MATSUMOTO SENSEI AT DO SHIN KEN YU KAI FEBRUARY 2008

The seminar was led by Jumpei Matsumoto Sensei (7th Dan Kyoshi) ably assisted by Budden Sensei 7th Dan Renshi. Translation where necessary was provided by Kazuo Matsuda (Matsumoto is well able to express himself on all but the most complex of topics). I have admired Matsumoto sensei’s kendo since first meeting him over twenty years ago on the Kodokan kendo seminar. We have bumped into each other on a few occasions since then. His approach is very simple to describe I think. Do basic/simple things really well and approach your opponent with sincerity.

The venue for the seminar was the dance studio at Brighouse High School. Unfortunately we picked a weekend of heavy snow and this undoubtedly prevented some people from travelling to train with us.

THEME ONE-SURIAGE

I had met up with Matsumoto sensei the weekend before down at Kashi No Ki and asked him to make the initial theme of the seminar the use of OJI SURIAGE. He promised to do some research and come up with a set of practices to stretch us and develop our understanding of this difficult but very important waza.

We began by using BOKUTO to make basic cuts from the KIHON KEIKO HO. This has been a hallmark of sensei’s teaching, even asking squad members to bring their bokuto to squad training so that they can refine their understanding of the waza and polish up on distance and timing. Once we had proved an understanding of cutting distance and timing we proceeded to the Suriage waza. Sensei spent some time demonstrating variations and explaining what the text books say. Like with any skill or technique there are different approaches. In the end he gave us his own understanding of what works well when doing suriage waza for him and I have attempted to list the key points below:

· If you want the opponent to strike your men move your point down or out slightly to the right. If you want the opponent to strike your kote apply pressure across to the left or slightly raise up the point. This must be done subtly, at the right distance and at the right moment.
· For suriage waza the sword must describe a segment through the air (not a semi circle as this would involve too wide a movement).
· The hands and shoulders must be relaxed throughout the raise and deflection of the sword. We raise up the sword using our body not just our arms.
· Deflection is made against the mid point of the opponent’s sword with the sweet spot of your own sword. This will give maximum deflection with minimum effort.
· The sword must move forwards towards the opponent as the deflection is made and not be pulled back above ones own head (It is permissible to raise up to Jodan when using a bokuto but there should be no pause in the waza and the body weight should remain slightly forward).
· When striking the arms must extend and the wrists flex to maximise power.
· Ki Ken Tai Ichi is essential for correct Yuko Datotsu.
· If possible the strike must be made moving forwards but it is also permissible to move off to either side as well to evade the opponents attack.
· After striking forwards it is permissible to move to the side or backwards in order to correctly finish off the technique but driving through the opponent is the most desirable way to finish the waza off.

We attempted several variations of the waza:

· Men Suriage Men (Omote and Ura). Sensei considers the left side SURIAGE MEN to be slightly easier than the right side SURIAGE MEN.
· KOTE SURIAGE MEN
· KOTE SURIAGE KOTE
In all of the practices that we did Kakari Te makes a powerful kiai whilst at Toma, the Motodachi responds to this. The kakari te then steps in gradually to cutting range and strikes in one step or allows the centre to open for the motodachi to strike (the subtlety of when and how to open the centre is of course what makes the waza work or not, as is the appreciation of distance). As soon as the opening is sensed the motodachi attacks with a strike to Shomen or Kote. This is not a feint or a half hearted attempt and the Kakari Te can test this by simply accepting the cut on occasions. The motodachi must make the cut and finish it off as well as is possible.
The kakari Te performs the waza and correctly finishes it off coming to Toma ready for the next waza before releasing their breath/energy. Zanshin must be maintained throughout the whole of the practice.

The advanced version of the practice is to have the Motodachi make attacks to either Men or Kote without any pre-arranged sequence. Kakari Te can then attempt to force the motodachi by using subtlety in the opening and the maai to cut where desired.
There is a danger that this practice can degenerate into a free for all and this must be avoided. Keep good distance, build up pressure before attacking, only attack when there is a chance.

We practiced several other waza in the same style including a kote harai/kaeshi men that feels very much like a suriage on the wrong side, Men Kaeshi Do and Kote nuki men.

The penultimate part of the practice was the inevitable Kakari Geiko. Sensei is a very strong advocate of this practice as it encourages a positive style of kendo. On this occasion we had to make as many cuts as possible in one breath and then stop/change over. Those over 50 need only do this once, 40-50 repeat twice, 30-40 repeat three times, under thirties should be able to do many repeats??

UCHIKOMI GEIKO

This was done in the mawari style with a limit of 2 minutes. Such a short practice keeps things fresh and allows for more practice of the initial clash of wills and approach.

THEME TWO-SEME

Sensei led us in a discussion of what we each understood SEME to be. Budden sensei felt it was an intention. My own response to the question was that SEME is about a reaction of the opponent. Someone else felt it was a state of mind. In all there were several different responses but all of them seemed similar if not identical. I was pleased that nobody just thought it means to step in (they have been paying attention). Sensei suggested that all the responses are correct and that SEME is an extremely complex concept to put into words. Basically it is a physical action (a step to cutting range) but this physical aspect is a tiny element of an effective SEME. SEME involves taking up or releasing the centre line. It can be an opening for a cut or an opportunity for the opponent to cut. SEME includes the necessity for courage as one must be prepared to be cut. Sensei said that we must apply SEME to our own mind in order to get rid of our petty fears and jealousies. It is not good to want to hit the opponent all the time never giving them the slightest chance. Nor is it correct to block, jump back or duck away to avoid being hit at all costs. Training sincerely means closing in to cutting range ready to strike or be struck, ready to make an attack or a counter. Sometimes inevitably you will be struck this is not a bad thing, quite the opposite. Sensei said the best way to practice SEME is through the Debana Waza so we practiced Men Debana Men, Men Debana Kote and Men Debana (NUKI) Do Once again we did a little Kakari Geiko and then our final Keiko took the form of SHODACHI GEIKO. Just fence until there is a point scored. This is one of my favourite styles of Keiko as it means there are no second chances, there is no room for a mistake and a missed opportunity means inevitable defeat.

Conclusion

This was a great seminar. I was very pleased to see Matsumoto sensei at DO SHIN KEN YU KAI. As a teacher he has great presence and this makes everyone strive to do better and show their very best. His organisation was excellent as was what was taught. I think that everyone thoroughly enjoyed the training and left inspired to train harder in the coming months.

G.O'Donnell - DO SHIN KEN YU KAI