CURRICULUM
&
Handbook

VALUES

PREMISES

• Practice predefined steps but perform with flexibility
  
• Maintain focus from the first REI to the last, especially when retreating after each KATA
  
• UCHITACHI is the senior and SHITACHI is the student, so UCHITACHI always leads and SHITACHI responds
  
• Learn not only the steps but also the reasons and logic of the WAZA (RIAI) and variation of speed and strength (EN-KYU-KYO-JAKU: slowfaststrongweak)

GENERAL KEY POINTS

• Always look at each other's eyes and not at the DATOTSU point (exception: UCHITACHI in #7)
  
• Move forward from the front foot and retreat from the back foot
  
• TACHI NO KATA starts after UCHITACHI sees a proper opportunity to strike (KI WO MITE...); KODACHI NO KATA starts as SHITACHI tries to encroach into the MAAI (IRIMI); UCHITACHI and SHITACHI must remember this timing
  
• SHITACHI always shows ZANSHIN after each KATA, and UCHITACHI moves after seeing this
  
• Use SURIASHI quietly; beware especially in #2, #3 and #6
  
• After the DATOTSU bring the hind foot immediately up to the heel of the front foot to a proper gait, release shoulder tension, focus power to lower abdomen, and strike from the hip (whole body, not just arms)
  
• MONOUCHI must reach the DATOTSU point with force until the blade is about 10 cm away (with practice, at a paper's thickness)
  
• Coming into MAAI or retreating, hold breath to stabilize the body; inhale deeply before stepping forward, approach at once, then strike with KIAI (exhale) and power in the lower abdomen; while in MAAI, breath shallow, quietly, and naturally from the diaphragm so as not to let the opponent sense your breathing
  
• KIAI is "Yah!" for UCHITACHI and "Toh!" for SHITACHI, with distinct loud voice with power from the lower abdomen

GOGYO NO KAMAE
CHUDAN NO KAMAE (WATER)

• Both toes forward; width between feet 5-10 cm (or width of foot); left toe at the level of or slightly behind right heel; both knees naturally bent (or left knee straight but not locked)
  
• Left grip at end of the TSUKA (above the TSUKADOME knot with KATANA); lower part of the palm on top of TSUKA; grasp with last two fingers as holding an umbrella against the wind; fist at lower front of the navel with the first thumb joint in front of the navel
  
• Right hand near but not touching the TSUBA; the V formed by the thumb and index finger over the extension of MINE; both hands slightly twist inward as in preparing the CHAKIN in tea ceremony
  
• Both elbows naturally bent as if holding an egg under each arm
  
• KENSEN points to the opponent's face between the eyes or left eye (at the distance of ISSOKU ITTOH NO MAAI)
  
• Formerly various forms of SEIGAN were used with KENSEN to the left eye, between eyes, or forehead and HIRA SEIGAN was used for #5, but texts now use the term CHUDAN
  
• CHUDAN is the most fundamental of all KAMAE with versatility in attack and defence; "water" puts out the "fire" as in #5 and #6

JODAN NO KAMAE (FIRE)

• MOROTE (with both hands) HIDARI JODAN by stepping left foot forward, being alert; bring hands up without changing the TENOUCHI from CHUDAN
  
• Left fist is one fist away above/front of forehead (or above the left toe); sword 45-degrees with body slightly oblique; blade forward but KENSEN slightly to the right
  
• MOROTE MIGI JODAN is similar to HIDARI JODAN except right foot forward and body and KENSEN are straight
  
• "Fire" represents all consuming power; JODAN is primarily attacking KAMAE

GEDAN NO KAMAE (EARTH)

• KENSEN 3-6 cm below the knee
  
• GEDAN is defensive; "earth" is able to cover "water" as in #6

HASSO NO KAMAE (WOOD)

• Start like HIDARI JODAN; TSUBA at the mouth level about one fist away; left fist in front of the chest; body slightly oblique
  
• HASSO means the KAMAE is able to strike eight different points (neck, shoulder, etc.), or eight transformations of Buddha

WAKIGAMAE (GOLD)

• Right foot to the rear, assume HIDARI HANMI (oblique) with KATANA in the back with blade towards lower right; KENSEN slightly lower than GEDAN; KATANA not visible from the front
  
• WAKIGAMAE is yang and HASSO is yin; "gold" wins against "wood" as in #4; "gold" represents hidden preciousness which can be utilized with versatility

SAHO (PROTOCOL) BEFORE AND AFTER TACHIAI

• ZAREI: sit at SHIMOZA (usually in the center), KATANA to the right, three steps apart between UCHITACHI and SHITACHI, blade inward, TSUBA at the knee, KODACHI inside of TACHI
  
• Although not mandatory, the right side facing the KAMIZA is usually the UCHITACHI position
  
• When sitting at SEIZA lower the left knee down first; when standing up from SEIZA raise the right leg up first (SA-ZA U-KI). When kneeling to replace KATANA, the knee further from the KAMIZA is kneeled; when turning around, avoid showing the back towards KAMIZA
  
• KATANA in right TEITO (SAGETO), move to the TACHIAI NO MAAI (9 steps apart); KODACHI is placed 5 steps right-back of the SHITACHI's position with the blade inward and parallel to the performer; if KAMIZA is to the right of SHITACHI, place the KODACHI to the left-back
  
• RITSUREI to the KAMIZA (30-degrees eyes to the floor), then REI to each other (15-degrees looking at each other); place the KATANA in the OBI on the left side, with right thumb over the TSUBA; with BOKUTO (BOKKEN), move the BOKUTO from right TEITO to TAITO, close to the body; place left thumb over the TSUBA
  
• Step three large steps forward in SURIASHI from the right; assume SONKYO as left foot is pulled towards the right; the swords are drawn from the above-left without excessively swinging up overhead; tip (YOKOTE) of the KATANA should be crossing; SONKYO with right foot slightly forward and the body slightly angled
  
• Stand up to CHUDAN, naturally lower the KENSEN to 3-6 cm below the opponent's left knee (level of GEDAN NO KAMAE) with blade pointing left-down outside (looking from above) of the opponent's body width (KAMAE WO TOKU), retreat five steps from the left to the original position, assume CHUDAN then move to the next KATA; this is repeated at the end of TACHI #1 through #7
  
• KODACHI: left hand over the KURIGATA of the SAYA with thumb forward; with BOKUTO, left hand on the left hip with thumb back; when lowering the KODACHI (KAMAE WO TOKU), lower the left hand as well; this is done at the end of first SONKYO, KODACHI #1 and #2
  
• At the end, pull the KATANA from the OBI slightly to the right front with left hand (left thumb over the TSUBA), remove the KATANA from OBI with right hand (right index finger over the TSUBA) while left hand remains on the left hip; with BOKUTO, move BOKUTO from TAITO to right TEITO, close to the body; RITSUREI to each other, then to the KAMIZA; move to the SHIMOZA and perform a ZAREI to each other and retreat

• UCHITACHI in MOROTE HIDARI JODAN and SHITACHI in MOROTE MIGI JODAN, move to MAAI, UCHITACHI from the left foot and SHITACHI from the right
  
• SHITACHI shows SEN (pressure), then, at the right opportunity, UCHITACHI strikes SHOMEN to overcome this pressure; "strike" means to "cut through"; UCHITACHI attempts to strike through the TSUKA all the way down (fast, strong, large arc); KENSEN may drop to below GEDAN at this time
  
• SHITACHI averts this by stepping back and extending the arms in the KENSEN's direction (KENSEN does not spring back down); UCHITACHI leans slightly forward at the end
  
• After SHITACHI strikes back (fast, strong) with GO NO SEN, immediately UCHITACHI steps one step back in OKURIASHI and SHITACHI lowers the KENSEN to the UCHITACHI's center of face (between eyes); then as UCHITACHI retreats another step, SHITACHI follows with HIDARI JODAN deliberately and shows ZANSHIN
  
• As UCHITACHI raises KATANA and straighten up, SHITACHI retreats to CHUDAN
  
• This KATA teaches SEN, power, courage, conviction, faith, justice, truth

#2 NIHONME (TACHI)

• In MAAI (to KOUJIN NO MA, KATANA cross about three inches) with CHUYDAN, both sides endure the pressure until UCHITACHI can no longer withstand the SHITACHI's force
  
• At the right opportunity, UCHITACHI strikes the KOTE (fast, strong) with large technique until KENSEN is slightly below the fist
  
