initial NaimN in the mirror. There are three variations of the sto$$ing $lace of the u$ward movement. They are9 =.) $oint straight u$ towards the sky' C.) blade hori-ontally over the head where the blade and hilt $rotect the wielder from an over head strike' and the $oint is aimed behind' D.) the blade all they way over and behind the head where the $oint aims down towards the earth. However' they all sto$ at the same $lace after the cut is com$lete. That is the starting $osition described above. The ti$ of the blade never dro$s lower then the hilt' at most it ends hori-ontally' as this $rovides an o$ening for a counter strike. 0on%t e*$ect uick $rogress. 1ne teacher told me that if you do all of these things you will ).BI/ to notice a real difference after C years! Si*&$art sword e*erciseby Ahuck Bordon Schuck.gordonLminds$ring.comT,aeStand naturally' left hand on sword (thumbIforefinger on tsuba)Slide left foot back and gras$ tsuka with right hand0raw the sword directly and $oint it toward teki%s eyesSte$ u$ (2 foot forward) into jodan no kamaeSte$ u$ (4 foot forward) cut kiri otoshi+ee$ left hand on tsuka' sna$ right fist down on tsuka behind tsuba4everse right hand on tsuka and release the left hand4everse the sword and gras$ the saya with left hand7lace the mune of sword lightly between thumb and forefinger)ring kissaki to koiguchi and sheathe the swordSte$ forward and $ivot =H; degrees#ge0ro$ down onto your left haunch (iaigoshi)' right hand gras$s tsuka(Sword is rolled =H; degrees && edge down))reak koiguchi and slide the sword slowly out about =ID of the wayArouching' cross&ste$ (2 foot forward) and cut u$ into teki%s wrist4everse the cut and cut down into teki%s shoulder4e$eat noto as in ,aeSte$ and turn =H; degrees5okoStand naturally' right foot slightly advanced(4oll sword :; degrees && edge out)Slide right foot slightly forward and draw the sword(# flat left&to&right cut across teki%s chest)Ste$ u$ (2 foot fwd) to jodanSte$ in (4 foot fwd) and dro$ left knee to mat' cutting kiri otoshi/oto' stand and turn as aboveAhoku tsukiStand naturally' right foot slightly advanced0raw and $oint at teki%s eyesSte$ in (2 foot fwd) gras$ing tsukaSna$ hi$s into a straight thrust into teki%s chest()lade should be flat' ti$ goes in first)0raw back slightly as you withdraw the sword and block(Trail kissaki to left at about >? degrees overhead)Ste$ in (4 foot fwd) and cut kesa giri/oto' ste$ and turn as above3shiroStand naturally' right foot slightly advanced0raw the sword but kee$ kissaki $ointed back $ast your left wristThrust to your rear' with the sword blade flatSte$ in (2 foot fwd) and $erform an augmented rising blockIcut(5ou%re checking teki%s cut at the wrist)4everse the sword $osition and $erform kesa giri7erform noto' ste$ and turn a above+atateStand naturally' right foot slightly advancedTsugiashi' tsuki with tsuka to teki%s faceSlide back a bit' $ull the tsuka almost vertical0raw straight u$ and cut (single hand) down across teki%s forearmSte$ in (2foot fwd)' augment the blade' tenkan and cut across teki%s bellySte$ back and $erform augmented blockIcut as in 3shiroSte$ in and cut kesa/oto' ste$ and turn as above5ou%re doneHa$$o Biri (The .ight Aut +ata)1verviewThe eight cut kata is a beginning kata for use of the sword in jiu jitsu. It consists of nine distinct strikes' eight of which are cutting strikes' the remaining strike being a $iercing thrust. The outline of the kata is as follows. 1utline=) 0rawing the swordThe kata begins with a standing rei. The jitsuka then ste$s forward with the right foot drawing the sword into a hori-ontal strike. The strike should be at about neck height. C) ThrustThe jitsuka draws back into a cat stance and then thrusts forwards leaning into a thrust at about stomach level. D) Hori-ontal right0raw the sword back in as though for another thrust. 