tag:blogger.com,1999:blog-73808315312896240782024-03-13T12:06:27.664+00:00ShugyoMy blog for tracking my training progress in Iaido and Jodo.Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.comBlogger109125tag:blogger.com,1999:blog-7380831531289624078.post-21395236455832906112023-01-20T14:16:00.006+00:002023-01-24T19:18:10.141+00:00The Challenge that is Seiteigata No.12 Nukiuchi 敵の刀に空を切らせ<p> As part of the BKA's Iaido Kyoshi exam, we were expected to learn, off-by-heart, all of the Chakuganten from the ZNKR Iaido Manual, not a particularly challenging task as there are only 40 points but made more difficult if </p><p></p><ol style="text-align: left;"><li>You have the memory of a sieve</li><li>You realise that each numbered item is probably making more than one point or criteria</li></ol><div>To give a simple example of point 2., the 2nd chakuganten in Mae is translated something like:</div><p></p><li>Is furikaburi made by passing by the left ear and with a feeling of thrusting behind</li><div><br /></div>This therefore has two criteria that need to be memorised and observed:<div><ol style="text-align: left;"><li>Furikaburi passes by the left ear.</li><li>Furikaburi performed with a feeling of thrusting behind.</li></ol>A slightly more complex example is found in the 2nd chakuganten in Morotezuki...<br /><br /><div><ul style="text-align: left;"><li>While passing through chudan, does the rear foot move close to the front foot and is the thrust made effectively to the opponent’s solar plexus?</li></ul><div>If one sequentially goes through this sentence there are 4, (yes 4!), criteria being described:</div></div><div><ul style="text-align: left;"><li>Must pass through chudan.</li><li>Rear foot moves close to the front foot (“okurikonde” does not mean “next to”).</li><li>Thrust must be effective.</li><li>Thrust must be to the solar plexus.</li></ul></div><div>Magically, this brings the number of points to remember from 40 up to around 73. This then leads to two options in my opinion, either memorise the sentences word-for-word or memorise the 73 points so that you can reconstruct the sentences as you recall the individual chakuganten. For me it was the latter as I felt that this was a more useful way of remembering them.</div><p>So having devoted a not insignificant number of brain cells to memorising all that and then doing the exam I remembered the aim of the kyoshi exam in the first place (which I co-wrote with Al Colebourn). Seeing as 7th dan Kyoshi was the highest grade of iaido of anyone in Europe, the idea was to ensure that if you held Kyoshi that you had memorised all of the important stuff from the ZNKR curriculum. Why? Because as the highest grades, they have the greatest responsibility to maintain their knowledge of the ZNKR curriculum, were able to "interpret" the text into meaningful instruction and demonstration...they were to be the gatekeepers in Europe for instruction of ZNKR Iai (at least that was the intention of the exam content).</p><p>Personally I still believe this is important and relevant. It is, or should be, the same aim for all iaidoka who take their development and study seriously, though it is the Kyoshi who need to be particularly attentive to this.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL2FbV4lryITM-f6zOoUU4TM-7MJudsLDVY3Dl_SarpOA5jYuzFzra88aR1U4LRk4BkBEcFyhQlSvphH8akFDdpbiez7kw1mP7jyQdlqlRciCq-pqhLmPZz9LLSvXyzXwM3enAHTkHc0PkpsTKXoDiAqk6BqpdwjYf01Kk04QxPpJ55tqvZCB0rU4YxQ/s600/c8e.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="458" data-original-width="600" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL2FbV4lryITM-f6zOoUU4TM-7MJudsLDVY3Dl_SarpOA5jYuzFzra88aR1U4LRk4BkBEcFyhQlSvphH8akFDdpbiez7kw1mP7jyQdlqlRciCq-pqhLmPZz9LLSvXyzXwM3enAHTkHc0PkpsTKXoDiAqk6BqpdwjYf01Kk04QxPpJ55tqvZCB0rU4YxQ/w320-h244/c8e.jpg" width="320" /></a></div><br /><p>Anyway, during this period of serious self-motivation (I don't think I moved away from my desk for about a week, Pizza Express shares went up) I had a few conversations with my friend Robert Stroud Sensei from <a href="https://www.idaho-kendo.com/" target="_blank">https://www.idaho-kendo.com/</a> fame. I cannot overemphasise the importance of the great work that Robert has done to surgically translated the ZNKR manual from Japanese into English being uber-careful about getting the nuance and detail as correct and appropriate as one can without turning the whole translation into a "Learn Japanese Slowly" manual. I heartily encourage you to visit his website, have a look around and buy him a coffee for his dedicated work.</p><p>Robert was finding some difficulty in harmonizing what was written in the manual with what was being taught at seminars. I have to say that we are extremely lucky to have had Ishido Sensei as a constant source of support, instruction and wisdom in all the years that he has been visiting Europe. He has always been able to give us all of the context and history to the development and delivery of ZNKR Seitei iaido and so where mismatches in logic or explanation have occurred, he has even been able to say the central meeting that this or that particular issue was discussed in Kisarazu (I think it was) where for years the content of the iaido manual was discussed and explored and its interpretation decided by the highest grades in Japan. With these years of Ishido Sensei tirelessly trying to hammer this information into our heads, I was able to discuss what some of the directions of understanding were with a few of the issues that he had found.</p><p>If you have found yourself with nothing to do, with no friends, no options in life and with only a few shekels to spend on bread crusts and bacon rinds then you might have found yourself at one of my iaido seminars in the last few years where I have monologued about one of the kata in particular where the explanation in the manual has consistently failed to be met with a correct performance of the kata. In fact, if you have been kidnapped by bandits and have been locked in a room with only a laptop for company then you might have even drifted through the following post I wrote years ago, shallowly covering the same topic:</p><p><a href="https://iaidojodotraining.blogspot.com/2011/02/iaido-training-session-47.html" target="_blank">https://iaidojodotraining.blogspot.com/2011/02/iaido-training-session-47.html</a><br /></p><p>But I thought now was a good time to come back to this topic and join Robert in the quest to make some sense of some of the less-obviously-difficult parts of certain kata. And so, here is my view on ZNKR No.12 Nukiuchi. </p><p>I should first lay out what my opinion is regarding the ZNKR Manual, it is a written guide for how to do ZNKR Seiteigata Iaido to establish some consistency between teachers. Therefore, while it doesn't teach you how to walk, there is supposed to be adequate detail in there so that the majority of people are doing these kata consistently with each other for most of the time (the clear exception is the method of noto and sageo sabaki which are to be performed in accordance with your koryu/teacher lineage).