• SHITACHI averts this by stepping left back with KENSEN straight down to approximately GEDAN level, then (naturally drawing an arc under UCHITACHI's KATANA) with large swing and large step from the right strike UCHITACHI's KOTE straight from JODAN; show ZANSHIN (without bodily motion, so must show this in spirit)
  
• UCHITACHI's KENSEN goes under SHITACHI's when returning to CHUDAN
  
• This KATA teaches endurance, patience, thus WAZA is minimal and DATOTSU is not fatal

#3 SANBONME (TACHI)

• Both sides in GEDAN, approach MAAI
  
• In MAAI, come to CHUDAN with SEN (being alert, KIARASOI); MAAI is slightly closer with KENSEN crossing; at the right opportunity, UCHITACHI thrusts towards the solar plexus with SHINOGI (blade slightly to the right)
  
• SHITACHI parries with MINE (with blade slightly to the right) to contain the force, then immediately thrusts back to the chest (blade down); UCHITACHI deflects by stepping right foot back using the right SHINOGI (blade to right down) with arms somewhat extended and KENSEN to the throat (HIDARI SHIZEN TAI)
  
• SHITACHI deliberately pressures further (KURAIZUME, not a thrust) with left foot, so UCHITACHI steps back and uses the left SHINOGI to restrain the KATANA (MIGI SHIZEN TAI), but unable to withstand, lowers the KATANA to the right and retreat 3 steps; SHITACHI quickly follows UCHITACHI raising the KENSEN gradually to center of face (between eyes)
  
• When UCHITACHI raises the KATANA, SHITACHI begins to retreat slowly back to the center
  
• This KATA teaches KIGURAI or KURAIZUME, commanding the opponent without injuring him

#4 YONHONME (TACHI)

• UCHITACHI in HASSO and SHITACHI in WAKIGAMAE, approach in three steps; at the right opportunity, strike at each other's SHOMEN from HIDARI JODAN, stepping in with right foot; this is in large WAZA with both arms fully extended
  
• Return towards CHODAN carefully, slowly, deliberately; UCHITACHI retreats slightly to create distance
  
• At the right opportunity UCHITACHI thrusts (using left SHINOGI with blade to the right) at SHITACHI's right chest; SHITACHI parries by stepping left forward in HIRAKI ASHI and strikes the UCHITACHI in single motion; when parrying, rotate with blade to the back and hands overhead; UCHITACHI leans slightly forward with KENSEN slightly down
  
• SHITACHI shows ZANSHIN until UCHITACHI returns to CHUDAN (no extra ZANSHIN movement, so must show this in spirit)
  
• This KATA teaches the concept of TSUBA ZERIAI (SHINOGI WO KEZURU)

#5 GOHONME (TACHI)

• Against UCHITACHI's HIDARI JODAN, SHITACHI holds a CHUDAN (or SEIGAN) with KENSEN to the left fist
  
• At the right opportunity, UCHITACHI strikes the SHOMEN (fast, strong) to the chin, then the KATANA deflects down to the right naturally; SHITACHI uses the SHINOGI to deflect UCHITACHI (SURIAGE, not HARAI WAZA) with KENSEN moving upwards (not down in the back) while stepping back from left, so KATANA should graze each other but not clash; SHITACHI strikes SHOMEN without pause (fast, strong) by stepping forward from right
  
• SHITACHI shows ZANSHIN by lowering the KENSEN to the center of face, being alert of the UCHITACHI's KATANA, then to HIDARI JODAN by stepping right foot back; when UCHITACHI raises KATANA, SHITACHI returns forward to CHUDAN; then three steps back towards the center

#6 ROPPONME (TACHI)

• Against UCHITACHI's CHUDAN (or SEIGAN), SHITACHI assumes GEDAN; UCHITACHI does not lower the KENSEN
  
• SHITACHI pressures the UCHITACHI's middle (fists) from below so UCHITACHI lowers the KENSEN then retreats to HIDARI JODAN (KATANA do not necessarily touch); SHITACHI immediately points KENSEN to the left fist, steps forward and show SEN; UCHITACHI retreats to CHUDAN
  
• SHITACHI continues to pressure forward (interpretations: with KENSEN still slightly high, or as if ready to strike at HIKIBANA), so UCHITACHI strikes small (OSHIGIRI) KOTE (an interpretation: DEBANA WAZA); SHITACHI uses the SURIAGE with SHINOGI (not HARAI) with KATANA in small arc by stepping to the left in HIRAKIASHI and strikes the KOTE (HIKIGIRI) with right foot forward, with left foot up to proper position (HIKITSUKE)
  
• UCHITACHI's KATANA is deflected to the lower left naturally; SHITACHI pressures forward to HIDARI JODAN and shows ZANSHIN so UCHITACHI lowers the KATANA completely to lower left and steps to the left; SHITACHI returns to CHUDAN when UCHITACHI raises the KATANA

#7 NANAHONME (TACHI)

• Both at CHUDAN (or SEIGAN)
  
• In MAAI, at the right opportunity, UCHITACHI thrusts the chest with blade slightly to the right; SHITACHI supports this by thrusting forward with blade slightly to the left and retreat according to UCHITACHI's stride; then return to CHUDAN
  
• UCHITACHI, at the right opportunity, strike the SHOMEN (fast, strong) in two steps (left then right); when the SHITACHI moves to the side, eye contact is momentarily lost; after the strike, quickly look at the SHITACHI; slightly lean forward
  
• SHITACHI steps to the right front; as the left foot moves forward, strike the right DO; then with the right knee on the floor to the right of left foot, stretch both arms with blade approximately at the extension of right arm, KENSEN slightly lower than horizontal; SHITACHI always keeps eyes on UCHITACHI; after a slight pause, when the eye contact reestablished, show ZANSHIN in WAKI; left foot on toes (not as in SEIZA)
  
• Swing KATANA overhead and come to CHUDAN (UCHITACHI straightens up but does not come to WAKIGAMAE); UCHITACHI steps back and SHITACHI steps up (interpretations: UCHITACHI pulls up SHITACHI, or as SHITACHI rises with vigor UCHITACHI retreats); return to the center carefully
  
• Come to SONKYO, resheath swords, stand up and retreat to the original position, remove swords to right TEITO by slightly pushing the KATANA to the right front and removing the KATANA from the OBI with right hand, then perform RITSUREI; with BOKKEN, exchange the BOKKEN to the right hand in front near the chest; SHITACHI retreats backwards to retrieve KODACHI while UCHITACHI waits in SONKYO

KODACHI NO KAMAE

• #1: against JODAN, pull the left shoulder back (HANMI) and extend the right arm so that the KENSEN is to the center of face (tip of KATANA is now extended to where TACHI's KENSEN would be in CHUDAN); with KATANA left hand is at the KURIGATA with thumb forward; with BOKKEN left hand is at the waist with thumb to the rear and four fingers forward
  
• #2: against GEDAN, pull the left shoulder back (HANMI) and extend the right arm so that the KENSEN is to the chest
  
• #3: GEDAN HANMI NO KAMAE with left shoulder back and KENSEN pointing to below the knee; described as MUGAMAE, SHITACHI shows confidence and command as if KATANA is not needed to respond to circumstances

#1 IPPONME (KODACHI)

• UCHITACHI is in HIDARI JODAN and SHITACHI is CHUDAN HANMI (KENSEN is high)
  
• In MAAI, SHITACHI continues to pressure forward (IRIMI, body entering, encroaching), so UCHITACHI responds by striking SHOMEN (slow, strong) stepping forward with right foot
  
• SHITACHI moves slightly to the right (HIRAKI ASHI) in UKENAGASHI (grazing, counterflowing, blade back with left SHINOGI with TENOUCHI grip relaxed) up overhead to deflect the KATANA (not blocking), and immediately strike the SHOMEN with right foot forward; after a slight pause, step back to JODAN to show ZANSHIN
  
• Come to CHUDAN then move back to the center
  
• This KATA teaches the aggressiveness of SHITACHI against TACHI to quickly lunge in to win

#2 NIHONME (KODACHI)

• UCHITACHI is GEDAN, and SHITACHI is CHUDAN HANMI (KENSEN is to the chest height)
  
• In MAAI, as UCHITACHI comes to CHUDAN in defense, SHITACHI stifles the TACHI and presses forward with blade slightly to the right; UCHITACHI retreats quickly to the right down in WAKI, but SHITACHI continues to pressure forward (blade down, KENSEN to the throat), so immediately UCHITACHI comes to HIDARI JODAN and strikes the SHOMEN (slow, strong) stepping in with right foot without pause
  
