{"id":283,"date":"2017-02-06T18:14:34","date_gmt":"2017-02-06T09:14:34","guid":{"rendered":"https:\/\/budo-world.taiiku.tsukuba.ac.jp\/?p=283"},"modified":"2017-11-20T10:48:25","modified_gmt":"2017-11-20T01:48:25","slug":"%e5%89%a3%e9%81%93%e6%8a%80%e8%a1%93%e3%81%ae%e6%88%90%e3%82%8a%e7%ab%8b%e3%81%a1","status":"publish","type":"post","link":"https:\/\/budo-world.taiiku.tsukuba.ac.jp\/en\/2017\/02\/06\/%e5%89%a3%e9%81%93%e6%8a%80%e8%a1%93%e3%81%ae%e6%88%90%e3%82%8a%e7%ab%8b%e3%81%a1\/","title":{"rendered":"The Origins of Kend\u014d Technique"},"content":{"rendered":"

\"2_21\"<\/p>\n

Professor Nagao Susumu (Meiji University, School of Global Japanese Studies)<\/h5>\n

The Formative Process of “Fumikomi-ashi<\/em>”<\/strong><\/h3>\n

In the final analysis it is y\u016bk\u014d-datotsu <\/em>(or ippon<\/em>), a valid strike, that forms the core of the movement culture of kend\u014d<\/em>. The current Regulations of Kendo Shiai and Shinpan<\/em> states that a y\u016bk\u014d-datotsu<\/em> (valid strike) is defined as “the accurate striking or thrusting made to appropriate target area with the datotsu-bu<\/em> of the shinai<\/em> on its correct cutting edge, with full and complete kisei<\/em> (spirit and positive voice), the right posture, and zanshin <\/em>(mental and physical alertness; positive follow through of attack and strike).” Also, within the setting of kend\u014d<\/em> instruction, there are many who teach the idea that a strike with “ki-ken-tai-itchi<\/em>” or the unison of ki<\/em>(spirit), ken<\/em> (sword), and tai<\/em> (body)constitutes a valid strike. This concept explains “ki, <\/em>as referent to vitality, ken <\/em>as the movement of the shinai, <\/em>and tai<\/em> as the movements of the body and correct posture. When these elements are completed with appropriate timing in one motion, they meet the requirements of y\u016bk\u014d-datotsu<\/em>” (The Official Guide for Kendo Instruction<\/em>; Japanese-English Dictionary of Kendo<\/em>). <\/p>\n

Saitama University’s \u014cboki Teruo has conducted much research into the philosophy of “ki<\/em>” in kend\u014d<\/em>, and as such, in this article I would like to place more focus on the elements of ken<\/em> (the movements\/management of the shinai<\/em>), and tai<\/em> (posture as it relates to footwork and body movements). <\/p>\n

In the text Y\u014dsh\u014dnen Kend\u014d Shid\u014d Y\u014dryo<\/em> (“Kendo Guidebook for Instructing Children”), precursor to The Official Guide for Kendo Instruction<\/em>, the explanation of ki-ken-tai-itchi<\/em> describes the element of tai <\/em>as “a posture that incorporates the stamping of the foot with a stable lower back.” This action of ‘stamping the foot’ or ‘fumikomu’<\/em> may indeed be considered a movement unique to kend\u014d<\/em>. Certainly, in the kata <\/em>of classical sword schools, partial and momentarily movements of stamping the feet can be seen, however, generally these kata<\/em> consist of sliding footwork such as ayumi-ashi, okuri-ashi, <\/em>and hiraki-ashi.<\/em> Therefore, beginning with an emphasis on this stamping action, I will analyse how this method of footwork developed throughout the history of kend\u014d<\/em>, to become a recognised part of its modus operandi<\/em>.\u00a0\u00a0\u00a0 \u00a0<\/p>\n

With thought to the way in which a beginner is taught how to strike sh\u014dmen-uchi<\/em> to the head, it is common in the early stages for one to be directed to perform okuri-ashi <\/em>whilst practising suburi <\/em>and kihon-uchi. <\/em>It is only after reaching a higher level of proficiency in this exercise, that a beginner is instructed to strike with fumikomi-ashi.<\/em> Nevertheless, different to the okuri-ashi <\/em>step,<\/em> fumikomi-ashi<\/em> is ordinarily accompanied by “yosei”<\/em> (surplus power\/momentum\/ continuing forward after making the strike). Although I can think of some instructorswho teach fumikomi-ashi<\/em> in a way that does not harness yosei<\/em>, the reality is that in shiai<\/em> (matches) attacks that are accompanied by thissubsequent momentum are recognised as having zanshin <\/em>and are considered to be y\u016bk\u014d-datotsu<\/em>. Moreover, it is also seen in promotion examinations for higher grades. This suggests that among the many people who participate in kend\u014d<\/em>, yosei<\/em> is deemed as “inertia that results from fumikomi-ashi<\/em>”, and as such,is accepted as a somewhat inevitable part of kend\u014d<\/em> technique. <\/p>\n