</p><p>Since the manual was produced there have been ongoing efforts to clarify any points which are not completely detailed; these efforts have consisted of written and spoken detail usually originating from central iaido seminars in Japan and directed by the ZNKR Iaido Committee. So we should be comfortable with the fact that the interpretation of some points has been made outside of the manual. </p><p>These points however are in general for where there is a lack of clarity and detail in the manual; the manual however is extremely detailed both in terms of what is written and how it is written. There are some aspects of Japanese grammar which are difficult to translate into languages such as English without losing the subtle nuance. As an example, the translation of "while" in English goes several ways in Japanese and trying to get those differences back into English can cause the sentence to become bloated. To illustrate this:</p><p></p><ol style="text-align: left;"><li>テレビを見ながらお茶を飲みました - Terebi wo minagara ocha wo nomimashita</li><li>お茶を飲みながらテレビを見ました - Ocha wo nominagara terebi wo mimashita</li><li>皿洗いをしている間に鳩が部屋に飛び込みました - Sara'arai wo shite iru aida ni hato ga heya ni tobikomimashita</li><li>右足を踏み込むと同時に真っ向から切り下ろす - Migi ashi wo fumikomu to douji ni makkou kara kiri orosu</li></ol><div>All of these can be simply translated as follows using "while" to represent simultaneity:</div><div><ol style="text-align: left;"><li>While watching TV I drank some tea</li><li>While drinking tea I watched some TV</li><li>While I was washing the dishes a pigeon flew into the room</li><li>While stepping the right foot forwards cut vertically down</li></ol><div>But actually there are key nuances between the timing terms <i>-nagara</i>, <i>-te iru aida ni</i> and <i>to douji ni </i>and I strongly suggest that these nuances are used correctly and intentionally in the writing of the manual. As I mentioned, translating these nuances back into English makes the sentence bloated but misleading without additional detail, e.g.:</div><div><br /></div><div><ol style="text-align: left;"><li>It is while I was already watching TV that I drank some tea</li><li>It is while I was drinking tea that I started to watch some TV</li><li>It was during the act of washing the dishes that a pigeon flew into the room</li><li>Exactly at the same time that you step the right foot forwards you must cut vertically down</li></ol><div>Just in case the English sentences above still don't separate the nuance properly...</div></div><div><ol style="text-align: left;"><li>This sentence is stating that in the pre-existing state of watching TV, some tea was drunk at the same time, both of these events took some tangible duration and there was some simultaneity involved.</li><li>As 1. above but this time it was in a pre-existing state of watching TV that some tea was then drunk.</li><li>This sentence is indicating that some action was being undertaken which took some tangible duration (washing the dishes) and there was an instantaneous event which occurred (the pigeon flew into the room)</li><li>This sentence dictates that two actions take place at the same time, there are no pre-existing states, they are both carried out at the same time.</li></ol><div>And now you can probably understand why, like many others, I prefer to read the seitei manual in Japanese than in English.</div></div><div><br /></div><div>Returning to Nukiuchi, this kata takes up a comparably small amount of space in the manual; the kata is simple, short and often carried out rapidly so there is some very careful structuring of the sentences to ensure that things are done with the correct coordination of timing.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6K_4BSI57IKlvteQ-iq4XtVNw6g0y3LpXJdaATsuSs5A62_8kIB8f5HqtpK9QRmVh0rbRz7WCAEBfWASXIaBnHmOcO3BJOzcWaJJjzGu8vB6VBPovzuB4cC_0NljD6HpVFFIFXtlgwdaaZujbF5GFuY_BuZU1inPKOHxSXH0ByN9jFrbUGUDfyXCyHg/s779/Nukiuchi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="779" data-original-width="304" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6K_4BSI57IKlvteQ-iq4XtVNw6g0y3LpXJdaATsuSs5A62_8kIB8f5HqtpK9QRmVh0rbRz7WCAEBfWASXIaBnHmOcO3BJOzcWaJJjzGu8vB6VBPovzuB4cC_0NljD6HpVFFIFXtlgwdaaZujbF5GFuY_BuZU1inPKOHxSXH0ByN9jFrbUGUDfyXCyHg/w250-h640/Nukiuchi.jpg" width="250" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div><br /></div><div>Subclauses 1-4 present the outline of the kata:</div><div><ol style="text-align: left;"><li>Soutai shite chokuritsu shite iru zenpou no teki ga, totsuzen, kirikakate kuru no wo (In response to the descending cut suddenly by an enemy confronting you from the front...)</li><li>katana wo nukiagenagara shirizoite (...while drawing the sword up, withdraw...)</li><li>teki no katana ni kuu wo kirase (...and make/let the enemy's sword cut the empty space...)</li><li>sara ni makkou kara kiriorosu. (...and then, cut down vertically)</li></ol><div>I should here point out again, the critical positions of commas in the sentence, the sequences and the timing references.</div><div><ul style="text-align: left;"><li>Subclause 1 indicates that the enemy standing in front of you moves towards you and commences a cut and your next movements are in response to the cut.</li><li>Subclause 2 indicates that during the action of drawing the sword up (emphasis on drawing up), you move back.</li><li>Subclause 3 indicates that by moving away from your initial position you allow the opponent's sword to cut through that vacated space.</li><li>Subclause 4 then emphasises "and then" do kirioroshi.</li></ul><div><br /></div></div><div>Subclauses 5-9 are the actions (dousa). Please note that I am only examining action no.1 which is the kata up to the kirioroshi. </div></div></div></div><div><br /></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div><div><div style="text-align: left;">5. Chokuritsu shita mama subayaku katana ni te wo kakeru, (From the same position i.e., without moving, sharply place your hands on the sword...)