2ooking to the right' ste$ right and strike hori-ontally at shoulder height. >) Kertical right & u$Ste$$ing forward 8 right with the left foot take the sword blade forward and u$ in an arc through CF;@ until the sword $oints vertically u$. ?) Kertical right & down4otate the blade through =H;@ on a vertical a*is and then swing the sword down until the ti$ goes just $ast $ointing straight down. E) Hori-ontal left2ooking left ste$ with the left foot out to the left and strike hori-ontally at shoulder height. F) Kertical right & u$Ste$$ing forward 8 leftt with the right foot take the sword blade forward and u$ in an arc through CF;@ until the sword $oints vertically u$. H) Kertical right & down4otate the blade through =H;@ on a vertical a*is and then swing the sword down until the ti$ goes just $ast $ointing straight down. :) vertical strike in kiba dachi0raw the right foot back to the left and then ste$ out to the right into a dee$ kiba dachi. #t the same time dro$ the sword vertically around your left shoulder until it lies vertically behind your head. Strike vertically over and down bending the knees a little as you do so. =;) Alean the swordSte$ back with the let leg and $erform a chiburi (to clean the blade of blood). ==) Sheath the sword4esheath the sword and bring the left leg u$ to the right to stand with both feet together. 6inally with your left foot followed by the right' take a side ste$ to the left and rei. 7erforming the kataBeneral notesTo $erform the kata well' the movements should flow smoothly together. This does not mean uickly. In fact the kata is one of $recise movement. The ti$ of the blade for instance should be $erfectly still at the end of each strike. There are many small $oints to the kata which takes a long time to $erfect. +nowing the correct foot $osition and finishing $oint for each strike takes a great deal of $ractice. In a grading!hen $erforming this kata during a grading' it is a chance to focus yourself and to have a rest from what are usually hectic and demanding occasions. )reathing through each movement at a steady rate will hel$ you to calm yourself. 6ocusing on the kata allows you to in effect leave the grading. try to imagine that you are $erforming the kata for yourself and not for the grading $anel. Take your time and try to take this o$$ortunity to rela*. 0ate9 Thu' =C (un =::F ;:9?>9?= &;F;;4e$ly&To9 #ikido 2ist Sender9 #ikido 2ist 6rom9 (ulian 6rost Subject94e9 Ahiba sensei%s bokken katasTo9 #I+I01&2L2ISTS.7S3..03The N7art CN that I refer to remains the same for each of the H $arts of thisNkataN...7art CUUUUUUSte$ forward with the rear foot and thrust chudan.Smoothly raise the hands over the to$ of your head' $ivot on the balls of thefeet to face =H; degrees in the o$$osite direction' and lower the sword backto chudan kamae (you%ll have the o$$osite foot forward to the one you startedwith).Starts in right $osture' chudan kamae9=) Ste$ back with the front (right foot) and shomen' then ... ($art C) and re$eat on other side.C) Ste$ forward with rear (left) foot and shomen' then ... ($art C) and re$eat on other side.D) Turn tenkan cutting u$ the vertical line. Aontinue the cut u$' over your head' until you%re facing the front again' then ... ($art C) and re$eat on other side.>) 7ivot to face the rear' then ste$ forward with the rear (right) foot' cutting u$ the vertical line. Aontinue the cut u$' over your head' until you%re facing the front again' then ... ($art C) and re$eat on other side.?) Ste$ forward with the rear (left) foot from the E o%clock $osition to the D o%clock $osition' at the same time' and in one motion' the ti$ of the sword dro$s to guard your right side from attack' then comes over your head and does shomen (you%re now facing D o%clock). Then ... ($art C) and re$eat on other side.E) Ste$ forward with the rear (left) foot from the E o%clock $osition to a $osition just infront of your right foot. #t the same time' and in one motion' the ti$ of your sword dro$s to guard your right side from attack' then comes over your head and does shomen as you ste$ back with the right foot (you%re now facing D o%clock). Then ... ($art C) and re$eat on other side.F) Ste$ forward with the rear (left) foot to $erform irmi&tenkan. The ti$ of the sword dro$s during this motion to guard your right side from attack' then as the tenkan is com$leted' comes over the head to do shomen. Then ... ($art C) and re$eat on other side.H) Slide the front (right) foot over to the D o%clock $osition' then move the left foot to where the right foot was. 7ivot so that you%re facing : o%clock. #t the same time' and in one motion' the ti$ of the sword dro$s to cover the 2.6T side of your body' then comes over the head and does shomen. Then ... ($art C) and re$eat on other side.The $ur$ose of the NkataN is to demonstrate the relationshi$ between swordworkand the eight variations of shihonage that Ahiba Sensei regularly teaches.Brab a $artner' in #i Hanmi or Byaku Hanmi and see if you can see how itworks! !hich of the H techniues above is #i Hanmi' and which is Byaku Hanmiis left as an e*ercise for the reader! 