However, acknowledgement of yosei<\/em> as a part of kend\u014d <\/em>technique is comparatively recent. It was around the beginning of the Showa period (1926\u20121989) that discussion took place regarding yosei <\/em>that accompanied fumikomi-ashi<\/em>. Nakayama Hakud\u014d hanshi<\/em> (1872\u20121958) commented that “even if one were to make an attack with a tachi<\/em> (sword) in the method of today’s popularised style of kend\u014d<\/em>, he would simply strike with his hands and his body would not be stable during the ensuing two or three steps. What would happen if one tried this on a boat? Even if one toppled his opponent, he himself would also fall into the water. One must only move the necessary amount and strike from issoku-itt\u014d <\/em>(one step, one strike distance)” (Keio University Magazine, Tsurugi<\/em>, Volume 6, 1934). Thus, according to the opinion of an expert in the techniques of the nihon-t\u014d<\/em> such as Nakayama hanshi<\/em>, there was a clear rejection of the yosei<\/em>.<\/p>\n

Nevertheless, the yosei<\/em> that comes with fumikomi-ashi<\/em> (in, as Nakayama hanshi<\/em> puts it, “the way of popularised kend\u014d<\/em>”) had become common place in shiai<\/em> and keiko<\/em> settings from this time. Among the graduates of the Tokyo Higher Normal School (precursor to the University of Tsukuba) where Takan\u014d Sasabur\u014d hanshi<\/em> taught, yosei<\/em> was encouraged, and there were even those who attempted to apply a theoretical understanding to it. In the book Kend\u014d-gaku<\/em> (1924) authored by Kaneko Kinji, fumikomi-ashi<\/em> was termed “fumikiri<\/em>”and diagrams and pictures were used to describe the idea in detail. Also, in Tominaga Kengo’s work titled Mottomo jissaiteki na gakusei kend\u014d no iki<\/em> (1925), it states that in the process of norikomi-men<\/em>: “one should throw concern for one’s body aside, and from the position of a one sword distance, execute attacks that dominate the opponent\u2026 at the same time as swinging the sword up, one should leap forward a step to enter into a close interval\u2026 and by doing this, utilise yosei<\/em> with the feeling of pushing the opponent over.” This is a text that clearly affirms the idea of fumikomi-ashi <\/em>and the resulting yosei.<\/em><\/p>\n

The matter of fumikomi-ashi <\/em>becoming a fixture of kend\u014d<\/em> technique and the resulting yosei <\/em>inertia becoming an accepted component mentioned in the texts of the Taisho era was due to the fact that this footwork was common practice in the kend\u014d<\/em> of the day, necessitating the application of a theory to such a routine. So, when did techniques centred around attacks with stamping and the subsequent momentum of yosei<\/em> actually began to appear? To answer this question, we must first look at the development of kenjutsu<\/em>’s use of kend\u014d-gu <\/em>(b\u014dgu<\/em>). <\/p>\n

Based on historical documents, it is clear that around the 1660s armour known as “kawagusoku<\/em>” (armour made of hide) and “men’ago<\/em>” was worn during training in some sword schools (Nakamura Tamio, “Kend\u014d-gu to d\u014dj\u014d no hattatsu<\/em>” in Kend\u014d no rekishi<\/em>). During the Sh\u014dtoku years (1711\u201216) in the Kanto region, the Jikishin Kage-ry\u016b made various improvements to the armour, and during the H\u014dreki era (1751\u201264), the Itt\u014d-ry\u016b Nakanishi-ha<\/em> adopted its usage. From here, the number of sword schools to utilise kend\u014d-gu<\/em> (particularly men<\/em> and kote<\/em>) in trainings and shiai<\/em> continued to increase, and by the end of the 1700s, armour was seen nationwide.\u00a0 \u00a0\u00a0\u00a0<\/p>\n