</div></div></div></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: left;">6. hidari ashi wo kouhou ni hiki, (...pull the left foot back...)</p></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: left;">7. migi ashi wo hidari ashi chikaku ni hikiyosenagara katana wo subayaku zujou ni nuki ageru to- (while drawing back the right foot close to the left foot, sharply draw the sword up above the head and...)</p></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: left;">8. douji ni hidari te wo tsuka ni kake, (...at the same time place the left hand on the tsuka...)</p></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: left;">9. ma wo oku koto naku migi ashi wo fumikomu to douji ni makkou kara kiriorosu. (...then, without any delay step forwards with the right foot at the same time as cutting down vertically.) </p></blockquote><p style="text-align: left;"> Again, please allow me to point out how the critical timing references, commas and sequences add nuance to the subclauses:</p><p style="text-align: left;"></p><ul style="text-align: left;"><li>Subclause 5 indicates that the hands go on the sword while not moving the body (the "chokuritsu shita mama" meaning "while remaining upright").</li><li>Subclause 6 has a sequential verb (omitting the -te but basically meaning the same thing), with a comma after it indicating that this movement is done singly without much else taking place.</li><li>Subclause 7 indicates that the right foot is drawn back close to the left, during this action the sword is sharply drawn up above the head.</li><li>Subclause 8 indicates with "to douji ni" that as a relatively short duration movement, the left hand is placed on the tsuka at some point during the raising of the sword.</li><li>Subclause 9, being preceded by a sequential verb means this happens next, "ma wo oku koto naku" means without delay so while this movement happens after the previous one, one should not stop moving between these movements. Again "to douji ni" joins the stepping forwards with the cutting down with the suggestion that the cut takes a relatively shorter time than the stepping forwards.</li></ul><p></p><div><div><div><br /></div></div><div>For a summary the diagram below shows the sequence as indicated by each subclause; blue boxes represent movements that are suggested to have some tangible duration, red boxes are relatively shorter "instances":</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD3Oktzj0ORQ8f7gkmGKmmFUjVqWA-ubfNppncP0aTj4_aO8xW8bNXjhw1nnq4jB4WWcipee1XeDJf1jQANI5KB0D9Ekj7M4EEpD8YlCBWEkpVDL2ImJ7_8hZma_kLnO61wbD-3tN3lVJsk9A60YXEy7vbY5-cwxNHX1NlNskGNbxQM9lBdYUXflwCGQ/s520/Nukiuchi3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="407" data-original-width="520" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD3Oktzj0ORQ8f7gkmGKmmFUjVqWA-ubfNppncP0aTj4_aO8xW8bNXjhw1nnq4jB4WWcipee1XeDJf1jQANI5KB0D9Ekj7M4EEpD8YlCBWEkpVDL2ImJ7_8hZma_kLnO61wbD-3tN3lVJsk9A60YXEy7vbY5-cwxNHX1NlNskGNbxQM9lBdYUXflwCGQ/w400-h313/Nukiuchi3.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div>So I think that should be fairly uncontentious what exactly the book is instructing us to do; actually this is a lot of description in Japanese using these versatile timing terms for such a simple and short kata, I would say that it leaves nothing for self interpretation in my honest opinion. </div><div><br /></div><div>I now would now like to examine the examination points (chakuganten) in detail as these clearly explain what we should be concerned with when doing this form.</div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidLVr4vMoVVd-19_BwvTTDO5Wos7UDEawQdooSIdW_S9Ax4wx6Y9LptediOciAAwIurbokM1NcXEqXyHPWaHzXNzMRttssfEEPcLB-zKD2WxWmiSxNssgit1eBoJw2wL5CIOsj_qsYNSO2XwkFDeBEpUuclRG5fiDR6gO3RWPeRqY7f45yKRg46fEd2g/s641/Nukiuchi4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="641" data-original-width="102" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidLVr4vMoVVd-19_BwvTTDO5Wos7UDEawQdooSIdW_S9Ax4wx6Y9LptediOciAAwIurbokM1NcXEqXyHPWaHzXNzMRttssfEEPcLB-zKD2WxWmiSxNssgit1eBoJw2wL5CIOsj_qsYNSO2XwkFDeBEpUuclRG5fiDR6gO3RWPeRqY7f45yKRg46fEd2g/w64-h400/Nukiuchi4.jpg" width="64" /></a></div><br /><p></p><ol style="text-align: left;"><li>Katana wo nukiageta toki, hidari ashi wo juubun ni gohou ni hiite iru ka (When the sword is drawn up, is the left foot withdrawn back adequately?)</li><li>Katana wo nukiageta toki no, migi te no ichi wa seichuusen ni natte iru ka (When the sword is drawn up (by the right hand), is the right hand "becoming" (following) the centreline?)</li></ol><div>I think point 2. is self-explanatory, there are no quantities being examined, merely does the right hand remain on the centreline. This has been clarified from the notes from a few central seminar where it has been clarified that this movement is not through the <i>ukenagashi</i> position but should start and finish on the body's centreline.</div><div><br /></div><div>Point 1 may need qualifying though; how much is "adequate". Well, I ask you to ask yourselves, how much is enough? This chakuganten could determine whether you pass or fail a grading so it cannot be a trivial point. </div><div><br /></div><div>I think (I am sure), given the scenario described in the outline of the form, and the use of the subclause "teki no katana ni kuu wo kirase" (make the enemy's sword cut the empty space), that this adequate stepping means that if the enemy's sword is moving through the zone that you were standing in, that no part of your body should be in that space once you step away. As I have written in my previous blogpost on this, this includes arms, hands, and the tsuka itself. You have to, I think, completely vacate that original space. Keeping the right hand on the centreline while vacating that space (without your hand going back in once your head has retreated) means that the sword needs to be elevated so that a <i>nukiage</i> (draw up) movement can be performed.