22nd Kodokan International kendo seminar [AKA the SSS]

'Attendees'

For the 22nd seminar a different teaching line up was present. Jumpei Matsumoto sensei Nanadan Kyoshi the new British National Kendo coach was in attendance. Juinichi Tashiro sensei Hachidan Kyoshi was present and led much of the first day’s training, but Kumamoto sensei was missing this year. Also visiting from Japan was Nagao sensei (newly qualified as Hachidan), Yamamoto sensei and Inutsuka sensei also both Nanadan Kyoshi As usual the team of teachers was strengthened by British resident Nanadan including Holt sensei, Salmon sensei and Budden sensei. Rokudan O’Sullivan sensei and Itoh Sensei were also in attendance This year 17 nationalities were represented. Sumi sensei Hachidan Hanshi was as always larger than life filling the dojo with his spirit and rumbling voice, and impressing us all with the perfection of his demonstrations. Thanks as always to Paul Budden and the members of the Kodokan dojo for their excellent organisation of the event.

Opening Address

Sumi sensei said that this year’s seminar was to have two themes.

1. Through keiko, shiai and kata we would practice how to read the opponents intentions. 2. We would look at ways to train in kata, kihon, keiko and shiai to improve this core ability.

The usual format was employed with participants placed in 6 teams of 12: Bokuden, Tesshu, Yagyu, Ittosai, Tadaaki and Musashi. Each team was allocated a senior to lead discussions and organise practices. Sumi sensei and Tashiro sensei circulate and give advice whilst Holt sensei asks awkward questions to check for progress and understanding.

Sumi sensei shows a very intense approach to Ji geiko. He is ruthless in driving students to correctly cut and finish off techniques. To finish off a practice students generally complete three sets of kirikaeshi instead of the customary two. His Motodachi geiko takes the form: Shodachi geiko, Ai kakari geiko, Uchikomi geiko, and to finish off either Ippon gachi or Kiri kaeshi depending on the level of the Suwate (junior). It feels a bit like being sucked into a whirlwind and then spat out five minutes later totally drained but very pleased with yourself (generally).

'Jigeiko'

Kiri Kaeshi

We once again used the 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 year however we repeated this five times (last year it was only three). To improve breath control the whole exercise was to be done in only three breaths, this means a 2, 2, 1breathing pattern and is extremely difficult. The time to breathe is either after stepping back to long distance, or when stepping in to tsubazeriai

Kihon

Sumi sensei introduced 3 kinds of Men, Kote, and Do, in order to show how to understand the opponents feeling and use it to make attacks and counters. He discussed the use of seme ashi to draw an opponent into an attack whilst maintaining composure and distance, so that effective oji waza can be applied.

3 kinds of Men:

1. The first type of Men requires the kakarite to step in from long distance and build up a feeling of pressure. As a rule of thumb in kihon the time taken to sufficiently build up pressure for an attack is your DAN grade + 2 seconds, i.e. 3rd Dan should take 5 seconds (minimum). Sumi sensei said we should not be in a rush but instead enjoy the mind contact with the opponent and become comfortable with the feeling of pressure. When building up the feeling we must not stand still or become stiff. Neither should the body begin to lean forwards or become unbalanced. As the pressure builds up we must tap, press and flip the opponent’s shinai, changing sides and generally unsettling their kamae. When attacking the Men it is essential not to step in again. You should already have your feet perfectly set for a cut. The skill of cutting men from correct distance without dynamic entry is one that is absolutely crucial for effective attacks. Clearly we must attack when the opponent can no longer withstand the pressure. They will raise their hands or begin to push back on your shinai. They may attempt to step back and disengage. In ji geiko or shiai you must maintain pressure until the moment of weakness comes (not simply time the attack).
2. A dynamic Men attack from long distance. Step into cutting range focussing the kensen on the opponent’s throat or left hand and immediately strike the men, driving quickly through the opponent (motodachi sidesteps or moves sharply backwards). In this type of attack the moment of entry is critical. You must measure the state of your opponent and step in at a moment of weakness. It is most important to step in only to your effective Men cutting distance and continue the feeling of seme by using the kensen, the left hand and the body.
3. The third kind of Men requires a very similar entry to the first. We step in maintaining pressure but then relax the kensen allowing the opponent to feel that they have control of the centre. When inviting your opponent to strike your Men you must not be too far away or else they will not want to reach for the Men. Nor should you step in too close as you will not have time/distance to do your oji waza. Finally it is important not to be too obvious in opening the centre, or make jerky movements that will make the opponent pull back. In this kihon exercise we practised suriage Men.

Key point: When cutting Men we must not lift up the kensen. It must be pushed towards the opponent in order to maintain seme.