However, in the book Dai-Nippon kend\u014d-shi<\/em> (1934) by Hori Sh\u014dhei regarding kenjutsu <\/em>up to this point, it states that; “one would hold the approximately 1 meter (3-shaku <\/em>3-zun<\/em>) long fukuro-shinai<\/em>, and move in a usual walking manner (similar to today’s kata<\/em>). That is, it was normal to move forward and cut by walking from right to left to right, or from left to right.” <\/p>\n

After this in the Temp\u014d era, \u014cishi Susumu, a kenjustu <\/em>and s\u014djutsu<\/em> (spear) master of the Chikugo Yanagawa domain, wielded a 5-shaku <\/em>3-zun <\/em>(approx. 161cm) long shinai <\/em>as he travelled around various d\u014dj\u014d <\/em>during his two stints in Edo (1833 and 1839). As a result of his influence, usage of longer shinai<\/em> spread rapidly. Furthermore “When the handle of the shinai <\/em>was less than 8-sun<\/em> (approx. 24cm) in length, it was suitable to move in the usual walking manner. However, with the change to the longer shinai<\/em>, the handle was lengthened to about 1-shaku<\/em> 3-zun<\/em> (approx. 39cm). Thus, to move about by walking, the kamae<\/em> (stance) was also likely to become unsettled. As this was difficult to control, the method of movement such as that used in kata<\/em> was replaced with footwork moving the right and left feet in a shuffling or skipping manner. The footwork of today stems from this, and in comparison to the footwork of older times it is more suitable for faster movements on wooden floors \u2013 as it is harder to gain momentum and difficult to move a lot on dirt in this way”. With this, “okuri-ashi<\/em>” in kenjutsu<\/em> became prevalent, and as Hori hanshi <\/em>adds, this brought about the formation of “kenjutsu <\/em>on wooden floors” and the distinctive footwork of shinai-kenjutsu<\/em>. <\/p>\n

Unfortunately, the exact source from which Hori hanshi <\/em>bases the grounds for his account is not clearly specified. However, within the anecdotes of Otani Seiichiry\u014d (of the Jikishin Kage-ry\u016b<\/em>) who is said to have defeated \u014cishi, as well as the Bujutsu zatsuwa,<\/em> it suggested that: “It has become customary in keiko<\/em> of recent years to utilise longer shinai<\/em>, and there are more and more people wielding a shinai <\/em>that are thinner than before, is 3-shaku<\/em> 6-7-zun<\/em> (approx. 109\u2012112cm) from tip to tsuba<\/em>, and including the length of the handle making it 5-shaku<\/em> (approx. 152cm) or over. In keiko<\/em>, opportunities for victory with the longer sword are plenty\u2026 real swords are heavier, and it is exceedingly difficult to wield them as one does a shinai<\/em>.” As this passage suggests, it is clear that the popularization of the longer shinai<\/em> was one of the predominant causes in the development of the unique techniques in shinai kenjutsu <\/em>that differed to those of traditional kenjutsu<\/em> (Enomoto Sh\u014dji, “Bakumatsu kend\u014d ni okeru nij\u016bteki seikaku no keisei katei” <\/em>in Nihon bud\u014d-gaku kenky\u016b<\/em>).<\/p>\n

In the Temp\u014d era (1830\u201244), Mizuno Tadakuni, a member of the sh\u014dgun<\/em>’s council of elders, sought to loosen the ban on tary\u016b-jiai<\/em> (interschool matches) in order to promote the concept of bun-bu<\/em> or balanced study of literary and military arts. From thereon, tary\u016b-jiai<\/em> were openly and formally conducted (\u014cishi’s tary\u016b-jiai <\/em>also provided a setting for this), and various clans started holding formal contests within their residences in Edo. In the fourth year of Kaei (1851), Kurume warrior, <\/em>Mut\u014d Tamekichi, sent a letter to his teacher Kat\u014d Tahachir\u014d about a particular shiai <\/em>held at the T\u014dd\u014d <\/em>domain’s Edo residence. In it he relays that an appraisal of Chiba Sh\u016bsaku’s (Hokushin Itt\u014d-ry\u016b<\/em>) second son, Eijir\u014d.<\/em> “Using j\u014ddan, ch\u016bdan, gedan<\/em> \u4e0a\u9054\u3001\u5c31\u30ec<\/sub>\u4e2d\u3001and seigan<\/em>, in the match he would strike and thrust with fumikomi. His attacks were made with godlike speed \u4e2d\uff08\u3042\u305f\u308a\uff09\u3068\u4e91\u3001\u6c17\u524d\u3068\u7533\u3001\u5b9f\u306b\u4e00\u70b9\u306e\u7533\u5206\u7121\u4e8c<\/sub>\u5fa1\u5ea7\u4e00<\/sub>\u2026” He executed techniques with “fumikomi<\/em>” and with incredible speed. (See Murayama Kinji, “Suzuka kaz\u014d, Kat\u014ddaden-sho ‘kend\u014d hishiki’”<\/em>). Furthermore, spanning the K\u014dka period until the Kaei period (1844\u201254), K\u014dzaka Masataka (Himeji domain), a disciple of Chiba Sh\u016bsaku, made numerous references to “fumikomi” <\/em>and “tobikomi”<\/em> in his text Chiba Sh\u016bsaku-sensei chokuden kenjutsu meijin-h\u014d<\/em>. In the Hokushin Itt\u014dry\u016b<\/em> of the bakumatsu<\/em> (towards the end of the Tokugawa period), it was acknowledged that this ‘godlike speed’ could be achieved with “fumikomi” <\/em>and “tobikomi”<\/em> actions.\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>\n