9&)The S$irit of +ataThe $erformance of a kata should be alive with tension' electric' and dynamic. It should be invested with a s$irit that makes each move seem as if were being e*ecuted for real.!hen a trainee $ractices kata' there is a $sychodynamic as$ect that needs to be maintained. #lthough kata are' by definition' set $ieces in which each move and res$onse is known beforehand' they are choreogra$hed versions of combat. .ach attack is meant to deliver a decisive blow. .ach defensive move must be e*ecuted as if the attack were driven by killing intent. In this regard' the com$osure and control e*hibited is as im$ortant as the techniue dis$layed. It is $ossible for you to stumble technically in kata demonstration and yet successfully com$lete the $erformance through the maintainance of s$irit and focus.The +endo /o +ataThere are ten kata $racticed today in +endo. 3nlike the $ractice in karate' where forms are given symbolic names or names that identify the elements such as judo%s a!e no Kata&kata of throws' +endo%s kata are more $rosaically identified by number. +endo%s kata are divided into two grou$s9 The seven kata are $racticed using only the long sword' or tachi. In the final three' the defender uses both the long sword and the short sword' or kodachi. The names of the +ata are as follows9I$$onme This kata illustrates the effectiveness of a nuki techniue. In it' both trainees assume jodan no kamae. They move forward to meet. 3chidachi takes the initiative and attacks with a men strike. Shidachi' demonstrating an awareness of the im$ending attack' ste$s back a half&ste$ so that the attack misses' then ste$s in to deliver a men strike. 3chidachi ste$s back a half&ste$ as if to try again' and shidachi lowers the $oint of the bokken to uchidachi%s eyes. 3chidachi ste$s back another half&ste$ and shidachi comes forward into left jodan' com$letely dominating the situation. )oth +endoka then ste$ into chudan no kamae' lower their bokken into hodoku' and ste$ back five $aces into their original starting $osition./ihonme In this kata' )oth +endoka assume chudan no kamae. They ste$ in to meet. 3chidachi cuts at shidachi%s kote. Shidachi evades' in another e*am$le of nuki techniue' by sliding diagonally to his left' lowering his bokken' and then cutting uchidachi%s right kote. Shidachi then ste$s back into the center. )oth assume' lower their bokken to hodoku' and ste$ back.Sanbonme This kata features the tsuki thrust. )oth $ractitioners assume gedan no kamae' the low stance. They ste$ in and raise swords slowly to chudan. 3chidachi ste$s forward right and attacks with a thrust to the throat. Shidachi takes a half&ste$ back' and $arries with the side of the bokken to his left. He then counters with three tsuki' stee$ing in right' left' and then right. 3chidachi ste$s back in res$onse' $arrying the first two thrusts. The final thrust is not $arried. !ith his sword in uchidachi%s face' shidachi takes three small ste$s forward' dominating uchidachi with the $oint of his sword. Shidachi then begins to ste$ back. !ith the sword still dominating uchidachi' he takes two ste$s back (left'right). He then begins a series of three more ste$s' lowering his bokken to chudan. #t the first ste$' uchidachi raises his bokken to meet shidachi at chudan' then ste$s forward on the ne*t two ste$s. )oth are now back in the center. They assume hodoku and ste$ back five ste$s to the starting line.5ohonme #t the starting $oint' uchidachi assumes right hasso no kamae. Shidachi assumes wakigamae. They take three ste$s forward. #t this $oint' uchidachi slides forward' leading with his right foot' striking down with the bokken. Shidachi ste$s forward with his right foot' also striking down. Their swords clash high and are brought down into chudan. 3chidachi then attacks with a tsuki. Shidachi $arries the thrust by turning his bokken on his side and $ointing it to his right. #t the same time' he slides diagonally to his left' then ste$s in to strike uchidachi%s men. Shidachi then moves to the center' both assume chudan' then hodoku' and move back.Bohonme This kata utili-es the suriage techniue to deflect and simultaneously attack. 