</div><div><br /></div><div>I think this point is explained very clearly in this demonstration by Kaneda Sensei here <a href="https://youtu.be/4k-oXA4l09k?t=52" target="_blank">https://youtu.be/4k-oXA4l09k?t=52</a>. Unfortunately in this demonstration, the partner is not cutting anywhere near close enough to actually cut Kaneda Sensei's head if he didn't move. This is the shortcoming I think in many people's imagery of the form. When I spoke to Ishido Sensei about this he said that without some kind of partner training then doing iaido kata alone leads to this misunderstanding. If one does kendo, kenjutsu, jodo, tachiuchi no kurai etc. then it should become instinctive what is the correct distance and how to step outside of that distance. It was a relief to see though that someone was demonstrating this online showing the danger of the right arm being cut. </div><div><br /></div><div>金田先生、本当にいい勉強になりました。</div><div><br /></div><div>By this point you may realise that I am being critical of others here; I'm actually just very sensitive to the easiness with which this form is performed ineffectively and incorrectly. During all seminars where I am teaching at, when everyone trains Nukiuchi I usually stand at the end of each line and look down to see who is dragging their right arm through the cut space of the enemy's sword. Usually it is more than 95% of people.</div><div><br /></div><div>As gangly Europeans, it is easy to step back enough, the difficulty is keeping our long arms out of the cut space. But this then comes back to something very fundamental and something which was explained in painful elementary detail when this form was introduced to the ZNKR Iai-doing population. I still remember it, and I think it was Kishimoto Sensei who was Inchou at the time who explained it (it might have been his predecessor but anyway...), the point was that the sequence was critical:</div><div><ol style="text-align: left;"><li>Hands go on the sword without moving the body.</li><li>Left foot moves back while the sword is elevated up (only elevated, not drawn)</li><li>Right foot moves back while the sword is drawn up above the head.</li><li>Using te-no-uchi, at the moment of sayabanare a gentle squeeze should bring the sword close to horizontal smartly at the moment that the right foot reaches its objective position close to (not next to) the left foot.</li><li>Immediately, the left hand joins onto the tsuka, the right foot moves forwards and kirioroshi is made.</li></ol><div>Messing up this sequence and drawing the sword up while the left foot is moving back will almost certainly lead one to putting their hand back into the cutting space. But then what if the enemy's sword is cutting after your hand leaves that space? Well, in this case I would say that you haven't really achieved a vital aspect of evasion which is the notion of mikiri (sometimes known as "issun no mikiri" 「一寸の見切り」). To understand this it is best to imagine trying to trick your opponent into believing that they have cut you so that they have no opportunity to change their attack when you evade. Essentially this means minimising both the distance and the time that you take to evade; as late as possible with a movement as small as possible). If you were to leave it as late as possible to evade your head from the opponent's cut, this means that you cannot then put your right hand back into that target space.</div></div><div><br /></div><div>This is why the sequence is more important than the speed, it teaches you how to do this effectively. Those who do Jodo should easily understand this as it is the meaning of the kihon waza "Tai hazushi uchi". If your left arm moves significantly in front of your head as you step back to avoid the Uchidachi's cut then it gets cut instead.</div><div><br /></div><div>Anyway, I have probably written too much about this now already, I hope it has been in some way useful. I realise that writing and reading about these concepts are no replacement for practicing and testing it and I sincerely recommend that you explore these points yourself.</div><div><br /></div><div>Ha-yaaah!</div><div><br /></div><div><br /></div><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p></div>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com1tag:blogger.com,1999:blog-7380831531289624078.post-20833686636116268772022-02-28T16:20:00.002+00:002022-03-01T09:13:03.731+00:00Control and Calibration in Iaido - WTF?<p> Blogs are a pain. </p><p>They are though aren't they? Why should I take the time to write and check something at the risk of people doing checks on it afterwards when I can just record a video, make all the grammatical and vocabulary mistakes I can and no one will pick me up about it later!</p><p>And this is why (and yes, you can start a sentence with "And") I started using Youtube to record more of my thoughts and experiences on Budo. But, I still think it's worth taking the time to write something which has been considered and is carefully put together...I just wish someone would do that for me.</p><p></p><p><span style="color: black;">For those of you who have
protected yourselves from listening to my droning on, you might want to torture yourselves with the complete and short library of C&C-based videos here:</span></p>
<p><a href="https://youtube.com/playlist?list=PLe0joff2s59GriXRUAX7t_hd4q3JQ3ksx" target="_blank">C&C Iaido Playlist</a><br /></p><p>You may have also heard me talk about C&C in interviews with Patrick Suen in his strongly-progressing "Inside Look" podcast:<br /><br /><a href="https://youtu.be/P5H6rnFQYIk" target="_blank">https://youtu.be/P5H6rnFQYIk</a><br /></p><p>Anyway, enough self-promotion, I wanted to simply share a tangible output/outcome from this focus on C&C. Any though we have started coming out of lockdown from COVID-19, I continue to hold Zoom coaching sessions with my European students and friends. On one evening, I asked my student from Hungary, Gergely Vass, to focus on his performance of Mae using all of the aspects of C&C that I had been coaching the guys with for the previous few months.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhytaVT3W__woLvPOX9dDYGvfW116uDaQXYzcFFD_uKVXrlhX9MYRkwJpQeUA5MVtPVfp7B-oHDPcIbQczXL1NzAvuhLPaGy8HnKxXW86WZq5rKLg-zIySNZPJLEbBYPkb-2AvU_DAkXrRfyUDSnMdns-15FG5v38o4S6fKoNyR-YaC3zQq8ErXftRnng=s1231" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="765" data-original-width="1231" height="199" src="https://blogger.googleusercontent.com/img/a/AVvXsEhytaVT3W__woLvPOX9dDYGvfW116uDaQXYzcFFD_uKVXrlhX9MYRkwJpQeUA5MVtPVfp7B-oHDPcIbQczXL1NzAvuhLPaGy8HnKxXW86WZq5rKLg-zIySNZPJLEbBYPkb-2AvU_DAkXrRfyUDSnMdns-15FG5v38o4S6fKoNyR-YaC3zQq8ErXftRnng=w320-h199" width="320" /></a></div><p>Naturally, just like everyone else, it wasn't perfect, the direction of furikaburi and the final position of chiburi still needed some concentration but this was such a substantial difference to the way that Gergely was doing Mae a few months previously. You will note that the form is perhaps a little slower than some people of his grade would perform it - this is exactly the point though. By eliminating the focus on speed and power he was able to produce a near-perfect nukitsuke and pre-cut position in furikaburi. These were the main points that I wanted him to work on.