These ideas were established for various reasons, and to enhance our understanding it is useful to take a closer look at the content of Chiba Sh\u016bsaku-sensei chokuden kenjutsu meijin-h\u014d<\/em>. In chapter 3 of the book, “the pursuit of knowledge in kenjutsu<\/em>”, it states that “when striking at the opponent’s men<\/em> from ai-gedan <\/em>(mutual gedan<\/em>) or ai-seigan<\/em>”, it is suggested that as it is exceedingly difficult to ignore the rise and fall movements of the opponent’s sword, “one should strike as soon as the opponent’s sword-tip lowers.” Furthermore, as the opponent positions himself to thrust or cut, he will make an attack as soon as one makes a large swing. Therefore, it is advised that one should “be ready to attack at the midpoint of the upswing. Of course, it is ideal to attack with fumikomi<\/em> deep into the distance of issoku-itt\u014d <\/em>(one-step, one-sword interval).”\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0<\/p>\n

The reason it is suggested to move deep into the issoku-itt\u014d<\/em> distance with fumikomi <\/em>is because “when frightened of the opponent’s sword one tends to execute attacks in a hesitant manner, and it is likely to be countered with a thrust such as in ‘number 3’ (men-nuki-tsuki<\/em>). So, stepping right in close with fumikomi<\/em> and attacking, will deprive the opponent of an opportunity to thrust. One should test this idea. As the poem articulates, ‘Below the crossed swords is hell; but stepping in with fumikomi<\/em> one is able to see paradise.’ Thus, discarding one’s doubts and attacking from issoku<\/em>–<\/em>itt\u014d<\/em> is imperative.” In other words, “By leaving behind uncertainty, and leaping in with a men <\/em>attack (with half of an upswing) from the issoku itt\u014d<\/em> distance, one can be subdue the opponent’s sword and thrusting techniques.” This is clearly linked to instructional theories of modern kend\u014d.<\/em>\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0<\/p>\n

This line of thinking from the Hokushin Itt\u014d-ry\u016b<\/em> continued on into the modern period. Nait\u014d Takaharu hanshi<\/em> (1862\u20121929), a professor at the “Bud\u014d Senmon Gakk\u014d” (a prestigious pre-war vocational school for martial art teachers), stated “Students just want to strike d\u014d<\/em>. This is not good. D\u014d<\/em> is the easiest target to strike. The most difficult target is the opponent’s men. <\/em>To strike it successfully, one must sacrifice his body.” (“Kend\u014d shugy\u014d ni tsuite no kokoe”, Butoku kaishi<\/em> 9, 1910). In other words, spanning from the bakumatsu <\/em>era until modern times, the value of “not fearing the opponent’s kensen<\/em> or thrusts, and attacking with absolute conviction, and using fumikomi<\/em> to strike men<\/em>” became the ideal. <\/p>\n

Attacking men <\/em>with conviction and fumikomi<\/em> would result in ‘yosei’. <\/em>There was some opposition from the standpoint of actual sword use. Nevertheless, fumikomi-ashi <\/em>became established as a positive formula for kend\u014d<\/em> technique, and efforts to seek agreement concerning thoughts on yosei<\/em> emerged from the Taish\u014d period. Discussions regarding this matter continues to this day with a certain degree of disagreement. \u00a0\u00a0<\/p>\n