• SHITACHI moves slightly to the left (rotate in HIRAKI ASHI) in UKENAGASHI up overhead (with right SHINOGI, blade back) to deflect the KATANA, and strikes the SHOMEN without pause; immediately seize the UCHITACHI's right arm above the elbow from the top with left arm (somewhat extended), hold the KODACHI at the right hip with blade to the down right and KENSEN towards the throat and show ZANSHIN without stepping up
  
• UCHITACHI from the left and SHITACHI from the right, move back to the center
  
• This KATA teaches how SHITACHI first seizes the UCHITACHI then wins

#3 SANBONME (KODACHI)

• UCHITACHI in CHUDAN and SHITACHI in GEDAN HANMI
  
• Approaching MAAI, SHITACHI appears to continue encroaching, so UCHITACHI strikes the SHOMEN on the third step; SHITACHI parries this up in SURIAGE (not blocking or HARAI) using SHINOGI with right arm extended and right fist at the face level (not overhead)
  
• SHITACHI then parries down the TACHI towards the right-back of UCHITACHI (fist stops at chest level); with left foot UCHITACHI immediately strikes the right DO, so SHITACHI parries this with left SHINOGI as if cutting across UCHITACHI's chest (KENSEN slightly up to avoid injury) with HIRAKIASHI to the left
  
• Immediately SHITACHI brings the KODACHI's HABAKI perpendicular up to the UCHITACHI's TSUBA and seize the UCHITACHI's right arm above the elbow from the side with left hand (arm somewhat extended); proceed 2-3 steps then show ZANSHIN by holding the KODACHI at right hip with KENSEN to the throat (an interpretation: SHITACHI opens the stance slightly signifying that this KATA does not kill)
  
• This KATA shows how UCHITACHI is completely exhausted before SHITACHI seizes victory
  
• Back in the center, assume SONKYO, resheath KATANA, stand up and retreat to the original position, remove sword to right TEITO, RITSUREI to each other, then REI to the KAMIZA; SHITACHI retrieves the TACHI, then proceed to the SHIMOZA and do a ZAREI; exit

REFERENCES

• N Shigeoka. Nihon Kendo Kata, 2nd ed. (1987) Ski Journal, Tokyo
  
• N Shigeoka. Nihon Kendo Kata Kaisetsu, 3rd ed. (1972) Toki Printing, Osaka
  
• S Uehara. Michi Shirube (1989) Physical Education and Sports Publishing, Tokyo
  
• J Tokeshi. Kendo: Hawaii Kendo Federation, Aiea Taiheiji Kendo Manual (1995)
  
• Mr. Masashi Chiba, personal communication

BACK TO TABLE OF CONTENT

KENDO SHINPAN SCENARIOS
Rev. February 1999
PREMISES AND ASSUMPTIONS

• Fair: put yourself in competitors' places; judge at the competitors' level; avoid bias of "favorite" WAZA
  
• Accurate: see and hear the WAZA; know the logic (RIAI) of the WAZA
  
• Precise: be familiar with the rules
  
• Prompt: decisiveness; practice
  
• Primary premise: SHINAI is KATANA

BASIC TECHNIQUE

• Holding the flags at the sides
  
• Clear and prompt signalling and announcements: YUKO DATOTSU, YAME, WAKARE, GOGI, cancellation, abstention, HIKIWAKE, HANSOKU
  
• Positioning at isosceles triangle; move with SHUSHIN at the top of the triangle; always have at least one SHINPAN on each side of the competitors; avoid blind spots
  
• Rotation and changing of SHINPAN; standby position for incoming SHINPAN

• New specifications on SHINAI length, weight, diameter, position of NAKAYUI, and size of TSUBA: effective April 1, 1999 in Japan (ref. Kenso, Jan 1, 1999)
  
• SHINAI diameter is the minimum diameter at the tip of SAKIGAWA
  
• NAKAYUI is tied at a distance of 1/4 length of SHINAI (including TSUKA) from the KENSEN
  
• Diameter of TSUBA will be =<9 cm, and it must be affixed to the SHINAI (1 in = 2.54 cm)

 

ITTO

	Sex	Jr High	High Sch	Univ/Adult
Length	M/F	=< 114 cm	=< 117 cm	=< 120 cm
Weight	M	>= 440 g	>= 480 g	>= 510 g
	F	>= 400 g	>= 420 g	>= 440 g
Diameter	M	>= 25 mm	>= 26 mm	>= 26 mm
	F	>= 24 mm	>= 25 mm	>= 25 mm

NITO

	Sex	DAITO	SHOTO
Length	M/F	=< 114 cm	=< 62 cm
Weight	M	>= 440 g	280 - 300 g
	F	>= 400 g	250 - 280 g
Diameter	M	>= 25 mm	>= 24 mm
	F	>= 24 mm	>= 24 mm

 

• Done with full spirit and proper posture and movement, and
  
• Accurate: HASUJI, DATOTSU BU, MONOUCHI

FULL SPIRIT AND PROPER SHISEI MEANS

• Spirit (KISEI): superior SEME, pressuring the opponent, capturing proper opportunities (KIKAI)
  
• Posture (SHISEI): appropriate MAAI, TAI SABAKI, FUMIKOMI
  
• Sufficient ZANSHIN

ACCURATE STRIKE MEANS

• Striking proper DATOTSU BUI
  
• Using the striking region (DATOTSU BU) of SHINAI (MONOUCHI) with proper TE NO UCHI grip
  
• Using the opposite side of TSURU (HASUJI)
  
• Must be especially accurate for onehanded WAZA, WAZA as retreating from an attack, or delayed GO NO WAZA after TSUBAZERIAI

DATOTSU DOES NOT COUNT IF

• Simultaneous (AIUCHI, SOSAI)
  
• KENSEN is on the upper front checking the attacker (KENSEN is alive, not just touching)
  
• Unsightly or unnecessary retreating; a YUKO may be cancelled upon GOGI

SCENARIOS: WHAT THE RULES MEAN
AIUCHI MEN

• If simultaneous, no count (SOSAI)
  
• Observe posture, direction of followthrough, and ZANSHIN
  
• Posture and SHINAI straight? correct or angled HASUJI?
  
• Observe carefully; raising flag too quickly could lead to error

KENSEN ON THE FRONT AND CHEKING THE ATTACKER

• See if MUKAEZUKI is done backing up (insufficient KISEI and SHISEI)
  
• Was the person striking the MEN flexed back by the TSUKI?

HIKI DO vs ATOUCHI MEN

• Make a quick decision, do not wait long for ZANSHIN, or there may be a delayed GO NO WAZA

DEGOTE NOT CLEARLY VISIBLE

• SHINPAN on the opposite side of KOTE (blind spot)
  
• SHINAI angle too high?
  
• SHINAI going forward? SHINAI angle and body position reasonable?
  
• Silent communication from reverse side to front side SHINPAN for verification
  
• Againt the recent popular KAMAE or WAZA (eg, hands up with KENSEN in angle), is HASUJI correct?

MEN KAESHI DO NOT CLEARLY VISIBLE

• SHINPAN position problem?
  
• TAI SABAKI smooth?
  
• Posture straight or flexed?

ILLEGAL TSUBAZERIAI

• Pressing over TSUBA with TSUKA
  
• Deliberately putting SHINAI on opponent's shoulder
  
• SHINAI over opponent's SHINAI in an unreasonable way to prevent from being struck
  
• Use as delaying tactic: HANSOKU

TIMING OF WAKARE

• Call when at KOCHAKU JOTAI, stalemate or both sides unable to move or attempt a WAZA
  
• WAKARE is not the same as MOTSURE, chaos or "mixing up"

JOGAI

• JOGAI is when a foot or other part of the body is completely out side of the court (not stepping on the line) or supporting the body with SHINAI with KENSEN out of the court
  
• Illegal pushout vs JÔGAI: no need to wait for foul; stop for accident prevention
  
• Legal attack, SEME with KENSEN: do not stop simply because one is about to step out or it will be unfair
  
• Stepping out negligently by momentum after an unsuccessful WAZA is HANSOKU; stepping out after an unrealistic HIKIWAZA is HANSOKU; being pushed out after a reasonable contact after a WAZA is HANSOKU
  
• RENZOKU WAZA: if the first WAZA occurred within the court, the final WAZA can count even when opponent is JOGAI; if the last WAZA is no good, then apply HANSOKU

SHINAI OTOSHI

• Means loosing control of SHINAI, so not only when SHINAI is completely dropped to the floor
  
• Can apply if SHINAI is in the air uncontrollably, even if it is recovered before striking the floor
  
• Not necessarily if SHINAI leaves the hand for a split second (HANASHI), even if it bounces off the floor, but control is maintained
  
• Do not stop too quickly, but give the opponent one chance to strike

FALLING

• If unable to get up right away, and the other is unable to strike immediately, then stop
  
• After falling, laying down prone in order to avoid being struck is HANSOKU
  
• Not a fall when one knee is down in ORISHIKI with back foot on toes (as in KENDO KATA #7) and is able to continue

OTHER SCENAIROS

• HIKI DO or Left DO: look at HASUJI, TE NO KAESHI
  
• HIKI MEN: look at HASUJI, and position of left hand (is it in center?)
  