3 kinds of Kote:

1. kakarite steps in from long distance and builds up a feeling of pressure (DAN grade + 2 seconds). Enjoy the mind contact with the opponent, be comfortable with the pressure. Do not stand completely still or become stiff. When attacking the Kote in this way it is also essential not to step in again. We attack when the opponent can no longer withstand the pressure. They will raise their hands or begin to push back on your shinai. After striking Kote we must always step in to control the opponent in tsubazeriai.
2. A more dynamic Kote attack from long distance. Step into cutting range focussing the kensen on the opponent’s throat and then subtly rise up the point of the shinai (it should feel like the start of Men to your opponent). The opponent will quite naturally raise up their shinai in order to counter your seme. Disengage and go under the opponents shinai then sharply strike with harai to the ura side of their shinai and immediately cut Kote. Be careful to cut straight down on the Kote not at an angle or in a circular action. To complete the waza step in to control the opponent in tsubazeriai.
3. The third kind of Kote requires a similar entry to the first. We step in but over pressurise the opponent’s shinai so that they feel dominant and able to attack over our Kote. Don’t be too obvious in pushing the centre as this will make your opponent nervous. It is essential to keep the right hand grip light and flexible. In this kihon exercise we practised kaeshi Kote but it would be equally applicable to suriage (Kote or Men) or nuki men.

3 kinds of Do:

1. kakarite steps in from long distance and builds up a feeling of pressure (DAN grade + 2 seconds). When sufficient pressure has built up kakarite raises up his arms in a large unsettling motion, perhaps advancing the right foot a little (keep the shinai in the centre at this point so as to convince the motodachi that you intend to strike their men. The motodachi will respond by raising up his arms to defend men. When this happens the kakarite steps in and strikes Do. Be sure to attack the Do in one step without any creeping of the feet or additional movement forwards extend the wrists fully so that they do not cross over each other. The left hand should be in the centre of the body. It is also important to strike with the correct part of the shinai (datotsu bu) and with the shinai turned to the correct angle (hasuji).
2. The kakarite steps in deep and covers the motodachi’s shinai from above forcing it down and out of centre. The motodachi responds by pulling up to regain the centre. As soon as you sense the reaction to the downward force raise up your shinai (straight) then taking a small step to the diagonal right front strike the motodachi’s Do. Pay attention to maai, hasuji, datotsu bu and ensuring that the wrists extend fully.
3. The third kind of Do requires a similar entry to the first. Step in and pressurise the opponent’s shinai. Subtly release the pressure so that the motodachi feels drawn to strike your Men. Don’t be too obvious in releasing control of the centre. When the motodachi attacks step forwards to the left front diagonal on the left foot and strike with nuki Do

Key point: When cutting Do we must be sure to fully extend the wrists and keep the left hand in the centre.

Seme Ashi

Our last practice on the theme of catching or changing the opponents feeling involved the use of seme ashi to cause the motodachi to attack and give a good chance for a counter. First we must build up a feeling of pressure. When sufficient pressure has built up, advance the right foot towards the opponent as though you mean to attack. Keep the body upright and give the impression that you are moving in to a real attack, but subtly open a line of attack for the opponent. This should elicit an immediate response from the opponent (Men or Kote) hopefully along the line that you have offered. Use an appropriate oji waza: suriage Men, suriage Kote, kaeshi Do, kaeshi Kote etc.