Even within the AJKF’s official seminar textbook Kend\u014d k\u014dsh\u016bkai shiry\u014d<\/em>, it states that ultimately the four basic footwork patterns in kend\u014d<\/em> are “ayumi-ashi, okuri-ashi, hiraki-ashi, <\/em>and tsugi-ashi<\/em>”. However, based on the fact usage of fumikomi-ashi<\/em> in modern kend\u014d <\/em>is widespread, instruction of fumikomi<\/em> footwork at beginner level is acknowledged as a product of okuri-ashi<\/em>. Also, for the higher levels of junior ranks, excessively strong fumikomi-ashi<\/em> is cautioned against, and mastery of okuri-ashi<\/em> and\/or hiraki-ashi<\/em> is encouraged to facilitate a variety of \u014dji-waza<\/em>. Underpinning this understanding and the footwork used when striking is the accepted ideal that one should “strike from the issoku-itt\u014d<\/em> interval.”\u00a0
\n \u00a0
\n With these considerations in mind, what is the best way to consider the issue of yosei?<\/em> With regards to fumikomi-ashi <\/em>and yosei, <\/em>the late Komorizono Masao hanshi<\/em> taught that “if one stamps with the right foot when striking, and quickly draws the left foot up behind it, body posture will become completely consolidated, and from there, yosei<\/em> will allow one to move forward with okuri-ashi<\/em>. Moving forward with the okuri-ashi<\/em> footwork is done in a tapering ‘one-step, half-step, quarter-step’ manner” (\u014cya Minoru, Reidan jichi<\/em>). In this teaching, significance is placed on the “body posture becoming completely consolidated” by quickly drawing up the left foot \u2013 and from the resulting okuri-ashi<\/em> steps performed in the controlled sequence, a minimum amount of yosei <\/em>is necessary to face the next challenge from an opponent. <\/p>\n

This method of instruction was imparted to Komorizono-sensei <\/em>by instructors of the Kansai region (according to \u014cya), and I believe that it is something that should be pondered when observing the unnecessary yosei <\/em>movements and unnatural forms of zanshin<\/em> found in some parts of shiai<\/em> today.<\/p>\n


\n\"shinai<\/p>\n

The Importance Placed on the Men<\/em> Technique<\/h3>\n

In kend\u014d<\/em>, the men<\/em> technique (particularly sh\u014dmen-uchi<\/em>) is held in high regard. For instance, of the various types of suburi<\/em> the most commonly conducted strike is that of sh\u014dmen-uchi. <\/em>Furthermore, it is common practice in kirikaeshi <\/em>to include a sh\u014dmen-uchi <\/em>at the beginning, middle, and end of the exercise. It is even common to see a men-uchi <\/em>as the final strike in gokaku-geiko<\/em>. How was it that so much importance came to be placed on the men<\/em> technique?\u00a0 \u00a0<\/p>\n

According to the regulations of modern shiai<\/em>, there is no special ranking placed on any of the four targets of men, kote, d\u014d, <\/em>or tsuki.<\/em> However, as far as the shimpan<\/em> of the early Sh\u014dwa period were concerned, men<\/em> techniques were more highly regarded than the other targets. In 1929, the text Bud\u014d h\u014dkan<\/em>, published in commemoration of the tenran-shiai <\/em>(a competitionheld in the presence of the emperor), makes reference to the “mind-set for kend\u014d <\/em>refereeing” according to the three masters Takano Sasabur\u014d, Nakayama Hakud\u014d, and Saimura Gor\u014d. It declares, “We consider even a light tobikomi-men<\/em> to be adequate”, “when one strikes at d\u014d<\/em>, and the other makes clear contact with his men<\/em> an instant later, this is near enough to ai-uchi <\/em>(simultaneous strikes)”. These words are similar to those mentioned by the Dai-Nippon Butokukai’s (Greater Japan Martial Virtue Society, Yamagata division) 1910 publication, the Kend\u014d y\u014dran<\/em> by Koseki Norimasa. This was probably a common sentiment in all of the Butokukai branches from the end of the Meiji period until the beginning of the Sh\u014dwa period.\u00a0\u00a0 <\/p>\n

However until the middle of the Edo period, it was not typical for any particular value to be placed on attacking men<\/em> (the head). In the text Kenroku<\/em> (volume 11) authored by Ogy\u016b Sorai in the twelfth year of Ky\u014dh\u014d (1727), he states “Schools in which the main intent is to attack the opponent’s head are suitable for peaceful times. However, one should realise that although strikes can be made at the kabuto<\/em> (helmet), too much focus on this type of training may not be useful in actual battle.” Within the switch from the kenjutsu<\/em> of the Warring States period to the unarmoured kenjutsu<\/em> of the peaceful era, more schools focusing more on striking at the head (men<\/em>) began to emerge. However, as this passage indicates, their methods were very different to times when armour was required in combat.<\/p>\n