• RENZOKU WAZA: only the last point counts if WATARI WAZA

PENALTIES (BASSOKU)

• Use of illicit drugs, or offensive remark or behavior to SHINPAN or opponent: automatic loss with 2 points to opponent, and cancellation of previously earned points
  
• Use of irregular equipment: automatic loss with 2 points to opponent, but does not apply to matches prior to discovery; once discovered, individual cannot participate in future matches (alternate may enter in team match unless otherwise stated); when both contestants are found to violate the rule, both will lose and previously earned points cancelled
  
• ASHIKAKE or ASHIBARAI, pushing opponent out of court with unreasonable force, stepping out of court, losing control of SHINAI, asking for stoppage without good reason: one HANSOKU each; two HANSOKU awards a point to the opponent; simultaneous HANSOKU is announced red then white (unless white is awarded a point for red's second HANSOKU); if simultaneous HANSOKU results in both losing at the same time, announce red then white, then cancel the HANSOKU (SOSAI); from the second time, simply announce SOSAI
  
• Others: grabbing or holding the opponent, grabbing opponent's SHINAI (any part) or HABU of own's SHINAI, deliberately placing SHINAI on opponent's shoulder, lying prone to avoid opponent's strike after falling, deliberately waste time, improper TSUBAZERIAI or strike: one HANSOKU each; two HANSOKU awards a point to the opponent; simultaneous HANSOKU and SOSAI rules also apply

EFFECT OF SHINPAN ON COMPETITORS AND KENDO IN GENERAL

• For beginners, take at 60% perfect, not always at 100%; acknowledge "almost good" WAZA to encourage so that the beginner will try to improve; for official matches, must standardize (eg, better than 80%)
  
• When discussing the validity of points at GÔGI, consider how the decision will help to improve KENDO; remember the Concept of KENDO (KENDO NO RINEN): "KENDO is a way to discipline the human character through the application of the principle of the KATANA"
  
• SHIAI is a means to improving KENDO, not an end
  
• When in doubt, GOGI

HANTEI

• Superiority of technique by a strike that is close to a YUKO DATOTSU
  
• Superiority of conduct by posture, movement, etc.

REFERENCES

• International Kendo Federation. The Regulation and Subsidiary Rules of Kendo Shiai and Shinpan: The Guidelines for Kendo Shiai and Shinpan. 1996 (July 24)
  
• H Shioiri. Shinpan no joshiki. Kendo Nippon 1997;255:1741
  
• Special editorial: Shinpan no hongi to kokoroe. Kendo Jidai 1992;241:1027
• BACK TO TABLE OF CONTENT

KIHON, UCHIKOMI, KAKARI GEIKO, KIRIKAESHI
Rev. February 1999
PURPOSE

• Fundamentals are essential; undesirable habit is difficult to correct; with good KIHON, KENDO progresses steadily; return to KIHON when in doubt or in slump
  
• KIHON is especially for beginners; traditional schools taught only KIRIKAESHI and UCHIKOMI in the first three years
  
• KIRIKAESHI pre and post KEIKO is for everyone; KIRIKAESHI has all of the fundamentals of KENDO
  
• Proper KAKARI GEIKO and KIRIKAESHI develops strength, stamina, endurance, power of observation, agility, and flexibility in addition to technique

STEPS TO KIHON WAZA

• First focus on large proper FURIKABURI, KIAI, and TE NO UCHI from a stationary position where DATOTSU BUI can be reached without moving
  
• Next, from ISSOKU-ITTO NO MA, step one step in in SURIASHI to strike to add ASHISABAKI and KI-KEN-TAI NO ITCHI practice
  
• From a far distance (TOMA), step into ISSOKU-ITTO in SURIASHI then use sharp FUMIKOMI to strike and follow through with ZANSHIN

MEN UCHI

• The most fundamental of all WAZA
  
• Assume CHUDAN at ISSOKU-ITTO NO MA
  
• FURIKABURI: SHINAI raised straight up until left fist is above front of forehead one fist away and SHINAI is 45-degrees
  
• Undesirable habits: hands in front of face at FURIKABURI; stiff left elbow; SHINAI up angled to the right due to excess strength in the right arm or hand; drop KENSEN in the back
  
• FUMIKOMI: one large step forward from the right, and simultaneously strike MEN with MONOUCHI; at the moment of DATOTSU, slightly squeeze both hands inward in CHAKIN SHIBORI; say "Men!" loudly and sharply; the right arm extended and nearly parallel to the floor; left fist in front of the chest (elbow naturally extended); FURIKABURI and DATOTSU must be continuous without pause (ICHIBYOSHI); pull left foot up to proper position immediately
  
• Undesirable habits: a pause after FURIKABURI; insufficient KIAI; improper gait; hip out; right arm low; left elbow bent; left fist too high; SHINAI swings down in an angle due to excess strength in the right arm or hand; striking too hard or too softly or without snap
  
• Maintaining eye contact, come to ISSOKU-ITTO NO MA

KOTE UCHI

• As in MEN UCHI, a straight large FURIKABURI and FUMIKOMI
  
• Looking at the opponent's eyes, strike the KOTE straight with both arms naturally extended; say "Kote!"; KENSEN directly to the opponent; left foot up to proper gait immediately
  
• Undesirable habits: SHINAI swings down in an angle; eyes to KOTE; left fist too high or to the side; hip bent; KENSEN away from the opponent after DATOTSU

MIGI-DO UCHI

• FURIKABURI and FUMIKOMI as in MEN UCHI
  
• Eyes on the opponent, swing the SHINAI down in 45-degree angle; say "Do!"; after the strike left fist in the center and below the right fist; left foot to proper gait immediately
  
• Undesirable habits: SHINAI strikes from the side; left fist too high (SHINAI tips down) or to the right; hip bent; eyes to DO

TSUKI

• From CHUDAN, step in one large step from the right without bobbing the KENSEN
  
• Thrust the TSUKI straight; extend both arms naturally without raising; say "Tsuki!"; bring left foot up to proper position immediately; thrust hip forward to maintain posture and stability
  
• Undesirable habits: SHINAI is thrust in an angle because of uneven strengths in both arms or hands; hands too high; hip bent

UCHIKOMI HATTOKU (EIGHT BENEFITS)

• Good posture (SHISEI)
  
• Strong physical body, endurance
  
• Strong limbs, more agility
  
• Speedier WAZA
  
• Extend breathing
  
• Observe, see striking distance or opportunity (UCHIMA)
  
• Powerful strikes, sharper grip (TE NO UCHI)
  
• Remove doubt or fear, unite thoughts, spirit and strength (SHIN KI RYOKU NO ITCHI)

UCHIKOMI PROCEDURE

• With MOTODACHI also in CHUDAN at ISSOKU-ITTO or little farther, express KIAI "Yah!" and step slightly forward from right foot (SEME)
  
• Undesirable habits: insufficient KIAI; improper MAAI
  
• If MOTODACHI feels sufficient pressure (KIAI, SEME), move KENSEN slightly away from the center to allow one of the KIHON strikes
  
• If MOTODACHI's KENSEN moves down or to the sides, strike MEN or TSUKI; if MOTODACHI's KENSEN moves up, strike KOTE; if MOTODACHI's SHINAI is thrust forward, strike DO
  
• FUMIKOMI: one large forward step sharply to the floor, and left foot immediately follows in OKURIASHI
  
• MOTODACHI use HIRAKIASHI after the strike; with TSUKI, retreat slightly in OKURIASHI
  
• Undesirable habits: inadequate FUMIKOMI gait; right foot raised too high; left foot does not follow quickly or kicks up; pause between FURIKABURI and DATOTSU; improper OKURIASHI; hip bent and body unstable
  
