21st Kodokan International kendo seminar

A new decade of kendo

For the 21st seminar a new teacher was present Kai sensei (a floating foot specialist). Junpei Matsumoto returned as did Tashiro sensei and Kumamoto sensei. Also visiting from Japan was Shinbo sensei. As usual the team of teachers were strengthened by Howell sensei, Yanai sensei, Holt sensei Honda sensei O’Sullivan sensei, Salmon sensei and this year attending from Italy Castelli sensei.

In all 16 nationalities were represented. Thanks as always must go to Paul Budden and the Kodokan dojo for their organisation of the event.

In his opening address Sumi Sensei said that this year’s seminar was to have three themes, and as promised we would be breaking new ground.

1. We would try to build the ability to resist the opponent’s spirit (pressure), and develop resolve, patience, calmness and become more relaxed.

2. We were to be prepared to go beyond our physical and mental limits by developing endurance and patience.

3. We were asked to reflect carefully on our practice of kendo. To have an open mind not a narrow view and to consider the different approaches possible.

It was apparent even at the first of the evening practices that Sumi Sensei had a more intense approach. He was ruthless in driving students to correctly cut and finish off techniques. To end a practice students were asked to complete three sets of kirikaeshi instead of the customary two.

This was further confirmed at the opening address where we were promised “hard training”

Sumi sensei formally introduced Kai sensei (Hachidan Hanshi) a former senior police kendo instructor in Miyazaki prefecture who has won both the All Japan police championships and the All Japan eighth dan championships.

For more than 20 years Kai sensei has been teaching kendo to children and beginners. This is a particular area of interest for him. He shared with us his training precepts:

• Make them like kendo
• Make them enjoy kendo
• Make them do quality kendo

When asked typically how long it should be before a beginner was allowed to train in armour the response was about 6 months (training once or twice a week). Sumi sensei interceded to say this should be on a case by case basis.

The usual format was employed with participants being put into teams. Each team has a general. Practices followed the established format with the generals doing the bulk of the teaching and Sumi Sensei, Kai Sensei and Tashiro Sensei circulating and giving advice and demonstrations on the finer points.

Kiri Kaeshi

We were introduced to a new variation of Kiri Kaeshi where kakarite steps in from long distance and cuts MEN then steps back to do five cuts on the spot, before separating to long distance again. This was repeated three times. To improve breath control the whole exercise was to be done in only three breaths.

Ashi Sabaki (Footwork)

Sumi sensei discussed the way of using the feet when doing shikake waza. For attacks from long distance first we must slide in the right foot maintaining balance and an upright stance (seme). When the moment is right the left foot is quickly snapped into position behind the right foot causing the weight distribution over the feet to change (more weight on the left foot). The instant that this happens the right foot is driven forward (a stretching step) and the arms are raised sharply keeping the body upright. When cutting from issoku itto no maai (perhaps the opponent has stepped in) there is no need (or room) to do an extra step. All that is needed is a stretching step driven by the left foot and a sharp raising of the arms.

In either case the stamping movement should not be over heavy and the effort in the arms as the strike makes contact should not be excessive. In this way the body will stay more relaxed.

The strike will be powerful and the use of energy will be more efficient. By relaxing the upper body when striking it is possible to keep better posture and balance. In addition you will be more easily into the next strike or defence.

Te waza (handwork)

Sumi sensei discussed the mechanics of cutting. What do the hands and arms do? In his method they lift up and then come down. The majority of the effort should be on the lift up part of the cutting action and most of the power to do this should come not from the arms but from the back. The tip of the sword should stay forward towards the opponent never going farther than the Jodan position and the arms and wrists should fully extend at the end of the cut to give maximum reach. At no point should the shoulders and arms become stiff as this will slow down the cutting action and cause the upper body to lose its shape. Striking with strength (really hard) is in fact not only painful for the opponent but also damaging to the posture and balance.

Tai Waza (Using the body)

When you drive forward to strike the opponent the body should not lean forwards or back. It must not twist or tilt to either side, and the upper body must remain relaxed.