Following this, the use of trainingarmour in sword schools (particularly men <\/em>and kote<\/em>) continued to disseminate until the late 1700s, and with prohibition of tary\u016b-jiai<\/em> lifted from the Temp\u014d era, exchanges and interactions between different schools increased. It was through this progression that, as men<\/em> techniques were considered more difficult compared to other techniques, consideration to the value of mastering this difficult technique became more widespread. <\/p>\n

In the text “\u6483\u5263\u96e3\u6ce2\u4e4b\u6973” (1858) written by Tenshin Shirai-ry\u016b<\/em> exponent, Tsutsui Rokuhana, it states “one should attack men<\/em> from j\u014ddan<\/em> clearly”, and “striking men<\/em> from j\u014ddan<\/em> is ideal, yet in a difficult situation, one may also attack from seigan<\/em> or gedan.<\/em>” Further, when Shind\u014d Munen-ry\u016b<\/em> student, Ono Junz\u014d, was queried by anopponent why he does not attack tsuki<\/em> or d\u014d<\/em>, he answered “both tsuki <\/em>and d\u014d <\/em>are simple attacks, whereas men <\/em>and kote <\/em>are harder. For this reason, it is important to attempt to master difficult techniques over easier ones.” (“Shind\u014d Munen-ry\u016b kenjutsu menkyo benkai” (1867), contained in Kuki-shi shi<\/em>). This is an extension of Nait\u014d Takaharu hanshi<\/em>’s words “the hardest thing to strike is an opponent’s men<\/em>”.\u00a0<\/p>\n

Kubota Seion of the Tamiya-ry\u016b, and chief of the bakufu<\/em>’s military academy the K\u014dbusho, talked about the importance of striking men<\/em> from the viewpoint of instructing novices. In the Kenh\u014d ryakki<\/em> (1839), Kubota suggests that at the “beginning” stages “one should attack men <\/em>and kote <\/em>many times. Men<\/em> attacks should make up seventy percent, and kote <\/em>thirty percent of training”. Without this emphasis “one’s techniques will become unbalanced.” Furthermore, it is also advised that one strive to execute the techniques obediently maintaining <\/p>\n

In the AJKF’s seminar textbook in the section regarding teaching men<\/em> strikes to beginners, it is also written that “sh\u014dmen uchi<\/em> forms the basis for every technique, and it is essential that a great deal of time is dedicated to its detailed instruction.” Sh\u014dmen-uchi<\/em> came to be viewed as an important part of kend\u014d <\/em>technique due to the idea “because it is difficult, it has value”, and “by executing many dedicated attacks at men <\/em>with correct posture, it is possible to encourage beginner’s to maintain correct form for other techniques.”<\/p>\n

<\/p>\n

The Development and Systemisation of Shinai-kenjutsu<\/em> Technique<\/h3>\n

The latter Edo period saw an intensification of research and systemisation of techniques for shinai<\/em> kenjutsu.<\/em> As I have already mentioned, the use of kend\u014d-gu<\/em> (b\u014dgu<\/em>) in keiko<\/em> can be traced back to the mid-1600s; however these were extremely simplistic kinds of safety equipment, exclusive to various sword schools. In the latter half of the 1700s, warriors began to travel far and wide for the purpose of engaging in tary\u016b-jiai<\/em>. When the ban was lifted on tary\u016b-jiai<\/em> in the Temp\u014d era (1830\u201344), this facilitated rapid progression of kend\u014d-gu<\/em> and the exchange of techniques and information. \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>\n