• DATOTSU: same as in KIHON; equal strength in both hands; release strengths from hands immediately after strike; relax shoulders (especially at FURIKABURI) and contain power in the lower abdomen (SEIKA TANDEN)
  
• Follow through with OKURIASHI until distance is again at ISSOKU-ITTO, then come to CHUDAN and show ZANSHIN
  
• Undesirable habits: excess upper body strength after DATOTSU; follow through diagonally; break KAMAE after each strike; insufficient or excessive follow through without ZANSHIN

UCHIKOMI vs KAKARI GEIKO

• In KAKARI GEIKO, MOTODACHI maintains CHUDAN, and the student must break this before DATOTSU
  
• There should be no pause between WAZA; continue KEIKO with strength, speed and power until nearly exhausted; use OKURIASHI
  
• MOTODACHI: also strike if insufficient KIAI or concentration; use OUJI WAZA against improper DATOTSU, but otherwise allow the strike; use OKURIASHI, HIRAKIASHI and AYUMIASHI
  
• Student strikes appropriate points according to MOTODACHI's openning, instead of just rhythmically continuing the strikes
  
• This is extremely exhausting since student must maintain strong KIAI, strike properly and quickly, and continue without pause; practice for 10-15 seconds at a time, but repeat several times

KAKARI GEIKO PROCEDURE

• With strong KIAI "Yah!" break MOTODACHI's CHUDAN and step forward to striking distance, show SEME, observe MOTODACHI's response, and immediately strike appropriate point
  
• Follow through quickly, and commence next WAZA as soon as MAAI is reestablished
  
• Use SHIKAKE WAZA only, no OUJI WAZA
  
• Continue without pause until told to stop
  
• KAKARIGEIKO may be practiced by the pair simultaneously (SOUGO NO KAKARIGEIKO)

KIRIKAESHI KEY POINTS

• Posture: keep stable at all times
  
• Eyes: judge distance and timing
  
• Shoulders: keep flexible, and not use only arms or hands; FURIKABURI always straight and all the way up
  
• Arms and palms: extend elbows properly when striking and develop TE NO UCHI grip
  
• Abdomen and hip: maintain power in lower abdomen and drive hip in to maintain stable lower body and proper posture
  
• Footwork: develop agility advancing and retreating with proper gait
  
• Mind: concentrate, focus, without irrelevant thoughts, ISSHINFURAN, MUNENMUSO, ZANMAI; follow MOTODACHI's movements and aim at the proper DATOTSU BUI
  
• Practice KIRIKAESHI before and after a strenuous KEIKO to condition the body

MOTODACHI

• Always remain alert and coach proper KIRIKAESHI
  
• SHINAI position to receive SAYU MEN: raise KENSEN straight up to bring the SHINAI to the left side (left fist slightly to the left of center); repeat on the right side (left fist slightly to the right of center); MONOUCHI is near the left or right MEN
  
• Retreat quickly and advance gradually so that the student is not stifled; use AYUMIASHI
  
• Opportunity to practice while receiving KIRIKAESHI: TE NO UCHI, ASHI SABAKI, MAAI (UCHIMA, MIKIRI), OUJI WAZA (SURIAGE, KIRIOTOSHI, KEN-TAI ITCHI)

KIRIKAESHI PROCEDURE

• From ISSOKU-ITTO with KIAI, strike SHOMEN, then TAI ATARI with body steady
  
• FURIKABURI completely up as in KIHON and begin continuous HIDARI and MIGI MEN; first and last are HIDARI MEN; move forward in OKURI ASHI about four steps and retreat about five steps (may be increased); avoid aiming at the SHINAI or moving too fast or slow; follow MOTODACHI's movements
  
• Return to ISSOKU-ITTO and CHUDAN, then repeat KIRIKAESHI (may be repeated several times)
  
• Follow through with the final SHÔMEN

PRACTICE PHASES

• KIAI: loud and sharp voice, KI-KEN-TAI ITCHI, slowly at first; MOTODACHI: encourage good KIAI, remind ZANSHIN
  
• Proper posture (SHISEI): straight back, head up, KI in lower abdomen, hip forward and stable, avoid bouncing (knees springing) excessively; MOTODACHI: proper posture, head up, SHINAI position for receiving, TE NO UCHI, KEN-TAI ITCHI, UKE must lead to UCHI, SURIAGE, KIRIOTOSHI
  
• ASHI SABAKI, TAI SABAKI: use OKURIASHI, left foot pulled in quickly, adjust to MOTODACHI's stride; MOTODACHI: AYUMI ASHI, HIRAKI ASHI, observe MAAI, UCHIMA, MIKIRI
  
• Large WAZA: FURIKABURI to above head (left fist over forehead, SHINAI at 45-degrees), use shoulders not just hands or arms, TE NO UCHI, HASUJI, arms extended (right arm parallel to ground, left fist in front of chest), close armpits (as if holding eggs underarm); MOTODACHI: judge skills, adjust speed and distance according to level
  
• Gradually increase speed, power and frequency; beginners should practice as often as possible; try to perform each round of KIRIKAESHI in one breath with full strength and speed
  
• Variations: ordinarily KIRIKAESHI is done with four SAYUU MEN forward and five back starting from the HIDARI MEN, but variations include twice on each side (leftleft, rightright, leftleft, rightright, left), unspecified sides, continuous from one side of the DOJO to the other, and two or more consecutive rounds without SHOMEN UCHI in between

REFERENCES

• H Takano. Kendo Dokuhon. (1973) Yomiuri Shinbunsha, Tokyo
  
• S Uehara. Michi Shirube. (1989) Physical Education and Sports Publishing, Tokyo
  
• N Sato. Kendo: Seme no Joseki. (1987) Ski Journal, Tokyo
  
• All Japan Kendo Federation. N Sato, ed. Kendo Fundamentals, vols 1 and 2. (1994, 1995) Tokyo

BACK TO TABLE OF CONTENT

BASIC SEME TECHNIQUES
Rev. January 2000
SEMEAI

• Adage "Win then strike; do not strike to win" emphasizes the importance of gaining superiority over the opponent before DATOTSU
  
• SEME is a way to overcome opponent's strong KIAI and KENSEN; breaking the opponent's KIAI and KAMAE creates opportunity to strike
  
• As soon as SEME defeats the opponent's KENSEN, you must strike without hesitation
  
• Basic practice is done with SHINAI or BOKUTO; applications is practiced later with KENDO-GU

WHEN DATOTSU IS OFTEN EFFECTIVE

• MEN: when opponent's KENSEN is low or far to the sides
  
• KOTE: when opponent's KENSEN is high or to the left
  
• DO: when opponent's hands are raised slightly or are forward of CHUDAN
  
• TSUKI: when opponent's KENSEN is low or to the right

DEFLECTING THE KENSEN

• Touch (FURERU): lightly touch KENSEN to feel how the opponent responds, determine his/her TE NO UCHI; raise doubt or concern in opponent's mind
  
• Cover (OSAERU): lightly cover SHINAI with your SHINOGI, especially as opponent is about to move or strike; strike as soon as opportunity arises
  
• Quick small slap (HAJIKU): misdirect KENSEN, especially as opponent is about to strike
  
• Slap down (UCHIOTOSU): maintain your KENSEN in the center to capture the opportunity to strike
  
• Forceful slap (HARAU): deflect the KENSEN diagonally up; beware of opponent's SHINAI returning with momentum
  
• Twirl (MAKU): especially against someone holding the SHINAI tightly

APPLICATIONS

• SEME to TSUKI, then strike MEN or KOTE depending on response
  
• SEME to MEN, then strike KOTE or DO
  
• SEME to KOTE, then strike MEN
  
• Opponent retreats: use OIKOMI MEN, RENZOKU WAZA
  
• Opponent advances or strikes back: use DEBANA WAZA, HARAI WAZA

REFERENCES

• N Sato. Kendo: Seme no Joseki. (1987) Ski Journal, Tokyo

BACK TO TABLE OF CONTENT

SHIKAKE WAZA AND OUJI WAZA
Rev. January 2000
PREMISES

• These are applications of KIHON WAZA
  
• Important: SHISEI, ASHISABAKI, TAISABAKI, FUMIKOMI, KI-KEN-TAI ITCHI
  
• Show SEME (pressure) with KENSEN, then use appropriate WAZA according to opponent's response (body, KENSEN, spirit)
  
• SHIKAKE WAZA is where you break the opponent's KAMAE and KIAI and initiate the DATOTSU
  