NIHON KENDO NO KATA as a learning tool

For the kata sessions group leaders were asked to focus on what makes each kata work, i.e. the psychology of the mind contact. This is what I taught/discussed with my group:
1. The shidachi comes too close to the uchidachi and makes a strong seme as part of their final step. uchidachi has no choice but to make an immediate and fully committed cut.
2. The shidachi arrives a little late in the centre allowing the uchidachi to gain composure and also over presses the uchidachi’s bokuto so that they feel a good chance to strike the kote. It is also important to soften the kensen so that the point does not inhibit the uchidachi’s hands during the cut.
3. The shidachi arrives late in the centre and seems unable to match the uchidachi’s build up of pressure. The uchidachi dominates the centre and therefore makes a fully committed thrust.
4. The kata begins tentatively with a wide interval. shidachi’s waki gamae whilst appearing passive is actually a very effective position to counter an overhead attack. The uchidachi needs to draw the shidachi out of this position so makes a rapid and threatening lift to jodan and then an overhead cut. shidachi responds by moving from waki gamae, seemingly with broken composure and also continues into an overhead cut to counter the uchidachi’s attack. Both realise ai uchi and so stop their attacks and lock bokuto together with a feeling of kiri musubi. Both should feel very exposed in this position. The uchidachi takes control of the centre and begins to force the swords down to chudan, the shidachi responds but keeps the short distance so that the uchidachi’s attacking options are limited (uchidachi cannot pull back or raise their hands as this would give the shidachi an easy chance to cut). As the level of the swords comes to chudan the shidachi subtly relaxes the centre pressure causing the uchidachi to feel dominant and drawing an immediate thrust to the right chest.
5. uchidachi raises to left jodan with a very positive attacking mind. The shidachi tentatively adjusts posture directing the kensen at the uchdachi’s left hand (The uchidachi’s left hand is above their left foot therefore the shidachi’s kensen has been drawn out of centre). uchidachi steps in strongly whilst shidachi is more tentative, arrives a little late and leaves a slightly too wide interval. The uchidachi senses that the centre is still open so attacks, but needs to modify the attack slightly due to the wider distance (only cutting Men). As the uchidachi extends to cut, the shidachi moves back causing even greater extension in the arms and leading to an easy deflection. Because of the over extension uchidachi takes a while to regain balance giving the shidachi ample time to strike the Men.
6. The shidachi takes gedan. The uchidachi is uncomfortable with this position so adjusts kamae to counter it. Both move to the centre. The uchidachi moves first but the shidachi arrives in the centre early and immediately applies pressure to the uchidachi’s left hand and lower abdomen. Unable to settle or withstand the pressure the uchidachi withdraws to left jodan. The shidachi steps in strongly and threatens the uchidachi’s face/left hand, again arriving very early before the uchidachi has had chance to settle in posture. The uchidachi steps back again to chudan to escape the pressure. This time the shidachi allows the uchidachi to settle in kamae (Ready to attack) before stepping in. shidachi gives a slightly wide distance that will cause the uchidachi to make an extended cut to the Kote.
7. Meet in the centre with ai chudan so that the tips of the swords are just touching (too wide for an effective Men attack). uchidachi feels dominant and so makes an exploratory thrust towards the shidachi’s solar plexus. The shidachi takes an equally large step back and returns the thrust stopping the uchidachi’s attack. The shidachi must ensure a wide interval has been maintained. The uchidachi still feels dominant and so tries a two step overhead cut (ayumi ashi). As the uchidachi raises their hands the shidachi applies seme causing the uchidachi’s attack to waver. The shidachi takes advantage of the hesitancy to cut nuki Do.

The kodachi kata concept of mind contact: Shin (seizing the moment), Gyo (flowing with the timing), and So (entangling/smothering).

Kihon Keiko Ho in armour

This was used extensively on the seminar. It is not necessary to do the whole kihon, dispense with the steps in and separation and just apply the waza in uchikomi style. We must try to do each of the kihon waza in one breath.
kakarite should always step in to engage from long distance, but the attacks are not dynamic i.e. not step in and immediately cut. Before cutting there is mind contact and a build up of pressure just like in the out of armour bokuto style of the kihon.
The kakarite can use suri ashi to improve form and movement or fumikomi ashi to work on ki ken tai and dynamic attacking. They should try to cut correctly by snapping/extending the wrists (chameleon’s tongue) and pay particular attention to cutting distance, use of the datotsu bu and the hasuji (direction of the blade).

Shiai and the Role of the Referees

'How to referee'

shiai always takes a significant role in the SSS. The first shiai session saw considerable input on the role and skills of the referee. Even though considerable time was spent explaining and demonstrating what to do and how to do it there was still a great deal of difficulty in this area. It’s not the mechanics of refereeing that is most difficult (How to rei, how to move/position in the shiai jo, how to use the flags, and the commands) although this is terribly complicated when one first begins. The real difficulty in the referee’s role is seeing and hearing the strikes of the competitors and correctly interpreting and measuring them.
The shiai generally ran smoothly and there were any number of very high quality matches with wonderful points being scored, although not always recognised by the referees.

For shiai session 2, charts were placed on the wall and further discussion and demonstration took place. Below is the content of the charts:

'Refereeing'

The second session saw much improved refereeing and this enhanced the quality of the shiai matches. The overall winners of the shiai were the Yagyu team and fittingly the best match of the Taikai took place in the final between the two Taisho, with Trevor Chapman overcoming Nigel Kettle with a wonderful debana Kote followed almost immediately by an even better tobekomi Men. Trevor had tried to avoid the match as he didn’t want to let his team down (He says shiai is not really his thing but on that performance I would beg to differ). All three of the Hachidan praised his excellent pressure, presence and waza after the match.