<br /><br />Anyway, enough talk, I will let you be the judge. Please find the video here:</p><p><a href="https://youtu.be/VW1xQx-Dg_g">https://youtu.be/VW1xQx-Dg_g</a><br /></p><p>Thank you to Gergely who allowed me to use this video for this post.</p><p><br /></p><br /><p></p><p><br /></p>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-77166490758934682762021-10-28T01:31:00.000+01:002021-10-28T01:31:16.725+01:00Locked and loaded! Redressing in iaido/jodo<p> </p><p class="MsoNormal"><o:p> </o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVJwRtfbU0ftD8fCzNPOIHTJs_a_9Lsd-mDWCUTw052Kj3aHiJ28m3V3c3xbkbUHem-usw9qYHLrIotE5e38KkDGF_AOBg9vz5WGZeA2KEHDRuJWrH_WJmyJfGLar3nfdck41BNjleL_Ny/s1600/s-l1600.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1066" height="406" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVJwRtfbU0ftD8fCzNPOIHTJs_a_9Lsd-mDWCUTw052Kj3aHiJ28m3V3c3xbkbUHem-usw9qYHLrIotE5e38KkDGF_AOBg9vz5WGZeA2KEHDRuJWrH_WJmyJfGLar3nfdck41BNjleL_Ny/w270-h406/s-l1600.jpg" width="270" /></a></div><br /><p></p>
<p class="MsoNormal">In a recent post on Facebook, the topic of how a woman
should wear an obi and a hakama was discussed comprehensively; the main issue
being the tendency for women’s hips to be more prominent than men’s thus
leading to the hakama and obi falling below the hip bone during practice. I
don’t want to get into this any further as, as I said, the topic was discussed
comprehensively and I think a resolution was somewhat reached.<o:p></o:p></p>
<p class="MsoNormal">What I do want to explore though is one point that came up during
this discussion, the need to redress oneself during training. Like any good
subjective topic to be discussed, I’ll avoid going straight to the solution and
instead go timey wimey around in a circle until we land, “splat”, at the
conclusion.<o:p></o:p></p>
<p class="MsoNormal">First, let’s think about the fundamental wearing of the
sword as it originated (whether that’s in battle or on the streets of
Tokugawa-period Edo. The principle underlying most of iaido is the idea of a
sudden encounter that requires the quick or hidden drawing of the blade, often
a forestalling of the opponent followed by a decisive strike. If this is in an
iai-type “in the street” or “while having a nice cuppa tea” situation then the
idea here is that this is a rare one-off occurrence. There isn’t a requirement
to be repeating this type of self-defence several times per day (this is a
hazarded guess; I wasn’t there in Edo so I wouldn’t know).<o:p></o:p></p>
<p class="MsoNormal">If you prefer your style of iai to originate from the
pre-Edo era of battlefield swordsmanship then a sudden draw might not be quite
as common as simply drawing your sword, walking/running/riding into the
battlefield and flinging/pouncing/announcing yourself on your intended
opponent(s).<o:p></o:p></p>
<p class="MsoNormal">The point here is that in neither of these originating
concepts is there the requirement to be continually drawing and resheathing
your sword, thankyouverymuch.<o:p></o:p></p>
<p class="MsoNormal">I’m now going to take a leap onto another side of this
discussion, let’s call it “Countermeasures Against Chaos” (CAC or Midaredome in
Japanese), by this I mean, what do people do to stop their keikogi from getting
in a mess. In Europe we have had very useful input from several different
Japanese sensei. While I wasn’t in attendance, I know that Kinomoto Sensei
spent some time explaining and demonstrating how women should wear their keikogi.
Previously, Hayashi Sensei and Ueda Sensei have explained how using a towel
wrapped around the waist can help reduce hip prominence and how to tie the obi
to prevent backside bustle (i.e. a flat knot to stop it looking like a van has
parked in the back of your hakama). Oshita Sensei and Morita Sensei both
demonstrated a very neat solution of sewing Velcro into key parts of the
keikogi and using pins to keep everything together. On the basis that I have
never seen Oshita Sensei looking anything other than extremely smart, I would
guess that this is highly successful. In fact all of these sensei always look
smart and straight when we see them…<o:p></o:p></p>
<p class="MsoNormal">…and this brings us closer to the conclusion. When we talk
about redressing during practice (due to things like, sayabiki causing your
hakama and obi to slowly separate and your jacket to lose its straightness)
this is in the context of doing dozens, if not a few hundred kata/suburi during
a training session lasting from 1-4 hours at a time. Sorry to break any illusions
but when we see our teachers at seminars outside of Japan, they are doing some
demonstrations and then teaching, they aren’t doing the training workload that
seminar participants are expected to undertake. As someone who has taught at a
few events myself I can promise you that there’s no better way to keep your
keikogi nice and tidy than by just simply walking around and giving feedback.<o:p></o:p></p>
<p class="MsoNormal">This isn’t me disparaging teachers; this is the reality of
the situation. Even so, you still sometimes see our teachers straightening
their clothes, sometimes redressing completely during the break.<o:p></o:p></p>
<p class="MsoNormal">And so onto the conclusion:<o:p></o:p></p>
<p class="MsoNormal">Light is both a wave AND a particle AND a smell….oops,
sorry, wrong blog.<o:p></o:p></p>
<p class="MsoNormal">If your keikogi is falling apart and you end up looking like
a bag of rags after, say, five kata, then there probably is something you can
do to improve that. Correct tightness of obi (not too tight in my opinion),
correct tightness of hakama himo (a little tighter, in my opinion), the
insertion of a safety pin in the lapel (not a bad idea in a grading) are all
good things to do. <o:p></o:p></p>
<p class="MsoNormal">If your keikogi is looking untidy after 30 kata…so what?