• OUJI WAZA is where you cause the opponent to advance or strike and take advantage of the movement

SHIKAKE WAZA
HARAI WAZA

• HARAI MEN (OMOTE): quick slapping motion (warding off) of KATANA to the side as opponent is about to advance; step slightly forward (capture the MAAI); opponent's KENSEN is away from the center, but maintain your own KENSEN in center; upward for KOTE, DO, TSUKI, downward for MEN, TSUKI; strike with good FUMIKOMI; term HARI means sharp slapping of KATANA to the side
  
• HARAI TSUKI (OMOTE)
  
• HARAI MEN, KOTE, DO, and TSUKI (URA)

RENZOKU WAZA

• KOTE MEN: a popular sequence; each WAZA must be committed fully, but because first one is ineffective next WAZA is rendered; strike KOTE as in KIHON, then as opponent retreats follow up with MEN; left foot comes to proper gait immediately after each WAZA; WATARI WAZA refers to combination WAZA where the intended target is the last point; with RENZOKU WAZA (especially WATARI type) if the final WAZA is ineffective, the first WAZA will not count even if it was good
  
• KOTE DO: maintain good SHISEI; note the HASUJI
  
• MEN MEN
  
• MEN DO
  
• KOTE MEN Do

DEBANA WAZA

• DEBANA MEN: capture the moment where the opponent is about to move due to SEME; use the body (KOSHI, hip) instead of just arms
  
• To practice, a pair will step forward and back in SURIASHI, and as MOTODACHI steps forward (or back) capture the DEBANA (or HIKIBANA) MEN
  
• DEBANA KOTE

HIKI WAZA

• HIKI MEN: HIKI WAZA is done from TSUBAZERIAI, usually after another WAZA (also practice TAIATARI); from proper TSUBAZERIAI, push the opponents hands, then quickly strike the MEN as retreating from the left foot
  
• HIKI KOTE: push hands to the right, or press hands to the left and let opponent push back up
  
• HIKI DO: press hands to the right, slightly up, or slightly down and let opponent push back up

OUJI WAZA
SURIAGE WAZA

• MEN SURIAGE MEN: step straight back (as in KENDO KATA #5), OMOTE HIRAKI ASHI, or URA (straight forward); use smooth parrying (upwardsliding, grazing) motion with SHINOGI, not slapping (HARAI); no pause after SURIAGE (ICHIBYOSHI, one count, one tempo)
  
• KOTE SURIAGE MEN: step forward to strike (URA)
  
• KOTE SURIAGE KOTE: step to left rear (similar to KENDO KATA #6)
  
• TSUKI SURIAGE MEN: OMOTE or URA SURIAGE; OKURIASHI slightly to the right forward
  
• MEN SURIAGE KOTE: step left rear (URA)
  
• MEN SURIAGE right DO: step right forward; SHINAI is URA (contrast with KAESHI DO)
  
• MEN SURIAGE left DO: step forward; SHINAI is OMOTE (contrast with KAESHI)

KAESHI WAZA

• MEN KAESHI MEN: URA or OMOTE; use HIRAKIASHI to the opposite side; no pause between blocking and striking; KAESHI means reflexdeflection
  
• MEN KAESHI DO: left or right DO, step slightly forward
  
• KOTE KAESHI MEN: step back (OMOTE)
  
• KOTE KAESHI KOTE: step left rear (OMOTE)

UCHIOTOSHI WAZA

• MEN UCHIOTOSHI MEN: UCHIOTOSHI literally means to strike downward; as opponent's SHINAI is about to strike your MEN, use HIRAKIASHI to right and slap SHINAI down with your SHINAI, then strike MEN
  
• DO UCHIOTOSHI MEN: step slightly forward with left, right hip twisted slightly to the right; UCHIOTOSHI is done lightly ro the right down
  
• KOTE UCHIOTOSHI MEN: step slightly right forward with SHINAI to the URA
  
• TSUKI UCHIOTOSHI MEN: step forward

NUKI WAZA

• MEN NUKI MEN: step back (as in KENDO KATA #1) in OKURIASHI or to the right in HIRAKIASHI; NUKI is an evasion technique
  
• MEN NUKI DO: right DO in OKURIASHI (or AYUMIASHI as in KENDO KATA #7), left DO step to the left from left foot in AYUMIASHI
  
• KOTE NUKI MEN: step back or leftback OKURIASHI (as in KENDO KATA #2)
  
• KOTE NUKI KOTE: step left back
  
• MEN NUKI KOTE: step to the left in OKURIASHI

REFERENCES

• N Sato. Kendo: Seme no Joseki. (1987) Ski Journal, Tokyo
  
• All Japan Kendo Federation. N Sato, ed. Kendo Fundamentals, vol 2. (1995) Tokyo
• BACK TO TABLE OF CONTENT

KENDO-GI, HAKAMA AND KENDO-GU: PROPER DONNING AND CARE
Rev. January 2000
PREMISES

• KENDO equipment represent the armor and weapons of SAMURAI; SAMURAI took great care of them because their lives depended on them and they were also status symbols; modern KENDO equipment makers take pride in making good equipment which are functional and aesthetic
  
• CHAKUSO is an important criteria in consideration of DAN promotion
  
• With proper care, KENDO equipment remain useable for decades

KENDO-GI AND HAKAMA

• KENDO-GI is worn left sleeve first and taken off right sleeve first; this is to ensure that right hand remains free as much as possible
  
• Wear HAKAMA left leg first, and take right out first; front hem lower than back with front touching top of feet and back at ankle level; HIMO tying styles
  
• Final check: correct baggy or wrinkled back; straighten collars; straighten HAKAMA HIDA

CARE OF KENDO-GI AND HAKAMA

• KENDO-GI folding: lay flat on the back; fold sides at the seam; overlap front collar; fold right third in, then fold excess sleeve back out; fold left third in, then fold excess sleeve back out; fold the lower third up, then the next third
  
• HAKAMA folding: hold up from the back, push the partition inside to the right and lay flat on the floor with back side up; fold HIDA so that they overlap; turn HAKAMA over; straighten the sides at the seams, then fold the front HIDA; fold the sides in to the width of DOGU BUKURO; fold the lower third up, then the next third; flip over, then tie the HIMO
  
• "Five": five front HAKAMA HIDA and five nodes of bamboo SHINAI remind us of GOJO, moral teachings from Confucianism: JIN (good, humanity, compassion, benevolence), GI (duty, obligation, justice), REI (respect, courtesy, etiquette), CHI (knowledge, wisdom), SHIN (trust, faithfulness); this number may also represent GOKOKU HOUJOU, five sacred crops and grains of ancient people: KOME (rice), MUGI (wheat), AWA (foxtail millet), KIBI (millet), MAME (legume)
  
• "Two": two back HAKAMA HIDA represent the two mythological deities of BUDO (TAKEMIKAZUCHI NO ONO KAMI or KASHIMA JINGUU and FUTSUNUSHI NO KAMI or KATORI JINGUU) who brought peace to ancient Japan, and the KOSHIITA represents the Creator of Japan AMATERASU OUMIKAMI who unites them
  
• Hang dry KENDO-GI after KEIKO; wash KENDO-GI or HAKAMA in cold water (initially with vinegar to retard fading) and drip dry; soak folded HAKAMA in a tub so that HIDA will not become undone

• Assembly of parts: SAKIGAWA, NAKAYUI, TSURU, TSUKA
  
• Periodic care: remove splinters by shaving; oiling with vegitable oil; rotating; recycling parts

WEARING AND CARE OF KENDO-GU

• Wear TARE in SEIZA; TARE WAKIHIMO stabilizes the KOSHIITA; tuck in excess HIMO under KODARE
  
• DO: tie the HIMO so as not to damage the CHIKAWA; bottom of DO should not be above top of TARE OBI; remember to tie the short HIMO; the DO makers spend much effort in creating the artful SHOKKO, so special care should be given
  
• Wear left KOTE first, or take right off first; keep the TE NO UCHI unwrinkled; no direct sunlight when drying
  
• TENUGUI: before wearing it, hold in front as if hanging a frame so you can read the words
  
• MEN: length of HIMO after tying should be 40 cm; placement of MEN on the KOTE; placement of TENUGUI on the MEN; inside can be exposed to sunlight for sanitation
  
• Avoid damaging or wrinkling when putting the KENDO-GU away

REFERENCES

• T Baba. Kendo Reiho to Saho. (1990) Physical Education and Sports Publishing, Tokyo
  