3chidachi assumes left jodan no kamae. Shidachi raises his bokken slightly. 3chidachi attacks men. Shidachi assumes chudan. They ste$ in. Shidachi raises his bokken slightly. 3chidachi attacks men. Shidachi slides his bokken u$ward' knocking the attack away and to his left' then cuts down to men. Shidachi then assumes left jodan and dominates the situation. )oth +endoka then assume chudan in center' then hodoku' then ste$ back to the starting line.Shirata Sword Suburi=. /eho Genshin Gengo&+iri' Shikko (+nee !alking) 4ight kamae (shikko) in segan Inhale' raise sword to jodanO .*hale' ste$ with left knee' cut 2 Inhale' raise sword to jodanO .*hale' ste$ with right knee' cut 4 4e$eat C. /eho Genshin Gengo&+iri (Tachi !a-a) =st 6orm & 4 kamae in segan Inhale' raise sword to jodanO .*hale' ste$ 2' cut 2 Inhale' raise sword to jodanO .*hale' ste$ 4' cut 4 Inhale' $ivot =H; to 2O .*hale' cut 2 Inhale' raise sword to jodanO .*hale' ste$ 4' cut 4 Inhale' raise sword to jodanO .*hale' ste$ 2' cut 2 Inhale' $ivot =H; to 4O .*hale' cut 4 Cnd 6orm & 4 kamae in segan Inhale' raise sword to jodan and ste$ 2O .*hale' ste$ 4 and cut 4 Inhale' $ivot =H; to 2O .*hale and cut 2 Inhale' raise sword to jodan and ste$ 4O .*hale' ste$ 2 and cut 2 Inhale' $ivot =H; to 4O .*hale and cut 4 Drd 6orm & 4 kamae in segan InhaleO .*hale and ste$ 2' thrust 2O Ste$ 4' thrust 4 Inhale' $ivot =H; to 2O .*hale and cut 2 InhaleO .*hale and ste$ 4' thrust 4O Ste$ 2' thrust 2 Inhale' $ivot =H; to 4O .*hale and cut 4 D. Shiho Biri (6our&0irection Aut) 4 kamae in segan Inhale' raise sword to jodanO .*hale' ste$ 2' cut 2 Inhale' guard and $ivot =H; to 4O .*hale and cut 4 Inhale' guard and raise sword to jodan' $ivot :; to 2O .*hale' ste$ 2' cut 2 Inhale' guard and $ivot =H; to 4O .*hale and cut 4 Inhale' raise sword to jodan' $ivot :; to 4O .*hale' ste$ 2' cut 2 >. Ha$$o Biri (.ight&0irection 0iagonal Aut) 4 kamae in segan Inhale' raise sword to jodanO .*hale' ste$ 2' cut 2 Inhale' raise sword to jodanO .*hale' ste$ 4' cut diagonally downward 2 Aut diagonally u$ward 4 following the same line as the downward cut' ste$ 2O 7ivot =H; to 4 and cut 4 Inhale' raise sword to jodanO .*haleO ste$ 2' cut diagonally downward 4 Aut diagonally u$ward 2' ste$ 4O 7ivot :; to 2' ste$ 2 and cut 2 Inhale' raise sword to jodanO .*hale' ste$ 4' cut diagonally downward 2 Aut diagonally u$ward 4' ste$ 2O 7ivot =H; to 4 and cut 4 Inhale' raise sword to jodanO .*hale' ste$ 2' cut diagonally downward 4 Aut diagonally u$ward 2' ste$ 4O 7ivot >? (diagonally) to 2' ste$ 2 and cut 2 Inhale' raise sword to jodanO .*hale' ste$ 4' cut diagonally downward 2 Aut diagonally u$ward 4' ste$ 2O 7ivot =H; to 4 and cut 4 Inhale' raise sword to jodanO .*hale' ste$ 2' cut diagonally downward 4 Aut diagonally u$ward 2' ste$ 4O 7ivot :; to 2' ste$ 2 and cut 2 Inhale' raise sword to jodanO .*hale' ste$ 4' cut diagonally downward 2 Aut diagonally u$ward 4' ste$ 2O 7ivot =H; to 4 and cut 4 Inhale' raise sword to jodanO .*hale' ste$ 2' cut diagonally downward 4 S 2 cut and ste$ 2' to (diagonally) =D? 7ivot 4O u$ward diagonallyT?. /aname +iri&SageI+irige =st 6orm & 4 kamae in segan Inhale' raise sword to jodanO .*hale' ste$ 2' cut 2 Inhale' raise sword to jodanO .*hale' ste$ 4' cut diagonally downward 2 Aut diagonally u$ward 4' ste$ 2O 7ivot =H; to 4 and cut 4 Inhale' raise sword to jodanO .*hale' ste$ 2' cut diagonally downward 4 Aut diagonally u$ward 2' ste$ 4O 7ivot =H; to 2 and cut 2 Cnd 6orm & 4 kamae in segan Inhale' raise sword to jodanO .*hale' ste$ 2' cut diagonally downward 4O Inhale' deflect the descending blade with the back of your blade (diagonally u$ward 2)' ste$ 4 7ivot =H; to 2 and withdraw 2 foot to the rear .*hale' cut diagonally downward 2 Inhale' deflect the descending blade diagonally u$ward 4' ste$ 2 7ivot =H; to 4 and withdraw 4 foot to the rear .*hale' cut diagonally downward 4 #S3 Sword Suburi Arib /otesShari 0yer =. Shomen 3chi VSegan V Inhale' raise sword' sliding 4 foot back to 2 footV .*hale' cut center line' slide into 4. kamaeC. Shomen 3chi wI full dro$ into Shikko V SeganV Inhale' raise sword' sliding 4 foot back to 2 footV .*hale' cut down center line' slid into 4. kamae' dro$ into 4. shikkoD. 