Disclaimer and Stuff

Firstly I would like to say that all of the material contained within this blog is of my own opinion and any inaccuracies in technical content or other's personal quotations are completely my own.

Secondly I would like to thank everyone in advance where I have used photos of you or photos you have taken. I have quite a library of digital photos and virtually no record of who took them so I hope you will take this general thanks as adequate gratitude. If there are any photos of you or taken by you that you would like removed please let me know.

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7th dan iaido grading due in

Monday, 15 August 2016

ZNKR Iaido Special Points for Consideration

As promised at the Netherland Kendo Renmei 50th Anniversary Seminar this year (and at the UK Jikiden Seminar earlier), I have uploaded my translation of the ZNKR Iaido Special Points for Consideration.

You can find the link below, please feel free to distribute (for no commercial gain of course)...


Wednesday, 2 March 2016

Fu-Rin-Ka-Zan (and does anyone know where the off-button is?)


And so begins the shugyo blog on my road preparing for iaido 7th Dan.  Why now, I hear you ask along with the other voices in my head, some telling me to put my toaster in the fridge at 3:27 every day. Well I am currently writing this while in Japan for a week training with Ishido Sensei (and today, on Sunday, with Yoshimura Sensei) and this short period of intense training makes a clear mark of my starting my prepatory training.

To be honest the last year or so I have been quite lazy with my own training. We now have quite a full dojo with a perfect number of students and each iai class generally has two or three levels in it. For about a year now I have been pushing our guys to learn Shinden Ryu from scratch and I have tried to ensure that everyone understands the basic form of every kata in accordance with Ishido Sensei 's teaching. We are now working through Okuden Tachiwaza, it has been quite a slog (I don't know how they put up with me). There is also a section of the dojo preparing for their forthcoming grading so there is also a focus on Seitei at the same time. We also have a relative beginner or two so each class requires quite a bit of supervision especially given the limited space available. This requires a lot of sacrifice for all of our dojo's highest grades.

I have been busy helping the training in Poland as well along with a few other fine teachers. Watching the Polish guys develop has been a rewarding study in itself if not a highly challenging one. They have done extremely well at a European level and every time they win something I have to think hard about how to up my coaching to be useful to their ever ascending level.
So the result of this circa 18 months of teaching is a pretty improvement in what my eyes can see but my body is knackered...

Now I have to train to be able to do what I teach, to walk the talk and other overused clichés. And this is why I am now in Japan by myself. The last few days I would have to say has been a glorious learning experience, both for my technical knowledge, my knees and my ability to creatively use sticking plasters. I arrived last Wednesday so I had a bit of time to settle in before the evening Jodo practise. I spent all of Thursday daytime training in the dojo by myself as Sensei slowly drove me through the harder parts of Shoden and Chuden (the latter of which I can't remember experiencing any easy parts). It was during the Chuden part that Sensei introduced me to the concept of Ohyo (応用). It turned out that I had trained this aspect before but didn't realise exactly the concept I was focusing on.

Ohyo means "application". It is quite different to Riai which means the logic of the form. It is probably best to understand it via the way it is used in training. More so in koryu one learns the basic or kihon of a form. In this part of the training, moves are often exaggerated and constructed in a way that makes the performance of the form as physically challenging as possible. By this I don't mean that it would require huge amounts of dexterity, rather it requires the most physical movement aiming for the smallest targets. As one progresses it becomes necessary to practically apply the form. In order to do this effectively and efficiently, certain compromises should be made to the basic form. This might include things like only using the hands to maximise sayabiki where in the kihon the hips might have been used. Moreover small variations in the application in the form are studied. This might include variations in the distance and position of the enemy, what the enemy is doing, variations in timing etc. I should point out here that this is different to the well known concept of kaewaza (variations of the form). One could be concentrating on the most basic and orthodox version of a form but through training in Ohyo one learns how to practically and skillfully apply the technique.

I can't explain much more about Ohyo without visual references but suffice to say that Chuden has quite a lot of opportunities to train Ohyo (especially Ukigumo, Oroshi and Iwanami). After a day of this I started to realise that knees rely on muscles around them...