• All Japan Kendo Federation. N Sato, ed. Kendo Fundamentals, vol 2. (1994) Tokyo
  
• Special editorial. Bogu Hyakka. Kendo Nippon 1981;6(3):2047
• BACK TO TABLE OF CONTENT

SWORD HANDLING: REIHO, SAHO, TOUHO
Rev. January 2000
KATANA

• KATANA is a weapon without which a SAMURAI cannot exist, so it is carefully maintained and highly respected
  
• Through study of KENDO and handling KATANA, one learns to respect life; thus, there are etiquettes for handling KATANA

REIHO

• ZAREI: SEIZA, left knee down first, stand with right foot first (SAZA UKI); in formal occasions the knee further from KAMIZA down first and up last (another ref: knee towards KAMIZA down first and up last); KATANA on the right with HA inward; TSUBA at right knee; for KORYU, TSUKAGASHIRA at right knee; hands on the thigh without flairing elbows out; REI with hands down together with fingers straight and form a triangle but finger tips apart (left down first and up last for KORYU and IAI); lower rank (SHITACHI) REI first and rise later; eyes to each other
  
• REI to KAMIZA: KATANA is TEITO (SAGETO) on the right; REI at 30š; eyes naturally to the floor; REI to the Emperor (TENNOU) or to SHINZA (shrine) in IAI is with KATANA reversed, KISSAKI front down and HA is down
  
• REI to each other: 15-degrees; eyes to each other

MAIN PARTS OF KATANA
KOSHIRAE

• SAYA: KOJIRI, KURIGATA, SAGEO, KOIGUCHI
  
• TSUBA: HABAKI, SEPPA
  
• TSUKA: TSUKAGASHIRA, KASHIRAGANE, FUCHIGANE, MENUKI, MEKUGI, TSUKAMAKI, MAKIDOME

TOUSHIN

• KISSAKI: BOSHI, KOSHINOGI, YOKOTE
  
• HA: YAKIBA or YAIBA, HAMON, HASAKI, HAMACHI
  
• MINE or MUNE: MUNEMACHI, SORI
  
• SHINOGI: HI
  
• NAKAGO: MEKUGIANA, MEI

• TAITO: left thumb in the OBI near front center, place the KOJIRI in the OBI with right thumb on the TSUKA; insert the KATANA through the OBI (in IAI, over the HAKAMA's front HIMO to keep KATANA near horizontal) while keeping the left hand over the left hip until TSUBA is near the center front; place left thumb on the TSUBA; remove right hand
  
• BATTO: KOIGUCHI opened with left thumb; right hand on the TSUKA but not touching the TSUBA, draw the sword forward with HA up or slightly to the left; left hand holding the KOIGUCHI is pulled back in SAYABIKI; KAMAE with left little finger in front of MAKIDOME
  
• NOUTO: hold the SAYA with left middle finger around the lip of KOIGUCHI and twist clockwise (HA is outside); place the MINE near TSUBA at the crease between the left thumb and index finger; move the right hand to the right front in straight line and pull the left hand slightly back until KISSAKI is in the KOIGUCHI; resheath the KATANA into SAYA with left hand moving slightly forward to meet the KATANA; HA is up, and TSUBA is front center; place left thumb over the TSUBA; remove right hand
  
• DATTO: left thumb on the TSUBA, push the KATANA one fist forward; switch hands and place the right index finger on the TSUBA; pull the KATANA out of OBI with right hand while left hand is over the left hip; assume right TEITO
  
• Review placement of KATANA in KENDO KATA (Chapter 1)

ZEN-NIHON KENDO RENMEI (ZNKR) "SEITEI" IAI

• IAI emphasizes TOUHO, REIHO and SAHO which are important in KENDO; also common to KENDO include METSUKE, breathing, KIAI (usually silent), and ZANSHIN; it is said that KENDO and IAI are one and the same (KENKYO ICHINYO)
  
• Although there are many KORYU, the standard ZNKR IAI (10 forms) was created for KENDO students
  
• Hawai'i Kendo Federation IAI Group meets regularly; everyone is welcomed to join

IPPONME "MAE"

• REI to SHINZA (shrine) and TOUREI
  
• TAITO: tie SAGEO
  
• METSUKE (ENZAN NO METSUKE) and KOKYU
  
• NUKITSUKE: to the opponent's right temple with SAYABIKI
  
• KIRIOROSHI: FURIKABURI; HIKIGIRI; TE NO UCHI
  
• CHIBURI: ZANSHIN
  
• NOUTO
  
• DATTO, TOUREI, and REI to SHINZA

REFERENCES

• All Japan Kendo Federation. Shinpan: Zen Nihon Kendo Renmei Iai. (1990) Ski Journal, Tokyo
  
• N Shigeoka, ed. Nihon Kendo Kata. (1987) Ski Journal, Tokyo
  
• T Baba. Kendo Reiho to Saho. (1990) Physical Education and Sports Publishing, Tokyo
  
• J Tokeshi. Kendo: Hawaii Kendo Federation, Aiea Taiheiji Kendo Manual (1995)

BACK TO TABLE OF CONTENT

INSTRUCTING THE BEGINNERS
Rev. January 2000
GENERAL BENEFITS OF KENDO TRAINING

• Physical conditioning, maturity of mind
  
• Etiquette, courtesy, morality, ethos, respect, empathy
  
• Concentration, focus, attentiveness, eagerness to learn
  
• Agility, dexterity, coordination
  
• Endurance, strength, perseverence
  
• Care of equipment, tools
  
• Promptness, reliability, accountability
  
• Orderliness, neatness

BASIC UNDERSTANDINGS

• Make it a habit to SEIZA quietly at the beginning and the end
  
• Always value the basics
  
• Practice repeatedly and many times; practice with someone formidable
  
• Practice with proper attitude
  
• Practice with courtesy and respect
  
• Unobsessed with winning, practice with desire to study the principles
  
• Have devotion to KENDO and practice with initiative
  
• Practice with determination
  
• Value graceful, elegant, dignified KENDO
  
• Be prepared physically and mentally then practice with eagerness
  
• Know your capabilities and practice accordingly
  
• Learn by experiencing
  
• Always consider ways to improve
  
• Be mindful of everyday life
  
• Be conscious of safety
  
• Be conscious of health and hygiene
  
• Do not overextend unreasonably
  
• For youths, consider how school work and KENDO can be balanced
  
• Grasp the value of watching; humbly learn merits of others by observing
  
• Always do warming up and cooling down exercises

ABOUT DOJO

• The term DOJO comes from Buddhism meaning "place to study," which originally referred to the platform Buddha meditated on
  
• Commit yourself to sincere training when entering DOJO; appreciate having a place to practice and people to practice with; maintain cleanliness; take care of your own belongings neatly (eg, shoes, clothes)
  
• Know the location of KAMIZA, the upper seat; this may be a shrine (SHINDEN), national flag or other symbol; the term KAMIZA can be written in different Japanese characters which mean "upper seat" or "towards the altar"; beginners line up towards the lower end (SHIMOZA)

PRELIMINARY STEPS AND PREMISES

• Put on the KENDO-GI and HAKAMA properly (CHAKUSO); in the beginning training clothes is sufficient
  
• SHINAI represents a sword (KATANA, KEN); treat with respect; do not step over it; when picking it up from the floor or placing it on the floor, drop one knee (the one away from the KAMIZA) to the floor (ORISHIKI) and carefully handle it
  
• Check equipment for damage, especially the SHINAI; splintered SHINAI is dangerous especially to opponent; if damaged ask SENSEI to repair; eventually, learn to repair equipment
  
• Perform adequate stretching and warm up exercises
  
• Check physical condition and health; hygiene; learn how to wash KENDO-GI and HAKAMA
  
• Learn the names of SHINAI parts: TSUKA, TSUBA, TSURU, NAKAYUI, KENSEN (SAKIGAWA)
  
• KENDO is a Japanese culture (BUNKA); KENJUTSU, the medieval warfare technique, became KENDO as moral, ethical and philosophical aspects of SAMURAI training became part of the art; BUTOKU (virtue of the way of SAMURAI) are considered to be beneficial even today; it has been said that KENDO is spread internationally and people are actively living the spirit of KENDO, so it is a civilization (BUNMEI)
  
• At first, sportslike physical aspect of KENDO may be encouraged; as one progresses to higher rank, cultural, philosophical and other cognitive and affective aspects become important
  
• It is equally valuable to observe others practice (MITORI GEIKO); pay attention to others; show consideration when others are practicing
  
• Especially for the very young, exercises without SHINAI may help develop agility, strength, coordination: dashing, jogging, jumping, walking in squat position, etc.

