I keep veering off centre after I hit to avoid slamming into my opponent.
I need to stop this. I need to go straight at them.
I keep veering off centre after I hit to avoid slamming into my opponent.
I need to stop this. I need to go straight at them.
I’ll repost the articles here just in case they are deleted elsewhere later on. Links, again, are up at the top of the post.
“Traditional” Kendo by Geoff Salmon sensei:
Aldqueiroz made an interesting comment on my recent post on refereeing, “Article 12”. In essence he said that if a player dodges or moves the angle of his head to avoid a legitimate strike, then the strike should (at least in spirit) count as ippon. As I mentioned in my brief reply, I have heard this from senior sensei at various seminars, but never seen it applied in major shiai. Nor have I been instructed to take these unfair misses into account when refereeing. The rule that the correct part of the shinai should strike the correct part of the bogu invariably stands.
Dodging is just one element of the behaviour demonstrated by kenshi who are afraid to lose. Blocking strikes to the men with the shinai above the head or using more normal blocks without the intention of responding are other examples of the same behaviour.
I have frequently heard members of various dojo and kendo associations say that they practice “traditional kendo” by which they mean that they face their opponent in the spirit of “life or death”, “kill or be killed”, with no compromise made to winning or losing shiai. I know some kenshi who will not take part in shiai because the feel that the focus beating their opponent will detract from their shugyo.
To turn this argument on its head, shiai is the nearest experience we can have in kendo to a life or death situation, that is of course unless you are a psychopath. The challenge is having the strength of mind to face your opponent with the correct posture and attitude. This is often summed up in Japanese as “utte hansei utarete kanshya”, (reflection on hitting, gratitude on being hit).
That some people will try to bend the rules does not detract from the fact that the ZNKR constantly reinforces the message that “The concept of kendo is to discipline the human character through the application of the principles of the katana”. This is evident through most of the official instruction material and some of the questions in the Japanese Kyoshi exam.
Kendo has gone through numerous changess, from the art of war, to a zen discipline to a form of entertainment and as it stands today an educational sport that is meant to aid physical, mental and moral development. Whether it was always viewed as wrong to duck, I couldn’t say, but if we were back in the sengoku period and someone was running at me with three foot of razor sharp sword, I might be tempted to move my head to the side.
(The linked video is no longer available)
I hope to reread these often.
From my trip to SJMK 팔만무도구 in Korea.
How to wash men:
I took the 3-dan shinsa yesterday (9 years overdue LOL) and passed. I had to write this for my essay. Writing it was actually incredibly helpful – I have a lot more I want to say on this subject as it relates to my own kendo.
Yuko-Datotsu is defined as the making of a valid strike, one that would be considered an ippon. Indeed, an ippon is scored when the elements of Yuko-Datotsu come together with ki-ken-tai-ichi (which itself shares many aspects with the elements of yuko-datotsu). Yuko-Datotsu is achieved when five elements – Kamaeru, Semeru, Toraeru, Utsu, and Zanshin – are brought together into a cohesive whole in a strike.
The first of these elements is kamaeru. Kamaeru is to assume the proper posture. Proper here does not mean “correct” – there is no distinctly “correct” posture. Instead, it means to assume a chudan kamae which is prepared to both attack and defend. Physically, it is to be upright, whilst holding the shinai in a way that does not expose any targets, and to be ready to attack. Kamaeru extends beyond simply kamae. It implies that this upright and powerful posture be maintained throughout the execution of a waza. An example of kamaeru being important is during shiai, where ippon is usually not awarded if the attacker bends and attacks from a sidewards angle in order to move around a kamae, instead of breaking it through seme.
Semeru is the second element, which means to control the center. By controlling the center, a kendoka applies pressure to the opponent with the objective of breaking their chudan. This is the important “conversation” that good kendokas have before the actual physical completion of waza. This “conversation” is actually a fight to control the center. Through semeru one can gain control of the center, and by dominating the center, one can give the opponent the feeling that they can strike when the opportunity presents itself.
Third is toraeru. Toraeru is to recognize and take advantage of an opportunity. With correct kamae and seme, one can determine when the opponent’s chudan is broken and act upon that opportunity with the striking of a waza. I believe that toraeru is just as difficult as semeru. This is because toraeru shows an understanding and application of both the mental/spiritual and physical elements of kendo. Through good kamae and seme, one can break an opponent’s chudan, but without toraeru, one cannot convert this opportunity into an ippon waza.
Utsu, the fourth element, can also be understood as datotsu, an effective cut. This can be further divided into two sub-elements. The first is datotsu-bu – the correct part of the shinai. The waza is considered valid when the strike is made with the monouchi of the shinai, the top third of the blade between the kensen and nakayui. The second component is datotsu-bui – the correct part of the opponent’s armor. Utsu is the physical component of yuko-datotsu. It is important because without being able to physically manifest a waza, the other elements cannot be utilized to their full potential.
The last component of yuko-datotsu is zanshin. Zanshin literally means “residual/remaining heart”. Physically speaking, it means to return to a fighting kamae after the completion of a waza such that one is able to strike again. But along with this physicality is the mental aspect. After the completion of a waza, one cannot think “ok, breathe in, begin again”. One must be mentally alert and be prepared to attack immediately. There is no distinction between the end of one strike and the beginning of the next – they are one and the same.
In yuko-datotsu, one assumes the correct posture throughout the waza, uses seme to control the center and recognizes the opportunity to strike, strikes the correct part of the opponent with the correct part of the shinai, and is ready to strike again after the completion of the waza. In addition to these elements, one must also use the correct hasuji, as the shinai is representative of a katana, and one would not cut with the broad or flat side of the blade. Ki must also be strong. Indeed, although ki-ken-tai-ichi is often discussed separately, I believe that correct ki-ken-tai-ichi and the elements of yuko-datotsu are inseparable and equally important. With these elements, an ippon can be scored by a kendoka.