4en-uko 5okomen 3chi (4e$eated Aut on .ach Side of the Head)V ,igi Hasso Bedan (Sword low on 4 side)V Inhale' raise sword to 4 shoulder' ste$ forward with 4 foot V .*hale' cut diagonally down to 2V Inhale' bring sword u$ to 2 shoulder' ste$ forward with 2 footV .*hale' cut diagonally down to 4>. 4en-uko Shomen 3chi wI High Buard (off line)V ,igi Hasso BedanV Inhale' raise sword' ste$ forward to 4 kamaeV .*hale' cut center line wI shomen uchiV Inhale' side&ste$ diagonally backward with 2 foot' high guardV .*hale' ste$ forward to 2 kamae' cut center line wI shomen uchiV Inhale' side&ste$ diagonally backward with 4 foot' high guard V .*hale' ste$ forward to 4 kamae' cut center line wI shomen uchi?. Tsuki' Shomen 3chi (Thrust with 6ront Aut)V ,igi hasso gedan V Inhale V .*hale' 4 ste$' 4. thrust ' slide forward (same side) for shomen uchiE. 5okomen 3chi' +iri Baeshi (0iagonal cut 8 reversed $ath)V ,igi hasso gedan V Inhale' raise swordV .*hale' ste$ forward to 4 kamae' cut full yokomen uchi'V 4everse cut' ste$$ing forward to 2 kamae' end in migi hasso jodanF. Shomen 3chi In 7lace(Aontinuous 6ront Aut' Switching 6eet)V ,igi hasso gedanV Inhale' raise sword V .*hale' ste$ forward to 4 kamae' V Shomen uchi across line of attackV Inhale' raise sword V .*hale' switch to 2 kamae in $lace (ste$$ing off the line)'V Shomen uchi across line of attackH. 0eflection to 5okomen 3chi (continuous)V ,igi hasso gedanV Inhale' deflect u$ward from 4 to 2' 4 foot to 2V .*hale' circle bokken into 4 yokomen uchi' dro$ 2 foot backV Inhale' deflect u$ward from 2 to 4' 2 foot to 4V .*hale' circle bokken into 2 yokomen uchi' dro$ 4 foot back:. 4en-uko Shomen 3chi with ShikkoV SeganV Inhale' raise sword' slide 4 foot back to 2 footV .*hale' shomen uchi wI 4 kamae' dro$ into shikkoV Inhale' stand 8 switch kamae in $lace' raise swordV .*hale' shomen uchi wI 2 kamae' dro$ into shikko=;. ,usubi Tsuki (Aonnecting Thrust)V ,igi hasso gedanV Inhale V .*hale' ste$ forward into 4 hanmi' thrust (munetsuki)V Inhale' ste$ back off the line wI 4 foot' bokken at side guard (using flat of blade)V .*hale' ste$ forward into 4 hanmi' thrust (munetsuki)' etc. this mo"ement is all one motion==. Side&Ste$ with 0eflectionV SeganV InhaleV .*hale' slide 2 in 4 kamae e*tend 2 hand (gri$) to 4' bokken deflects to 2 sideV Aut on return $athV Inhale at SeganV .*hale' slide 4 in 4 kamae' e*tend 2 hand (gri$) to 2' bokken deflects to 4 sideV Aut on return $ath=C. 5okomen 3chi 0ouble Aut 8 0eflectionV ,igi hasso gedanV Inhale' raise sword' ste$ forward into 4 kamaeV .*hale' short cut diagonally down to the 2' V Aircle the sword u$ behind back' long cutV Inhale' bring 2 foot to 4 foot' reverse $ath of cut' deflecting u$ into jodan $ositionV .*hale' dro$ 4 foot back' short cut diagonally down 2 to 4' V Aircle the sword u$ behind back' long cutSuburi & )okken6irst SuburiThe first suburi is a basic Wshomen cutW. 6rom the ready $osition' raise thesword so that your left hand is on your forehead and the sword is angledslightly back. 0uring this movement your hi$s should turn from a triangularorientation to a suare one. Aut down and out with a wringing motion' as ifyou were flinging something off the ti$ of the bokken' and let your hi$sreturn to their triangular $osition. 6inish with the sword in front of yourcenter. The ti$ should be just slightly lower than the hilt' though you shouldnot allow your wrists to fle* u$ in order to accom$lish this. #t all timeskee$ the sword within the $lane of your centerline. #lways cut with a rela*edmotion.Second Suburi6rom the ready $osition' ste$ back dee$ly with the right foot and raise thesword so that the left hand is just above the left eye. This $osition is knownas Whasso kamaeW. Ste$ forward with the right foot and $erform a shomen cut.Third SuburiThis suburi starts the same as number C' e*ce$t the sword raise continues overhead in a circular motion until the sword is almost resting on the right hi$.This $osition is known as Wwaki kamaeW. Ste$ forward with the right foot and$erform a shomen cut' making sure the sword comes directly down the centerline.6ourth Suburi6rom the ready $osition raise the sword as you bring the right foot back tothe left foot. The sword should be directly overhead and your feet should betogether. Ste$ forward with the left foot and $erform a shomen cut. /ow raisethe sword as you bring the left foot back to the right foot. Ste$ forward withthe right foot and $erform a shomen cut. Aontinue this $rocess whilealternating feet.6ifth Suburi0o a shomen strike as in number =. 