Stop for a few seconds and tidy yourself up. If it requires a quick redress
then step to the side and do so. Don’t worry about it. Actually, at the end of
a session, if my students look like they have been dragged through a Rage
Against The Machine concert then I like it, it means they have been training
hard. There’s nothing wrong with this. <o:p></o:p></p>
<p class="MsoNormal">My main point is that there’s nothing wrong with redressing
yourself or having to tidy yourself now and again. It’s an inevitable outcome
of doing some training. If you see someone who always looks smart with their
uwagi, obi and hakama perfectly aligned then it means that they probably
haven’t done any training since putting it on this way.<o:p></o:p></p>
<p class="MsoNormal">Embrace the scruffiness of training!<o:p></o:p></p>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com1tag:blogger.com,1999:blog-7380831531289624078.post-77247518440467600922021-07-08T16:39:00.001+01:002021-07-08T16:54:47.139+01:00The Appropriation of Japanese Language in Japanese Budo (Outside of Japan)Hasn't it been an interesting year for us budoka? The lockdown situation hasn't
exactly been a good leveller for everyone. Some people have been able to train
in their own homes and gardens, some have been limited by space and the need to
do other things at home separate to smashing light fittings with their swords (like feed their families, educate their children, move their cats off of their laptops).
Thankfully, the availability of technologies such as Zoom has made it easier for
us to come together, especially with those who live in other countries and who we
only get to meet a few times every year, and train, discuss and generally chew
the fat with Budo in mind. It has certainly been different, I won't say better
or worse, it has certainly stretched our limits somewhat.<div><br />
This has also brought many of us to become somewhat inward-looking through the use of
social media and the like. Thanks to our friends in the Netherlands, the Q&A
sessions with Louis Vitalis Sensei have helped to shine a light in places that
dojo conversations never really visit. Additionally, Patrick Suen's excellent
podcast "Inside Look" has also linked the world with people in Budo and their
experiences which continue to inspire even for old farts like me. Personally my Budo training became even more active through the Lockdown Keiko sessions
organised by Kim Croes and Tea Pihlaja, again allowing us to train with people
that we usually rarely see. These sessions also gave me a chance to simply train
without having to teach, observe or even be aware of others.</div><div><br />
To prevent myself from becoming completely insane though, I started running
online Japanese language courses through a Facebook and Zoom group called Andy's
Nihongo Corner. I can't speak for the success of it, you will have to ask the
<strike>victims</strike> members of the group but I have been really impressed
and grateful for the effort and dedication that many in the group have put in.
For them, I hope this course is useful and interesting, for me it has massively
improved my own Japanese grammar and vocabulary. More importantly though it has
been educating to observe how people learn. <br /><br />
Returning to social media though, my immersion in teaching Japanese over the
last year has slightly sensitised my attention to the use of Japanese in Budo
and particularly when referred to in social media. I am not about to start a
diatribe of complaints over people using Japanese as if I held the patent on it;
I also throw Japanese words around in Budo circles but I would like to point out
a few things that might be interesting to budoka concerning the use of this
language...
<br />
<br />
<b>Appropriation 101</b> <div><br /></div><div> A few years back I spent a very enjoyable couple of weeks traveling and training
in Japan with Al Colebourn, Lukasz Machura and Adam Kitkowski. During a day of
doing tourist stuff in Kyoto at one point we jumped into a taxi as our next
destination was easier to get to by taxi than by bus. Being the only person who spoke a
reasonable amount of Japanese, I jumped into the front seat. </div><div>"To Meiji Shrine
please!" I confidently instructed. </div><div>The taxi driver looked at me for a moment and
replied "I think you mean Heian Shrine, right?" </div><div>I then realised that I had just
asked the driver to take us from Kyoto to Tokyo (a 460km journey that probably
would have cost more than actually buying the taxi). </div><div>"Ah, yes, Heian Shrine
please...oops" </div><div>As we were driving through Kyoto's traffic, I overheard the three
guys in the back quietly chatting about iaido. I heard them muttering words like
"nukitsuke", "chiburi", "okuriashi"...these words cut through the background
noise as the guys were being extra careful to pronounce them. I turned around,
stared at them for a second and said "You guys sound like fucking lunatics!"<br /><br /></div><div>
They laughed...nervously.</div><div>
<br />I'm not sure exactly why I said that but I think the point was that the majority
of Budo terminology is made up of completely normal everyday words, or at least
pieces of them. Their assembly into compound words produces some slightly rare
expressions but no more than, say, "doorstop" or "steam iron". To a Japanese
person who doesn't train in Budo, a conversation filled with these words must
surely sound...a little weird. That's not to say that Japanese people don't use
loan words from other languages. Make a mistake during a volleyball match and
you will hear "do-n maindo" ("don't mind", i.e. don't worry). Not being
particularly into competitive sports I won't bore you with other examples but
you can be sure that there are thousands.<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO6xw6a1NgydRsiVoXrw4Cpx_1WAKTp7nnznF2JUuKlz7t5gFg6ggcFEF-kyV_9KRfLF8vJKNJ69xTaHnrtNdiHc0ardl7ymFXf1m3uFblhfaOLzIbmaiUiY3MKH8uLqPJ3ABvbRQCjVMX/s0/falldownonthefloor.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="224" data-original-width="417" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO6xw6a1NgydRsiVoXrw4Cpx_1WAKTp7nnznF2JUuKlz7t5gFg6ggcFEF-kyV_9KRfLF8vJKNJ69xTaHnrtNdiHc0ardl7ymFXf1m3uFblhfaOLzIbmaiUiY3MKH8uLqPJ3ABvbRQCjVMX/s0/falldownonthefloor.jpg" /></a>
</div></div><div><br />
Anyway, I'm not berating anyone for using this terminology, it's great that
people take the time and effort to learn some of the language that our Budo was
developed in. My point is that these are generally not particularly
Budo-specific words, they are just words. The issue that I want to raise into
awareness is that it is very easy for us to assign "special powers" to these
words...almost as if saying them, "makes" them...as if it pulls their meaning
into a manifestation into the physical universe....a bit like a...spell.<br /><br />
I am also guilty of having done this before. However, having seen it being done
on social media (a lot!) I have started to develop a nervous tic whenever I see
this act of "Powerword Japanese" spell-casting. This has become more often in
the last year or so as many of us have had to spend more of our time in front of
computers when we would otherwise probably be at the dojo and keeping ourselves