On Friday I had the morning and afternoon session with Sensei by himself again although as he was busy he ran me through the Okuden Suwariwaza and the points he wanted me to focus on. Again the difference between the Kihon and the Ohyo came up. The Okuden forms are quite short and simple at first glance but it is the Ohyo of the forms which presents the challenge. Again I should emphasis that this is also different to the kotsu (secret or knack) of the form. Ohyo is a way to put the kotsu into practice as an application. Of particular difficulty is the Ohyo of Towaki which I discovered by sticking the point of my new iaito into my forearm. At this point I realised the importance of carrying a tenugui in one's keikogi as an impressive spray of blood went across the floor. One plaster and a box of tissues later I was back into practise with no one the wiser (probably including me who is sure to do this again some day).  During these sessions I worked up to Towaki only and then went back to my hotel for a welcome break.

Not satisfied with torturing myself in the day only I then accompanied Sensei to the class he leads in Tsurumi. It was a nice big dojo, very warm with a good floor. Sensei let me alone to train a while and I was happy to do some Seitei practise. I was getting very tired by now and only had enough energy to go through the forms quite limply. At one point I started Mae, extremely relaxed and slow and then found the sword whipping out into nukitsuke. "Ah, that was good" said Sensei as he passed by. He recognised the softness being turned into sharpness and he described to me the feeling that this should have. He said, imagine sitting in a very hot bath where you don't want to move around or create waves of hotter water which would hurt. Instead you move very smothly and slowly as if not creating any turbulence. I repeated this and became aware of the effort put into my legs but how relaxed my arms were. It was much easier to track the positions of my hands while doing it this way. I will need to check with Sensei but I am guessing that with tactility is what initiates and amplifies Jo-Ha-Kyu.

Anyway I managed to get through this evening training without stabbing myself through the head so we went back to the dojo for the Friday night training. It was a nice class with only Aurelian,  Jane and Morishima Sensei. Watching him reminded me of how keeping a low and deep posture creates core body tension which develops power. After training he told me that I should worry less about techniques and focus on the heart of the delivery. By this he said, he meant that one must focus on the enemy, which should of course be oneself (should be easy to beat in my case), and it should be visually evident to anyone watching that you have utterly killed your opponent by the way the form is performed. I understand pretty much what he means but it is difficult for me to agree that my technique is anywhere near good enough. This week had so far been a lesson in a) how much I still had to learn and b) how unfit my body was to do the forms well.

Anyway I finally got home after midnight from one of the longest training days I had ever had. I have to say it was one of the most enlightening. Certainly my tourniquet skills have improved considerably.

Saturday was open training day in the dojo so I went along in the morning to do some Seitei training with a little revisit of Towaki in the afternoon. Sensei got Inari San to demonstrate Towaki from Eishin Ryu and she showed beautifully how to maintain movement as per the Ohyo of the form.  After a tour-de-force of standing Ukenagashi we left (and went for dinner and drinks with Yoshimura Sensei and Otake Sensei).

I now sit here on Sunday in the Tokyo City Truck Cooperative meeting room writing this after a 2 hour training session with Yoshimura Sensei in Tokyo. I bumped into Dillan Lin who now lives in Tokyo while in the dojo and we all did Seitei.  Yoshimura Sensei asked me to do a 12 form Seitei embu and I started to realise that smaller audiences present more stress than large ones. Breath control especially goes out the window slightly. At the end of everyone’s embu he explained to everyone the importance of koryu practice. He said that all of the seitei forms come originally from koryu and that koryu puts the taste into seitei. Without it it will be simply just movements.

So now I sit here at the airport finishing this off. I had all day Monday and Tuesday morning at the dojo working through koryu forms again. On Monday, Ski Journal journalists turned up to photo Sensei and get some more details for the koryu articles which are being published from his resource. I helped with the photos for Kabezoi so maybe my fifteen seconds of fame are not far away. Actually he showed a lot of detail around footwork and application for the standing forms so I was very glad to be present and record some of this stuff. It especially made Moniri a lot easier to understand. Of special interest was the explanation that the form is performed realising the possibility of an overhead obstruction; it wasn’t necessarily a given that one would hit the obstruction but one had to perform the kata in a certain way just in case.