4otate the blade clockwise until the edgeis u$ while raising the hilt to your forehead. Simultaneously rotate the lefthi$ back and the right hi$ forward. This is a Wright $arryW. 2et the ti$of the bokken dro$ and continue around behind you in a circular motion as youste$ forward with the left foot and $erform a shomen cut. 4otate the bladecounterclockwise until the edge is u$ while raising the hilt to your forehead.Simultaneously rotate the right hi$ back and the left hi$ forward. 5our armsshould end u$ in a crossed $osition. This is a Wleft $arryW. 2et the ti$ ofthe bokken dro$ and continue around behind you in a circular motion as youste$ forward with the right foot and $erform a shomen cut. #lternate left andright in this way' moving across the floor.Si*th SuburiThis suburi is the same as number ?' with one additionO in between each cutand $arry shuffle forward slightly and $erform a WtsukiW on that side. #tsuki on any side is a thrust to the midsection with the ti$ of the bokken.Shuffle forward slightly with the front foot and turn the blade so that itfaces the o$$osite side from the front foot' e.g.' a right tsuki has the rightfoot forward and the blade facing left. #gain' alternate left and right inthis way' moving across the floor.Seventh SuburiThis suburi starts from the ready $osition with a right shomen cut. ,oveforward with the left foot and $erform a left tsuki. 7erform a left $arry andste$ forward with the right foot int a right shomen cut. 4e$eat' moving acrossthe floor.+endo )asics for new members of Bo0ai+en9 Training Hall .tiuetteStrict formalities are observed in all $hases of keiko at Bo0ai+en. Included in this is the #em$ai%Kouhai (senior&junior)relationshi$./ew students of Bo0ai+en are to look to their sem$ai to learn $ro$er behavior and techniues. The senior students are relied u$on as role models' and are treated with res$ect. The #ensei' or teacher' needs only to correct the senior students' and all others are e*$ected to take the same criticism to heart. Here are some basic standards of behavior that should be obeyed at all times9 7erform a standing bow before entering or leaving the training area. 4emove your shoes and socks before ste$$ing on the dojo floor. Start and finish each $ractice drill with a bow. Treat every shinai and bokken as if it were a real sword. Aheck your eui$ment freuently for safety $ur$oses&/.K.4 $ractice with a s$lintered or cracked shinai! /.K.4 lounge around in the dojo' es$ecially if you%re tired from keiko. #lways obey the instructor%s commands immediately. If you%re not sure what to do' follow the e*am$le of the senior students. /.K.4 miss $ractice without letting the ca$tain know ahead of time.

)efore $ractice)efore $ractice begins' you should be $ro$erly dressed in hakama and keiko!i (s$orts clothing for beginners).#ll of your armor and your uniform should be clean and in good re$air.4emove all jewelry' es$ecially rings and watches. Ins$ect your shinai closely for cracks and s$linters. /.K.4 use a damaged shinai in $ractice.6or directions on shinai care' see #hinaiAare and ,aintenance(unbi taisou (!arm&u$ e*ercises)7ractice usually begins with a grou$ warm&u$ session that touches u$on all the major muscle grou$s. #fter a brief warm&u$' the grou$ uses the shinai or suburito (heavy bokken) for suburi. Suburi e*ercise combines a basic swing with a rhythmic back&and&forth footwork. 4eigi.very keiko starts and finishes with a kneeling bow (zarei). Students line u$ according to rank' and go into seiza' or kneeling $osition' following the lead of the senior students. Three bows are $erformed9 1ne to the shomen' or the front of the hall' one to the sensei' and one to each other.Students may consider the bow to shomen an acknowledgment of something they $ersonally consider to be worthy of honor. The second and third bow to the teacher and each other is both a show of res$ect' and a $romise to try one%s best. !hen bowing to the teacher and each other'students say onegai shimasu' asking to grant them the favor of a lesson.