out of mischief.<br /><br />Allow me to share the mundane qualities of many of our Iaido and Jodo words:</div><div><ul style="text-align: left;"><li>Nukitsuke - Draw and apply</li><li>Kirioroshi - Cut down</li><li>Chiburi - Blood swing</li><li>Noto - Put the sword away</li><li>Metsuke - Fixing the eyes on something</li><li>Zanshin - Remaining awareness</li><li>Mae - Forwards, before</li><li>Ushiro - Backwards, behind</li><li>Morotezuki - Both handed thrust</li><li>Ganmenate - Punch in the cakehole (or something like this)</li><li>Nukiuchi - Shiiiiiiiiit!</li><li>Seme - Attack (literally, this is all it means, no magic beams of The Force, no extension of ki/chi/prana/banana)</li></ul><br />
The new tangible benefit that I now realise that I would like to gain through
the Japanese courses is a general higher awareness of the mundanity of the Budo
lexicon. I hope as a population of budoka we can moderate our amazement when
someone uses Japanese terminology. What I want to advise is, just because we
don't fully understand the meaning of a word/phrase, it doesn't make it
<i>mysterious</i>.<br /><br />
As an example, let's look at the word "Fumikomi". Type this word into Google,
in Romaji, and the first page is filled with links to Kendo and Karate websites
(interestingly one of the first articles is written by Geoff Salmon Sensei who
urges "Don't be obsessed with fumikomi"). Type in the Japanese characters
踏み込み, and while the video links are to Kendo pages, the majority of the site
links are simply to Japanese dictionary websites which explain three principle
meanings of "fumikomi":</div><div><br />
1. The act of fumikomu (I'll explain this shortly) <br />
2. A place to take off your footwear at the entrance.<br />
3. A type of Kabuki dance.<br /><br /></div><div>
To understand what the act of fumikomu is, let's have a look at it's characters:<br />
踏む fumu: to step on, to tread on, to set foot on, to experience, to follow, to estimate, to rhyme<br />
込む komu: to be crowded, to be packed, to go into, to put into, to do intently, to continue in the same state</div><div><br />
Combining these characters into a compound verb (which can occasionally change the aggregate meaning of the two root verbs) you get:
踏み込む: to step into, to break into, to raid, to come to grips with, to get to the core of,</div><div><br /></div><div>In my experience of studying, translating and teaching in Budo, my non-specific interpretation of fumikomi while keeping a Budo context is simply the act of stepping towards your opponent (for example, to bring you into attacking distance) in contrast with, say, stepping back or to the side. I realise that the word has been adopted in Kendo to represent the stamping action when making a strike but I would simply want to make it clear that this is not the general meaning of this word. </div><div><br /></div><div> ...and this is where the trouble starts of course, by attaching special meanings to these words we start to believe that what we are saying represents specific actions or concepts in Budo. It does not, for example, mean specifically to "stamp the foot".<br /><br /></div><div>
Technically speaking, this is fumikomi:
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8zm4eMYc9V-ku-C6qd80Nfpea-y5_54vL0VC2OX5aVSQ821kpthj9dznyJ3tjw7Cox7iioNU8I0SJsh2StAFFumk9t92-2J4XFans4yeTXBK-dft5qtkTIYNyWPDq7RI7vLX4ITTNiRVY/s0/ezgif-7-4f336be65479.gif" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="421" data-original-width="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8zm4eMYc9V-ku-C6qd80Nfpea-y5_54vL0VC2OX5aVSQ821kpthj9dznyJ3tjw7Cox7iioNU8I0SJsh2StAFFumk9t92-2J4XFans4yeTXBK-dft5qtkTIYNyWPDq7RI7vLX4ITTNiRVY/s0/ezgif-7-4f336be65479.gif" /></a></div><div><br /></div>
As I previously said, I am also guilty of throwing around Japanese terms as if the mere utterance was enough to infer wisdom and experience...but I am hoping this time is coming to an end. </div><div><br /></div><div>There are many other appropriated words and phrases bandied around in Budo, let's have a closer look at some of them: </div><div><br /></div><div><b>Shu-Ha-Ri</b></div><div><b><br /></b>
First point of caution, be wary of just using the English version of Wiki/Google to search for meanings. There are extremely good translating apps which will translate a Japanese article, written in Japanese by a Japanese person. Shuhari is a great example of this, on the English Wiki it immediately announces that it is a "martial arts concept". The Japanese Wiki though describes it as "the teacher-student relationship or the process of apprenticeship in traditional Japanese arts such as Chado, Budo etc." </div><div><br /></div><div>The next point of caution is realising that this is one education and learning model among many. It is not special or rare, it has simply been utilised in the Budo world. There are similar Western learning philosophies that came up with similar ideas without any kind of East to West transfer of wisdom (e.g. the Dreyfus model of skill acquisition). Some of these models, especially when adapted by modern sports science, are probably more useful and rewarding than constantly referring to this simple three-step process.</div><div><br />
Let me be clear, I'm not saying that we shouldn't be referring to Shuhari, I'm not saying it's poor or bad or inadequate, I'm just saying that simply mentioning "shuhari" does not invoke some mystical power that accelerates the student to mastery. There is a different word for that and that word is "training".</div><div><br /></div><div><b>Meri-Hari</b></div><div><b><br /></b>
What a wonderful time in the noughties we had with throwing this one around. If you listen to Louis Sensei's Q&A you will hear a number of times "this word was never used when we took our 7th dans". And quite right too. Simply throwing in a technical term into Budo almost guarantees it a long life and constant worship. Speak to someone like Peter West Sensei (a professional musician) about the literal meaning of "modulation" (merihari's actual meaning) and you will be surprised as to the functional, mandanity of the term. I was told by Ishido Sensei that this term was once mentioned by Yamazaki Sensei (the Eishin Ryu teacher from Shizuoka) and it had somehow taken root in some people's minds. For a while, a few of us in Europe (myself included) puzzled over the inner depths of this word and how it could relate to Iaido. We theorized, pontificated, wrote articles on it until finally realising that we were bored with this attempt to assign extra meaning to a purely functional term. If someone tells you that your embu lacks merihari then ask them to explain <i>exactly</i> what they mean. Ask them to explain what "merihari" is and what the words mean that make up the compound verb. Ask them to point out official ZNKR documents that contain the instruction "thou shalst merihari oneself into a froth". Hmmmm. </div><div><br /></div><div>The fact that many of these Budo jargon are borrowed from theatre (jo-ha-kyu) or from Chado (merihari) speaks loudly about this being concerned with presentation rather than sheer practical value. Ask a Kendo 8th dan to demonstrate merihari to you and they will probably ask you what this has to do with fighting. This all brings us inexorably to... </div><div><br /></div><div><b>Jo-Ha-Kyuu</b></div><div><b><br /></b>
Sadly this phrase has been around a long time in Europe and so it has had plenty of time to be reinterpreted, misinterpreted, misrepresented, mutated and finally turned into a fairly catchy pop song.