Taught by Toshiro Komeda sensei of Kyushu-gakuin
Very similar to this video:
Footwork practice Pt. 1
Footwork practice Pt. 2
Super short, just 30 mins.
During the Q&A, I asked him about advice for jodan.
Me – Do you have any advice for jodan?
Komeda sensei w/translator – I have many students who are jodan. What is your tokui waza – katate or morote?
Me – Katate.
K-ss – Katate what?
Me – Katate-men.
K-ss – Good.
K-ss – When do/should you hit katate-men?
Me – Two instances. When opponent comes in for kote or when he leans back.
K-ss – I agree.
Me – … kay? (another awkward pause where Carroll-sensei [translating], Komeda-sensei, and myself just looked at each other confused)
From here on, he gave an explanation of how to accomplish this. He said to go with big seme. Keep semeing to make the opponent move back. Back, back, back. Then, when opponent thinks “oh no, I can’t keep moving back, I have to go”, he will go for kote. That is when I should hit men.
After this point, the opponent will be afraid of my men. This is when I should seme to men, then hit morote kote, since because he is afraid, he will move his shinai to block.
After the finals, I had the chance to do some godo-geiko with Komeda sensei. He took a triangulated stance, where his hands were on the right side of his body and the shinai tip was along the centerline.
Now, this is an incredibly defensive position, but for jodan, it’s really difficult to break. Especially if the jodan (me) is much weaker than the person in this kamae (a 7th dan sensei, who fucking coaches national champions year after year and has calves that shouldn’t be called calves but bulls….;;;;;). Anyways, here are some things I noticed about this kamae:
He also went Jodan against me, but kept his right hand above the tsuka. Technically not allowed, but who cares. It was fun!
Afterwards, he told me to try a LOT of different things, that Jodan had a lot of variety to it as well, and that by trying different things, I’d be able to set up the katate men.He also told me to keep big seme.
Also, dude is built like a bloody meatball. A FAST meatball. But he’s a good teacher, the kind that makes you want to impress him. I can see why his students do so well.
Last weekend, I went to the 2017 Detroit Kendo tournament. Although I wanted to take the shinsa on Saturday, I couldn’t because I changed federations from KKA to AUSKF and haven’t gotten an AUSKF number yet. I’m not too pleased with the direction KKA is going, which is why I changed. AUSKF also has a bigger and more advanced field of practitioners, and the judging is more… legit. I’ll take it in the AEUSKF April one, since the logistics of that are easier to work out.
Anyways, that aside, the biggest disappointment with Saturday was not being able to attend the godo-geiko, mainly because I wanted to geiko with Sugawara sensei and learn from him, him being a big factor in my continued passion for jodan.
Sunday was fun. I got to the finals of the nidan division, which had a LOT of young kids. It’s good to see that the future of midwest kendo is so bright. NYC did well. NYC A got to the finals. In my team, NYC B, I went against Oinishi? Onishi? Something with an O, from Columbus JLS with Katayama sensei as Taisho. Strong player, I think I could have gotten him. As it was, we tied, and NYC B lost to them. AND NYC A lost to them in the finals. I strongly believe Kang sensei could have gotten Katayama sensei, but he was wayyyy off that day.
What’s very interesting is that as I progress in kendo, my ability to observe and notice the small details are becoming exponentially better. I think that’s because I’m starting to have more of a concrete idea of what I want my kendo to look like. Meaning, I actually have an ideal to work towards. So far, it’s only with regards to my own kendo and not anybody else’s.
Things I noticed:
Advice I got and things I noticed from other jodan:
Homework for me:
When he first explained this, I didn’t get it, but after a while, I started to feel that tension he was talking about. I think a better way to describe it might be “tautness”. I could usually do about 200 suburi no problem. With this method, even 10-15 is difficult. I think it’s because when I’m doing suburi this way, I feel like a bow that’s being drawn and slightly relaxed, then drawn fully again, and then relaxed a little bit again. It’s super tiring. But I can definitely feel an improvement.
Kang sensei also told me about fumikomi. Typically, people stomp DOWN, in an effort to make more of a sound. That was the case for me for my jodan (and chudan LOL). But he says that during fumikomi, the body should have a “눌르는” feeling. 눌른다 is like pressing down, but the way he used it is like suppression. Almost like compressing what’s in front of you forward and down. Effectively, it’s less of a vertical stomp and more of a horizontal motion. Done correctly, he says it should feel like the skin of your toes are splitting. When I got it done correctly, according to him, I felt the slapping sensation on the front third of my feet, as if the force was pushing the skin of my toes off from the toenails. I have yet to get this feeling with my left foot fumikomi for jodan.
I’ve seen katate jodan before on youtube, particularly with Shodai’s geikos against other jodans. Recently, I tried it in practice, against jodan, and it’s really good. With the recent heavy bokken practice, the shinai’s been feeling super light, so it was no problem.
There were several noticeable advantages:
The single biggest con that I can see is that it can be tiring, but for somebody like me, it was a good thing to go for. It is, essentially, limited by how physically fit you are. Another con is tsubazeriai, but just being smart about it should be all that’s needed. But yeah… I think I’m going to play around with this for a while.
Form wise, you can rest it on the head or do it like shodai
I tried both. I think the resting it on the head gives it almost a nito daito-esque form because of how off to the side it is. Because of this, the left kote is way back in comparison to the regular jodan. If you’ve ever gone jodan vs nito, you know how hard and annoying that low, far back kote on the nito is to hit from jodan. But holding it more in front allows for really sharp strikes, almost like jabs. I think I could work with either.
step toward leading foot.
So, right foot to the opponent