Kihon)asic $ractice (kihon) consists of old and carefully refined drills to establish the basic elements necessary to face an o$$onent9 7osture (shisei) Stance (kamae)' and $ro$er use of eyes (metsuke) 0rawing (nuki) and returning (osame%kata) of the shinai 6ootwork (ashi%sabaki) 7ractice cuts (suburi) Kocali-ation and breathing (kake!oe, Kiai ) 0istance and timing (ma%ai) Striking (uchi)' thrusting (tsuki)' and receiving (uke) techniue 4e$eated returning strikes (kirikaeshi) Striking with the body (tai%atari) Alose&uarter techniue (tsuba%zeriai) ,ental focus during follow&through (zanshin) These basic drills are $erformed in every $ractice by every member of the dojo. .ven the most e*$erienced teacher of +endo will not neglect these fundamental drills' as they $rovide the basis of all +endo techniue. #uburi#uburi combines the basic overhead swing with forward and backward movement. The goal is to cultivate a smooth' free swing that is $ro$erly timed with one%s footwork. #nother im$ortant goal of suburi is to establish the $ro$er $osture at the moment one%s sword contacts the target. KirikaeshiKirikaeshi is a drill done with a $artner that involves a succession of strikes to the men. Kirikaeshi was established as a basic e*ercise around the end of the ,eiji era (=HEH&=:=C).It teaches a number of im$ortant $rinci$les including $ro$er distance and timing' accuracy' rhythm' and smoothness. &chikomi !eiko&chikomi (single&ste$ striking) $ractice is designed to allow students to attack a $assive receiver. The receiver makes a target available to the student' who strikes and follows through just as if it were a real match. It is in uchikomi $ractice that the student $erfects the coordination of sword stroke' body movement' and intent. The goal is to bring all one%s $hysical and mental $owers to bear u$on the target at a $recise moment in time. )1++./ S3)34I I/T4103ATI1/. The bokken is a wooden sword traditionally made from white oak and weighing around F;;g. Training with the bokken is im$ortant because many of the em$ty hand (or tai jutsu) techniues are derived from sword techniues develo$ed over centuries. =.IAHI /1 S3)34I. Start in migi kamae. 4aise the bokken straight u$' kee$ the left arm as straight as $ossible and the bokken will end u$ lying down the s$ine. This $osition is known as centering the wea$on. #t the same time' draw the front foot to the back foot and o$en the hi$. Ste$ forward with the front footand cut straight down' turn in the right hi$ and clear the back foot round off the attack line as the cut finishes.C./I /1 S3)34I 6rom migi kamae' raise the bokken so that the hands end u$ just over the headwith the bokken $ointing u$ and back at about =? degrees. #t the same time' ste$ back with the right foot and o$en the hi$ (This stance is called H#SS1 +#,#.). The whole body should now be off the attack line. 2ook forward $ast the inside of the left elbow' do not allow the left arm to obscure your view. .*tend the left arm u$ so that the bokken ends u$ centered down the s$ine' ste$ forward with the right foot and cut. 6inish by clearing the back foot as in ichi no suburi.D.S#/ /1 S3)34I Start in migi kamae and $erform ni no suburi until you reach the Hasso +amae $osition with the bokken $ointing u$ and the right foot back. ,ove your centre back slightly and bring the bokken down so that both hands are by the right side and the bokken is $ointing backwards and slightly down. ,ove your centre forward and bring the bokken u$ to the centered $osition' ste$ forward with the right foot and cut. Alear the back foot.>.51/ /1 S3)34I (Ste$ cutting) 4aise the bokken straight u$ by e*tending the left arm and center it. Ste$ forward with the back foot and cut straight down' remember to clear the back foot at the com$letion of the cut. 4aise the bokken again' ste$ forward with back foot and cut on the other side. Aontinue walking forward and cutting.?.B1 /1 S3)34I Start in migi kamae. )ring the hands u$ to just in front of the face while kee$ing the bokken $ointing forward and slightly to the right (/) the bokken is angled toward the side of the front foot). Ste$ forward with the left foot and center the bokken. Aut toward the side of the o$$onents head and at the same time clear the back foot. To cut on the o$$osite side' bring the hands u$ in front of the face with the bokken $ointing to the left. Ste$ forward with the right foot' center the bokken' cut NyokomenN and clear the back foot.E.41+3 /1 S3)34I 7erform go no suburi as described but add a tsuki off the front foot at the end of each cut. Thus the e*ercise becomes9 cut on the right foot' tsuki off the right foot' cut on the left foot' tsuki off the left foot. ,ake sure you do not retract the bokken between the cut and the tsuki.F./#/ /1 S3)34I Start in hidari kamae. !ind u$ as in go no suburi and cut yokomen on the right side. Ste$ across the attack line and forward with the left foot and tsuki. 