In order to develop a feeling for this we practised driving forward with the right foot into quite a deep stance. In the first exercise the left foot does not move. The body is kept perfectly straight by tensing and pushing the abdomen forward.

In the second exercise the left foot is allowed to slide along the floor, and in the final exercise the left foot is quickly snapped up into position behind the right foot.

The position and attitude of the head is very important when considering balance and posture. Wherever the head goes the body follows.

An alternative approach

Kai sensei has developed the skill of floating his right foot as he attacks. This allows him to change points of attack or even make multiple attacks in one stepping action. He was able to cut straight and then change to the left or right side. He seemed able to strike over even the fastest attack with a seemingly large slow cutting action.

Shikake Waza

Long MEN, short MEN (Debana), long KOTE, short KOTE (Debana)

Tobikomi DO (start from long range, slide in the right foot, snap up the left and drive forwards raising as if for MEN. As the opponent raises the shinai to defend strike DO and cut through quickly on the opponent’s right side).

Nuki DO (Debana) (start from long range, slide in the right foot, snap up the left. As the motodachi attacks MEN take a small step to the right front diagonal and strike DO by using the UP/DOWN cutting action and turning the body towards the motodachi. Turn as the motodachi cuts through to maintain zanshin).

MEN KOTE (start from long range, slide in the right foot, snap up the left and drive forwards a short distance raising as if for MEN as you stamp with the right foot. As the opponent blocks make a second right foot stamp as you cut KOTE).

Oji waza

KOTE Nuki MEN (Rise up onto the toes as the shinai is pulled up and back and then drop the body to strike). This can be added to by using Kaeshi DO as a counter

MEN Nuki MEN (Move quickly forwards and to the right turning the body towards the motodachi. Strike simultaneously with the motodachi. Nuki MEN in this style is very similar to Debana MEN).

KOTE Kaeshi KOTE (slide the left foot back and to the left as you deflect the shinai. Strike as you pull the right foot back to the left). This exercise can be added to by using suriage KOTE as a counter

KOTE suriage MEN, MEN suriage MEN.

Key Points in the NIHON KENDO NO KATA

This year we (the godan/rokudan group) had two excellent kata sessions with Sumi sensei. And Kai sensei. They looked at our practice of all of the Tachi-no-kata in detail and found ways of improving virtually each one of them. Sumi sensei is able to show the kata in a sophisticated way containing many fine points and details that are not obvious to the naked eye. When the kata is performed with all these nuances running through the mind it becomes much more real and intense. I have attempted to list below the key points that I can remember from these sessions:

Hidari Jodan: Sensei asked the question “how many times is Hidari Jodan used during the performance of the kata?” He stressed the fact that each time this is done the kamae should be the same. It is most important to ensure that the left hand is above the left foot and not in the centre.

Sambonme: when lifting the sword up from Gedan both attempt to control the centre. The swords should come all the way up to chudan no chamae. Pressure must be built up before attempting to do Tsuki. The Uchdachi does tsuki downwards into the upper belly of the shidachi. The Shidachi uses Nayasu to pull the attacking sword downwards and out to the left. The counter Tsuki must be immediate. This means very quick footwork for the Uchidachi.

Yonhonme: When doing Aiuchi at the start of the kata it is important to cut to the opponents head height. Both stop short of actually cutting by holding back the right foot. You must fight for the centre as the swords are lowered to chudan (all the way). The distance must be chika maai. Uchidachi does tsuki to the right side of shidachi’s chest. This is a downward thrust from chudan. After the Maki Kaeshi MEN, the point of Uchidachi’s sword should be below their hands. Shidachi must not release the pressure that is holding uchidachi (zanshin).

Zanshin: A basic concept of zanshin is used for the first 4 kata. For 5, 6 & 7 a more advanced concept is used. This means that Zanshin should be more intense. Zanshin kamae is taken earlier (as soon as the kiai is completed). The whole body is used to dominate/control the opponent.

Roponme: In this kata shidachi applies Seme three times:

Seme 1- From Gedan attack the hands/Tsuba area by raising the sword as you push in with the waist (bend the knee).

Seme 2- As uchidachi steps back to left Jodan attack the left hand.