In the Temp\u014d era, the text Shind\u014d Munen-ry\u016b kenjutsu kokoroe-sho<\/em> by Mut\u014d Shichinosuke, a rural samurai<\/em> from Sukegawa (Hitachi city) and head kenjutsu <\/em>instructor at a Mito domain’s school, gives a detailed description of the characteristic techniques and approaches of the Itt\u014d-ry\u016b (Nakanishi-ha),<\/em> Jikishin Kage-ry\u016b, Ky\u014dshin Meichi-ry\u016b, Ry\u016bg\u014d-ry\u016b, (Higo) Shinkage-ry\u016b, Yoshitsune-ry\u016b, and Asayama Ichiden-ry\u016b, from the perspective of the Shind\u014d Munen-ry\u016b. For instance, one trait of the Itt\u014d-ry\u016b is “to hold the shinai<\/em> in the gedan<\/em> position, thrust upwards to the chest and towards the men<\/em> (tsuki<\/em>),cut left or right kote, <\/em>and at d\u014d.<\/em>” Therefore, he suggests, in response to this “one must launch an attack prior to the opponent, and from kote<\/em>, strike men. <\/em>One’s attack will thereby be faster than theopponent’s tsuki<\/em> (thrust).<\/em>” Another approach was also suggested. “When standing ready for the engagement (tachi-ai<\/em> position), do not think about tsuki.<\/em> Both thrusts and cuts are the same for everyone. If you think of tsuki<\/em>, you will become unbalanced and you will lose.” \u00a0\u00a0<\/p>\n

Furthermore, concerning the traits of the Ky\u014dshin Meichi-ry\u016b he observed that the opponent “will put the left foot out in front and assume j\u014ddan.<\/em> From this position, either men<\/em> or kote <\/em>will be attacked. Attacks from this position of j\u014ddan<\/em> will be quick like lightning.” In response to these fast attacks from hidari-j\u014ddan<\/em>, he suggests that one should “Create a long distance from the opponent, so when he attacks the head target, it will be possible to stop the cut completely and attack the opponent’s lower left side.” Or, “When the opponent attacks the right kote<\/em>, one should block and counter by striking from right kote<\/em> up to the head.”<\/em> These strategies are still applicable in modern kend\u014d<\/em>, and it can be said that the roots of modern day kend\u014d <\/em>actually stem from this era.\u00a0 <\/p>\n

\nIn the Shind\u014d Munen-ry\u016b kenjutsu kokoroe-sho<\/em>, there is mention of the exclusive use of j\u014ddan<\/em> and the quick movements generated from the position of “uki-ashi” <\/em>(standing on the balls of one’s feet) that was characteristic of the Jikishin Kage-ry\u016b. According to the book Kenjutsu meijin-h\u014d<\/em>, it indicates that this is “becoming obsolete as the number of people who take j\u014ddan<\/em> is decreasing, and the gedan<\/em>–seigan<\/em> stance of the Itt\u014d-ry\u016b is growing in popularity.” Therefore, in the K\u014dka and Kaei periods, one can see a decline in the differences between shinai-kenjutsu <\/em>schools, and the beginning of a standardisation process of techniques based on shinai-uchi <\/em>(strikes with the shinai<\/em>). Further, with the ban on tary\u016b-jiai<\/em> liftedin the Temp\u014d era, sh\u016bgy\u014d <\/em>and demonstration shiai<\/em> increased in popularity, and greatly contributed to the exchange and dissemination of knowledge regarding techniques and armour.<\/p>\n


\n\"shinai<\/p>\n

The Significance of Harsh Training<\/h3>\n

A passage in the book Kend\u014d<\/em> (1915) authored by Takano Sasabur\u014d hanshi<\/em> (1862\u20121950), states “a characteristic of kend\u014d <\/em>is its harsh style of training”, and that “this is valuable acquire the many types of movements needed for modification and development of one’s technical ability in kend\u014d.<\/em>” Of course, as in other forms of bud\u014d <\/em>and sport there are exacting methods of training, however there is a peculiar value placed on austere kend\u014d<\/em> training. When one thinks of the “harsh” types of training in kend\u014d <\/em>such as “kirikaeshi”, “uchikomi-geiko” <\/em>and “kakari-geiko”<\/em>. In kangeiko<\/em> (midwinter training), for example, there are still many d\u014dj\u014d<\/em> that emphasise kirikaeshi<\/em> and kakarigeiko<\/em> during the early morning training regime. One still hears of stories pertaining to the pre-war Bud\u014d Senmon Gakk\u014d and Kokushikan, where the training of junior students consisted almost entirely of an unforgiving regime of kirikaeshi<\/em> and kakarigeiko<\/em>.\u00a0\u00a0 <\/p>\n