Once this had finished and they had left after lunch, I then worked further on my Towaki and “how to avoid putting a sword through my arm” technique. I then had about two hours rest before coming back to the dojo for normal iai training. Sensei explained how the tsuka should rotate within the hand exactly 180° in Ukenagashi so that the tsukagashira replaces the position where the blade was previously and brings it onto the centre. This then avoids the left arm obscuring the vision (the same applies for Kesagiri and Sogiri). I tried this and it made the cut quite short but much sharper.
Steffen Michaelis joined the morning training on Tuesday morning (he arrived on Saturday) so we did some koryu training together, it was nice having someone else in the dojo to be honest as I was worried Sensei was getting bored with dragging my sorry ass through the forms.

And so, here at the end of this short but very rewarding trip, with inflamed toes, ankles and knees and no shortage of sticking plasters in various places, I now return to foggy shores (ooh, that was nearly poetical) and soggy weather; there is quite a lot of information collated that I now need to work on regularly and share with my dojo cauliflowers. In fact with all this information I foresee another RSI condition around the jaw....

(As a postscript I just also want to thank Lucy, Jane, Aurelien, Steffi, Steffen, Inari-san for being such good company during my stay and providing me with the frequent assistance in the dojo)

Steffen demonstrating the benefit of a cattle-based diet and the ability to reach objects on high shelves

Saturday, 13 June 2015

The Meaning of Toho

While enjoying my two week training stay in Japan, I thought I would put finger to keyboard and present a brief review of the many things I have learned from Ishido Sensei during this stay. Having three other friends with me for this trip meant I had to do quite a bit of translation but anything that prompts Ishido Sensei to speak more is a good thing. Having to translate it also puts it into a kind of English file format which I hope will remain in fairly good shape for reloading later.

The thing which hit me strongest in this period is Sensei's use of the word "toho".

刀 = to; sword
法   = ho; law

刀法 = sword method

This is also often translated into swordsmanship or sword methodology. The way Ishido Sensei uses it though is more along the lines of efficient and effective use of the sword. He has often used this term before to describe the objective of certain kata e.g. sogiri which have very little logical application as a scenario but instead are for developing one's toho or sword skills.

What seems more obvious now though, as explained by Ishido Sensei, is the importance to develop one's toho; that knowing and running through the shape of the kata is not enough; one has to gradually develop the fundamental cutting parts. This is not described or explained in any particular detail in the seitei manual so I assume that this is something that is taught by teachers on an individual basis (kuden or oral transmission).

I have written articles for the BKA news before which presented a dichotomy of a kata being either a situational one (jokyo) or a sword method one (toho). I also mentioned that most people of a senior grade actually looked at all the kata as toho development routes. If one considers this a bit more deeply, even in more ancient times, the chance that the exact same combative situation would arise as the one that a person had trained in must have been fairly low. It makes more sense that one is training the component parts of the kata rather than the situation the kata presents.

Some of the toho points that were mentioned this week (at least one from Aurelien) include:

  1. Ensuring that the sword was turned completely to the side before sayabanare in ichimonji forms such as Seitei Mae to prevent the sword making a "double nukitsuke" i.e. the sword moves in a direction inconsistent to the cut when leaving the saya.
  2. That the kissaki should move in an upwards motion when commencing kirioroshi instead of being pulled forwards.
  3. That the second oblique cut in Sogiri requires the right hand to be slightly loosened and rotated to ensure that sword is completely on the centre at the end of the cut. 
  4. Hikinuki leading to ukenagashi ni kaburi can be achieved by softening the arms as the body turns. 
  5. That the small fingers should be properly on the tsuka while drawing the sword up in Nukiuchi with a kirite (cutting grip) so that at the moment of sayabanare the sword should move up and elevate to a near horizontal position immediately.
Etc etc

In the end one can see that toho is something of a science to be studied, learned, trained and mastered if one's iai is to be full rather than just being a collection of various forms. Having this well embedded would surely allow the warrior of times before be able to turn their hand to whatever situation arose, hence achieving tsune ni itte, kyu ni awasu (being in a state of calm, quickly adapting to the situation).