Seme 3- As uchidachi retreats to chudan attack the centre (nodo).

Uchidachi’s KOTE cut must be small but straight. The suriage is done with the shinogi; the hands being pushed forward, upwards and to the right (point towards the Uchidachi’s left shoulder) as the left foot moves to the left rear. After cutting KOTE move quickly into Jodan.

Nanahonme: From chudan in the centre Uchidachi takes a short step and thrusts towards the solar plexus turning the sword over slightly (right hand on top). Shidachi takes a large step and cancels the Tsuki (Sosai) by thrusting towards the solar plexus turning the sword over the opposite way, so that the left hand is on top. Maintain the feeling of mind contact as you return to chudan “Rejoice in your mind contact, enjoy it” (M.Sumi).The distance achieved after the tsuki and before the MEN Nuki DO should be at least yokote. The distance can be wider than this providing the mind contact is not broken. Uchidachi must correctly cut the shidachi’s MEN (In two steps). The shidachi must correctly cut the right side DO of the uchidachi with the monouchi. After the cut the shidachi must move quickly to the zanshin kamae as the body is very exposed.

Reishiki: When placing or retrieving the kodachi the leg nearest to the shomen (Kami no ashi) is not to be knelt on. It is the other leg, that farthest from the Shomen that is placed on the floor. The unused sword is placed on the same side as this leg (Shimo no ashi) with the edge facing towards the body and the tsuba in line with the knee.

IPD and Steve Bishop lectures (Laurel & Hardy)

This year our resident dynamic duo combined their input. There were two related themes, both concerning teaching/motivating students, and particularly juniors.

The first theme was to do with image (having a picture of kendo/good kendo) Steve referred to advice given to him many years ago by John Hepburn about having a picture in your mind of what good kendo looks like. He encouraged Yanai sensei to share with us his description of kendo: For him it must be “|simple, natural and beautiful”. The second theme was to do with accessibility.

Iain showed us a photo of his 3 year old grandson dressed up in home made cricket equipment and holding a bat (reasonably effectively). Even at this tender age youngsters have a picture (and basic understanding) of games such as cricket, football, tennis, rugby etc. By the time they are entering their teens many can discuss the fine points of the offside rule and how it should be applied. This is clearly not the case with kendo in this country (although it probably is in Japan and Korea?)

The question is; if kids and their parents don’t know what it is or how you do it, how can we get them interested? Entering into the unknown is always daunting, and typical kendo classes do little to help this situation. They are filled with stern types wearing strange clothes and masks who scream at each other and lay into each other with large sticks. Classes are often mixed and this in itself can be off putting for both parents and children.

Both Ian and Steve have had success by developing family/community classes where parents are involved in the classes. They have developed less threatening and more familiar ways to train skills i.e. by striking balls instead of heads.

There is now a coaching manual available that outlines approaches and methods for working with young people. Steve and Ian are both more than willing to discuss these approaches and make suggestions to anyone who is contemplating recruiting junior kendoka.

After all they are the future of kendo aren’t they?

In conclusion

Once again we had a weekend’s training of the highest quality and were given the opportunity to see and feel variations of the very best standard of kendo. Old friends were met and new ones made. I think everyone enjoyed themselves and left enthused and ready to redouble their efforts.

At the close of the seminar Sumi sensei had a few words to say. He told us that kendo has many aspects and these are all equally important: Kihon, kata, Keiko, Shiai. We must not neglect any of these.

He set a challenge for all those present: by next year’s seminar we are to be cutting with much less effort/strength, and oh yes. He’ll be back!

As usual the seminar ran smoothly (thanks to Paul Budden and the members of the KODOKAN). Everyone was motivated and enthused, trained very hard and took away new concepts for themselves and those that they train with. Paul also gave a few words in closing the event about the E word – enjoyment, not just about how the students had enjoyed the Sensei[s], but also how the Sensei had enjoyed and appreciated the efforts of the students and how all parties had manifested this both in and out of the Dojo.

These Sensei are very special indeed, long may they continue to support and promote International friendship through Kendo

G.O’Donnell
Do Shin Ken Yu Kai