As I have already covered, the latter part of the modern Edo period saw a division and systemisation of shinai-kenjutsu<\/em> techniques, and at the same time, severe training methods were also instigated. In Chiba Sh\u016bsaku-sensei chokuden kenjutsu meijin-h\u014d, <\/em>a text frequently cited in this article, the author K\u014dsaka Masataka states that “uchikomi<\/em> is not performed much in other schools, and for those who wish to truly improve at kenjutsu<\/em>, not doing it will mean that reaching a skilled level is extremely difficult. Thus, for novices in this school, a duration of one year will be dedicated to uchikomi<\/em> without participating in shiai.<\/em>” Also, “Kangeiko<\/em> will be conducted every morning over 30 days from 3am until dawn, and will consist only of uchikomi, <\/em>regardless of level.” Furthermore, “This uchikomi<\/em> will be directed at continuous striking of the left and right men<\/em> with strict attention given to the finer points, large and straight attacks to men,<\/em> and left and right attacks to d\u014d<\/em>, with the purpose of becoming exceptionally proficient.”<\/p>\n

Furthermore, within the same text there is mention of “uchikomi j\u016btoku”<\/em> whereby ten outcomes of uchikomi<\/em> training are outlaid, all with a focus “prolonging iki-ai<\/em> (breathing)”. K\u014dsaka explains that uchikomi<\/em> is “not performed much in other schools”, however it is believed that the various new fencing (gekiken) schools formed in the bakumatsu<\/em> period devised training methods that aimed at prolonging and strengthening one’s respiratory capacity. In the book Gekiken s\u014ddan<\/em> (1790) it states that in the Shind\u014d Munen-ry\u016b one should “maintain an ensuing focus even after a fight has ended”. \u00a0It was also stated that the Ky\u014dshin Meichi-ry\u016b expected students to “continue focusing to meet attacks firmly.” Even in the Shind\u014d Munen-ry\u016b kenjutsu kokoroe-sho<\/em> (Tenp\u014d era) it refers to the Jikishin Kage-ry\u016b, whereby “the opponent (Jikishin Kage-ry\u016b) will almost certainly launch an assault afterwards, so one is better to attack rather than to contemplate this.” In short, “To maintain a continued alertness” explains that things do not come to an end with an ippon<\/em> cut, but rather, techniques must be executed one after the other in an unforgiving offensive. To do this may be considered difficult, unless one undergoes extensive uchikomi<\/em> type training of “iki-ai<\/em> no keiko <\/em>(breath exercises)”.\u00a0 \u00a0\u00a0<\/p>\n

The importance of strengthening and lengthening one’srespiratorycapacity (iki-ai<\/em>) had been previously asserted by Matsudaira Sadanobu (a member of the Sh\u014dgun’s council of elders who led the Kansei Reforms). From the time of the feudal lord \u014csh\u016b Shirakawa, Sadanobu would tell his retainers that “One should wear armour, and study how to fight with both the spear and the sword.” (Sh\u016bshin-roku<\/em>). Further, he stated that “Just hitting each other relentlessly with spears and swords is not useful. Place the chikut\u014d <\/em>(the training spear) or the shinai<\/em> (used in kenjutsu<\/em>) over the shoulder, walk a distance of 5-7<\/em> ri<\/em> (approx. 20\u201228km), and without resting the legs, practice swinging the yari<\/em> or shinai<\/em>. One should test the movements of the body, legs, and loins as they tire. This is done for the purpose of iki-ai no keiko<\/em>” (Shirakawa k\u014ddenshin-roku<\/em>). He explained that the act of attacking or thrusting at an opponent without hesitation when wearing armour, and the exhaustion accrued through “iki-ai no keiko<\/em>” to ensure the movements of one’s body and mind, is important for use “when one is in a pickle”. \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>\n

As K\u014dsaka put it, there is a side to “uchikomi<\/em>” that is a comprehensive and indispensable form of training for the improvement of technical ability in kend\u014d<\/em>. Additionally, the disbursement of the spirit through the repetition of kirikaeshi, uchikomi-geiko, <\/em>or kakari-geiko<\/em> in kangeiko<\/em> for example, aside from strengthening respiratory function, helps one to recognise the actual movements of mind and body when fatigued. This suggests a way of thinking that encompasses the idea that, as a consequence, such training methods act to improve one’s responses in times of predicament.\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0<\/p>\n

It is within the development of various techniques and training methods in kend\u014d<\/em> that the imagination, methods, and sense of value of our predecessors can be unravelled\u2014and I would be happy if the reader was able to learn from this.\u00a0 \u00a0\u00a0<\/p>\n

\u00a0(This text is a revised version of an article first published as “The Origins of Kendo Technique” 1-6 (October, 2005 \u2013 March, 2006) in Kens\u014d<\/em> (All Japan Kendo Federation)
\n<\/h5>\n

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