'Taisho Final'

Budden sensei lecture

Budden sensei talked to us about Buteyko (pronounced Bu-tay-ko). Initially I think most of us thought this was a Japanese word describing some esoteric but unheard of concept. However it is actually a treatment for those with asthma and other breathing disorders and was developed in Russia in the 1950's by a Russian doctor called Konstantin Buteyko, from whom the technique gets its name. In the 1980s the Russian authorities recognised the method as beneficial and approved it for use as a mainstream treatment for asthma. Word of the technique spread to western countries where practitioners have built up several years experience of using the method in the treatment of asthma and related illnesses. Asthma sufferers using the technique are able to reduce their need for inhalers by up to 90% in less than three months. Many people will know that a couple of year’s ago Budden sensei was diagnosed with sports asthma and given an inhaler. It later transpired that he had angina and had to undergo open heart surgery. But this is where his interest in the method began. Buteyko depends on a commitment to changing a fairly fundamental thing; the way you breathe. The breathing techniques are not physically demanding, simply learning to control the rate of breathing and to breathe exclusively through the nose. Practitioners are also encouraged to improve their physical fitness though. Stress and emotion play a part in bringing on asthma attacks and breathing difficulties so learning to relax forms an important part of Buteyko. Most practitioners also change their diet to help to improve breathing and general health.

Nagao sensei lecture: Why kendo has set Men-uchi above other striking?

'Nagao sensei'

To Summarise:
1 The change from armoured skills into non-armored skills at around 1600: In the last days of the Tokugawa shogunate (1853–1868), most kenjutsu schools and kendoka found the greatest difficulty in the striking of Men-uchi. This led to kendo practices and matches where strikes to other targets were considered to be taking the easy way.
2 The order of the popularisation of each item of Bogu: Primitive Bogu was invented by Jikishinkage-ryu school in the middle of the17th century, but in the beginning there was only Men and Kote.
3 The ideas on real sword fighting published by Sanemichi KUMAMOTO: Sanemichi KUMAMOTO was an influential kendo teacher and high ranking Japanese army officer in the Meiji Period. He wrote a martial arts book ‘Budo Kyohan’ about real sword fighting based on his experiences in the Satsuma rebellion (1878) and the Sino-Japanese war (1894-95). KUMAMOTO sensei devised rules for kendo matches where different points were awarded for striking different targets. He gave the highest score for powerful Men strikes, and the least points to light strikes on the Kote. It is important to realise that what modern kendo would consider a powerful Kote strike would probably have been classed as light in KUMAMOTO sensei’s day.
4 A recommendation for striking Men as the most difficult challenge: The Hokushin-Itto-ryu,Tamiya-ryu and other influential schools set a high value on Men-uchi. Takaharu NAITO, studied Hokushin-Itto-ryu. And as the chief professor of the Budo-Senmon-Gakko (An import and very influential polytechnic of martial arts established in 1905) he emphasised the importance of striking Men as the most challenging target for correctly passing on a strong kendo spirit. Since the graduates of the Budo-Senmon-Gakko were employed in secondary schools and universities throughout Japan, this idea (The respect for Men-uchi) became prevalent throughout Japanese kendo society and its legacy is still firmly embedded today.

IPD Lecture

This year IPD talked about Fear! What is it and how does it affect us? Fear is generally associated with danger of injury or death but this is not the whole story. We can exhibit the symptoms/effects of fear in all types of situations which in rational terms are not physically dangerous.
Symptoms can include shallow breathing, racing heart, nausea, tunnel vision, loss of coordination, dry mouth, freezing/stiffness etc. Does this sound familiar?

'IPD'

This led us into the question is kendo frightening? Of course all those present said not really but we must cast our minds back to the first time we sat in a kendo dojo and heard those spine tingling shouts and saw two people in strange clothing thrashing each other with large heavy looking sticks. I can vaguely remember the hair on the back of my neck standing up and being quite giggly (a sign of hysteria I think). Certainly I was very impressed and not a little afraid of Kunio Kashiwagi who seemed totally invincible.
Is it necessary to be in real danger in order to exhibit the symptoms of fear? No! Soldiers train hard in order to fight easy. Some truly dangerous sports are immensely enjoyable and even addictive (adrenalin, serotonin etc.). When we visit the fairground we exhibit many of the symptoms above whilst waiting to get on a ride that we know is perfectly safe.
Once the mind has been fooled into feeling fear (subconsciously) all the physiological changes associated with fear begin to take effect. Only by learning to control these effects is it possible to remain efficient and relaxed in the midst of for example a kendo match. Of course IPD explains this much more clearly and I would recommend anyone interested in this concept to speak to him directly.

In conclusion

As usual the seminar was fun but challenging. Some of the waza and concepts were extremely difficult at first but gradually things started to sink in (it’s got something to do with the way Sumi sensei gets things across to us Europeans I think). Everyone I spoke too was motivated and enthused. We all trained very hard and took away new concepts that will enhance both our own kendo and also that of those we train with.

Gary O (Musashi Team)