ABOUT REI

• REI is a way to pay respect and show acknowledgement
  
• Upon entry to the DOJO, enter then REI to the KAMIZA; this is a way to pay respect to the DOJO and to commit yourself to a sincere practice; keep the back straight and bow from the hip to about 30-degrees with eyes naturally to the floor; some DOJO have religious symbols (SHINDEN) which represent deities of BUDO; when exiting, REI to the KAMIZA, then exit
  
• Commands may be: KAMIZA NI REI (to the upper seat), KAMIZA NI REI (to the altar), SHOMEN NI REI (to the front), JOZA NI REI (to the upper seat), SHINZEN (SHINZA) NI REI (to the altar), SENSEI NI REI (to the teachers), OTAGAI NI REI (to each other)
  
• Acknowledge SENSEI (teacher), SENPAI (senior) and each other with REI; this is to show respect and appreciation; to someone senior, bow first and rise last; to each other, bow together simultaneously
  
• At the start of a class, sit at SEIZA, REI to KAMIZA, then REI to SENSEI; at the end, REI to SENSEI, then REI to KAMIZA

ABOUT SEIZA

• SEIZA is a formal sitting postion; sit in this position when ever possible; sit in informal ANZA (AGURA) if permitted; written in another Japanese character SEIZA means to sit quietly (as in MOKUSO)
  
• Overlap big toes only, not the feet; hands on the lap without flairing elbows out; back and neck straight; eyes forward; sit gently so that a paper between the heel and buttock can be readily pulled out
  
• When turning direction (eg, to REI to KAMIZA), move knees in small increments without putting hands on the floor
  
• MOKUSO: literally means contemplate in silence; a way to calm mind, focus and regulate breathing; gently close eyes or close halfway (HANGAN) by focusing on the floor about 3 feet in front; breath gently and deeply from the abdomen (KOKYUHO) and focus your KI in the lower abdomen; place hands in front with left hand over the right and tips of thumbs touching (HOKKAI JYOIN); teachers may say think of nothing, focus, think of something big like the universe, etc.; alternatively, a command "SEIZA" (sit quietly) may be used since the goal is to focus and remove irrelevant thoughts (MUSHIN) rather than contemplate

STEP 1: POSTURE, SONKYO, KAMAE

• SAGETO (TEITO), SHIZENTAI: maintain straight posture, shoulders relaxed, eyes forward
  
• TAITO: on left hip, thumb on TSUBA, SHINAI tips 45-degrees down in the back, and TSURU is down
  
• Draw SHINAI in upward arc, not to the side (command: NUKE TO)
  
• SONKYO; keep back straight when squatting or rising; when rising stand as if a string from the top of the head is being pulling up or like a thin smoke rising from an incense
  
• CHUDAN NO KAMAE: left grip at the end of TSUKA in front of the navel; right hand near but not touching the TSUBA; V between the thumb and index finger of both hands over the top of the TSUKA; left grip with last three fingers hold the SHINAI while right hand with last two fingers lightly support it; KENSEN towards the opponent's throat; TSURU is up; right foot forward; width of a foot between feet; left heel slightly off the floor; left knee straight but not locked
  
• Retrieve SHINAI in reverse of drawing (command: OSAME TO)

STEP 2: ASHISABAKI (FOOTWORK)

• OKURI ASHI: forward and backward; left and right; later diagonally forward and backward; use SURI ASHI (feet glide on the floor)
  
• HIRAKI ASHI: diagonally left and right

STEP 3: STATIONARY SHOMEN UCHI

• FURIKABURI: up until left fist is above forehead; SHINAI is 45-degrees up; keep head straight without tilting forward; check against mirror to see if SHINAI is straight up
  
• FURIOROSHI, SHOMEN UCHI: left fist in front of chest; right arm extended and parallel to floor; imagine reaching for the summit of a faraway mountain; both hands (TE NO UCHI) snap and squeeze slightly inward in CHAKINSHIBORI (squeezing a napkin in tea ceremony); express sharp loud KIAI "Men!"
  
• Later, do both action in one continuous motion (IKKYODO); no pause between FURIKABURI and SHOMEN UCHI; command is SHOMEN WO UTE

STEP 4: OKURI ASHI SHOMEN UCHI

• FURIKABURI as above
  
• One step forward from right in SURI ASHI as SHINAI strikes MEN; later motion should be in IKKYODO
  
• At the moment MEN is stuck, express KIAI and bring left foot up to proper position
  
• Retreat from left foot in two small OKURI ASHI steps to original position; assume CHUDAN NO KAMAE

STEP 5: FUMIKOMI ASHI SHOMEN UCHI

• FURIKABURI as above
  
• In IKKYODO, strike MEN while stepping decisively forward from the right and expressing KIAI; the step should be large enough to reach the opponent at ISSOKU ITTO NO MA (as if stepping over a small brook about 3 feet wide); the striking, KIAI and stomping must be simultaneous (KI-KEN-TAI NO ITCHI)
  
• Immediately bring the left foot to proper position; use quick successive OKURI ASHI to proceed straight forward; relax hands; keep the arms extended until ready to return to CHUDAN NO KAMAE
  
• Later, from ISSOKU ITTO step a small distance forward and express KI (Yah!), then do the FUMIKOMI

STEP 6: KOTE UCHI, DO UCHI

• KOTE: FURIKABURI is as in SHOMEN UCHI; strike right KOTE straight; arms extended; eyes to opponent's eyes
  
• DO: FURIKABURI is as in SHOMEN UCHI; bring SHINAI down in 45-degree angle to strike DO; HASUJI (dirction of the blade) is diagonally down; arms extended; keep both hands on the TSUKA; if necessary left grip may be brought closer to the right hand; eyes to opponent's eyes

STEP 7: UCHIKOMI GEIKO

• Against a MOTODACHI, practice continuous FUMIKOMI practice: SHOMEN UCHI, KOTE UCHI, DO UCHI
  
• Add RENZOKU WAZA (KOTE MEN, KOTE DO, KOTE MEN DO)
  
• Combine the WAZA in a prearranged order (YAKUSOKU GEIKO) STEP 8: KIRIKAESHI
  
• See Chapter 3
  
• Perform KIRIKAESHI before and after practice as a warm up and cool down exercise as well

STEP 9: KAKARI GEIKO

• See Chapter 3
  
• With the KENDO-GU on, continue the above exercises in the same way, although proper movements may be difficult with new KENDO-GU
  
• To put on or remove the KENDO-GU, sit at SEIZA
  
• Traditional DOJO would teach only these KIHON for as long as three years; JIGEIKO or SHIAI were not allowed until the fundamentals are mastered

DOJO KUN: MOTTOS

• Some DOJO have a set of mottos or songs to remind students of the important things; these mottos or important teachings are posted or written on the towel (TENUGUI, HACHIMAKI)
  
• Example: DOJO KUN of KOUBUKAN DOJO (originally in Saitama Prefecture, now in Tokyo), Takashi Ozawa HANSHI 9-DAN:
• Let's train our bodies
  
• Let's purify our hearts
  
• Let's take care of our parents
  
• Let's value respect and courtesy
  
• Let's work for the people and the world

REFERENCES

• T Matsubara. Kendo no Susume #26. Kendo Jidai 1998;25(3):3741
  
• H Takano. Kendo Dokuhon. (1973) Yomiuri Shinbun
  
• T Baba. Kendo Reiho to Saho. (1990) Physical Education and Sports Publishing, Tokyo
  
• All Japan Kendo Federation. Dojo Kun Shu (1971)
  
• Mr. Takeshi Kudo, personal Communication
• BACK TO TABLE OF CONTENT

KENDO AND IAI ADAGES
Rev. January 2000
A-UN NO KOKYU
Lit. "A-UN breathing." A and UN comes from Sanskrit language. A represents exhaling and UN represents inhaling. Synchronizing thoughts with the opponent.

• All Japan Kendo Federation. Kendo Wa-Ei Jiten. Tokyo 1996
  
• H Takano. Kendo Dokuhon. Yomiuri Shinbun. Tokyo 1973
  
• K Iho. Kendo Hisshou Kouza. Ski Journal. Tokyo 1987
  
• Kendo Nippon. Koudansha e no Michi. Ski Journal. Tokyo 1989