4emember to clear the back foot. 4e$eat the e*ercise9 cut right' tsuki left.H A13/T )1++./ +#T# Starting with right foot forward9=) Ste$ forward shomen. Ste$ forward thrust. 7ivot shomen.C) Ste$ backward shomen. Ste$ forward thrust. 7ivot shomen.D) Turn to the (right first) shomen. Ste$ forward thrust. 7ivot shomen.>) Tenkan (cutting u$) shomen. Ste$ forward thrust. 7ivot shomen. ?) Irimi (cutting u$) shomen. Ste$ forward thrust. 7ivot shomen. E) Turn to the (right ste$$ing back) shomen. Ste$ forward thrust. 7ivot shomen. F) Irimi Tenkan shomen. Ste$ forward thrust. 7ivot shomen.H) 1bliue strike shomen. Ste$ forward thrust. 7ivot shomen..ach movement is done twice' right foot forward then left foot forward. If both movements were done correctly you will always end with the right foot forward..J.4AIS.S 614 I,741KI/B #AA34#A5 !ITH (1 14 )1++./ Here are a few e*ercises which will hel$ im$rove your accuracy with a bokken (or jo for that matter). 6or shomen uchi9 Have a $artner hold a jo hori-ontally in front of you so that the jo is $arallel with your shoulders. The jo should be fractionally below the height of your natural cutting action. 5ou should make a few $ractice cuts to establish the correct height. !ith the jo in $lace' cut shomen uchi re$eatedly with your bokken' trying to come as close to the jo as $ossible without touching it. 5our $artner can indicate how close &&& or far away 9M) &&& you are. #im to cut with the last cou$le of inches of your bokken. Try not to look down at the jo' look straight ahead instead. 5okomen uchi9 Have your $artner sit sei-a directly in front of you and hold a jo vertically. !ith your bokken' cut yokomen uchi alternately to the left and right of the jo. #gain' the idea is not to touch' but to come very close. 1nce you get the hang of these you can ask your $artner to move the jo about a bit. Ho$efully your cuts will remain consistent as you adjust your $osition and $osture to co$e. 6or tsuki ($oke)9 0raw a small circle on the wall at your natural $oke height (hmm' sounds disgusting 9M()' and try to tsuki inside the circle every time. If it%s too easy' make the circle smaller. # wall is $robably a bit too solid for this really and you might annoy its owner too' so $erha$s fi* something with a bit of give to the wall (back to tyres eh") .#ikido and )okken)okken 7arts Tsuka handle of the bokken +issaki ti$ of the bokken Tsuba handguard that is sometimes sli$$ed over the bokken )okken Stances Seigan&no&kamae I Ahudan&no&kamae 4ight hanmi with the bokken in both hands directly in front and on the centerline of the body. !eight is centered evenly over both feet and both hands are near the level of your navel. The left hand is on the butt end of the bokken about one fist width away from your body. The blade is tilted slightly to the right to take advantage of the natural curvature of the blade. The kissaki is at your o$$onent%s throat. 2ook directly to the front. (odan&no&kamae Stand in right or left hanmi and raise your arms until your left hand is in front of your forehead. 5our hands are above your eyes and your elbows are out to afford vision to the front. The kissaki is directly above your head to $rotect those behind you. 5our weight is slightly forward. Bedan&no&kamae 2ower the kissaki from chudan&no&kamae' but be ready to raise it at any time. This $rovides an o$ening for your o$$onent to attack. )e ready to ste$ off the line of attack by kee$ing your weight evenly distributed on both feet. Hasso&no&kamae Stand in left hanmi' eyes to the front' weight evenly distributed. The bokken is raised vertically with the hands at the levels of your left chest and left shoulder. The tsubo is at the level of your mouth. !aki&no&kamae 2eft hanmi bokken lowered on the right hand side. )okken Suburi Shomenuchi The swo