I understand the sentiment of people trying to explain it especially in Iaido circles and while it is a slightly subjective term, somewhat open to interpretation...</div><div><br /></div><div>...perhaps we should first ask ourselves why it needs "interpretation"!</div><div><br /></div><div>The simple answer is that it doesn't originate in Budo. Andre Ho can probably explain this in better detail than me but it originates in Noh Theatre (the art of not snoring loudly while sleeping in a chair). In theatre it is used to mark the typical arc of a story: the setting (jo), the change (ha) and the climatic ending (kyuu). </div><div><br /></div><div>For a more in-your-face demonstration of Jo-Ha-Kyuu from the theatre, I recommend spending a few minutes watching this. It probably won't improve your Budo but it might demonstrate very clearly how loose the connection is between Budo and Jo-Ha-Kyuu..<br /><br /><a href="https://youtu.be/i8Z541XmPrE" target="_blank">https://youtu.be/i8Z541XmPrE</a><br /></div><div><br /></div><div><br /></div><div>Somehow, before my time doing Budo in Europe anyhow, this has been generously reinterpreted (I'm being kind, I really mean misinterpreted) to mean gradual acceleration from slow to medium to fast. I suppose this is one way to interpret it into a kata-Budo context but it's not what I would call a useful interpretation for developing ones physical performance of a kata.</div><div><br />
For example, what does "slow" mean other than "less speedy than 'fast'"? If I move relatively fast at the beginning of a kata and then move blindingly fast at the end, is this jo-ha-kyu? What about kata that demand a rapid ("kyuu ni") beginning such as Tsukaate, Ukenagashi, Nukiuchi (the literal meaning of "suddenness")?</div><div><br />
Gradual acceleration is not the way that my general guide for Iaido (Ishido Sensei) explains jo-ha-kyu so I will have a go at representing here how he explained it a few years ago (undoubtedly I have misremembered and added my own thoughts into this but I don't think they are incongruent with what Ishido Sensei was trying to convey). I should emphasise that I don't think the following is important because it was uttered by Ishido Sensei as much as the fact that it makes complete practical sense... <div><br /><div><i>"Jo" (tsuide) means occasion, opportunity or situation. In Iaido this means "junbi" (preparation), not just mental but physical as well. If you are sitting in seiza then you shouldn't be sitting passively with your muscles relaxed but your posture and muscular tension should give you physical alertness and the ability to respond to an attack at any time. At the same time however, this should not be an unnatural tension, you should feel like you can sit comfortably like this (this is the meaning of "tsune ni itte" from the very iaido-specific term "tsune ni itte, kyuu ni awasu").</i></div><div><i><br />"Ha" (yaburu) means to tear or break. It refers to the moment when you make a decision to attack/defend either as a pre-emptive preventative attack (shikake) or as a literal defence (mamoru/kotaeru). The main point with "ha" is that this a decision-making moment which can be either fast or slow. In the case of Mae, your hands move smoothly to the sword in an attempt to subdue the opponent and convince them not to attack, you are transitioning with surprising surety from passively sitting to actively attacking. In the case of Ukenagashi, your metsuke and your hands move quickly to respond to an attack that has already been committed to by the enemy.</i></div><div><i><br />
"Kyuu" (isogu) means suddenness and rapidity. This means that once you start down the road to an attack that you have to commit to it and use smoothness, skill and speed to win the moment. The key point though is that the ability to move quickly and efficiently is through a mastery of "Jo" (readiness) and "Ha" (ability to change), it is not merely a skill to acquire as a separate criteria.<br /><br />This closes the circle from "Tsune ni itte" (be natural in your everyday situation or "Jo") to "Kyuu ni awasu" (rapidly adapt to the circumstances or "Kyuu").</i><br /><br />
To conclude, while I understand how such a complex concept can end up being simplified to mere "acceleration" I think it would be best if we updated our understanding of this. Similarly with....<br /><br />
<b>Mitori geiko</b></div><div><b><br /></b>
Before I start on this one I urge you watch the excellent explanation of this by Paul Shin Sensei:</div><div><br /></div><div><a href="https://youtu.be/r_LMQP73zc4" target="_blank">https://youtu.be/r_LMQP73zc4</a> <a href="https://youtu.be/r_LMQP73zc4" target="_blank"></a><br /><br />
After I watched this video I contacted Paul and had an online chat/rant about this subject (10 minutes of Paul's time that he will unfortunately never get back though I learned a lot from the conversation). The main feature of the points that we agreed on was that the most optimal mitori geiko was being in line waiting to go onto the floor and watching others train. This allowed you to identify beneficial concepts or shared bad habits that you could, in the space of a few minutes, physically experiment with, either through implementation (of good points) or elimination (of bad habits). Paul's point was that while doing this from video was in a sense another form of mitori geiko, it was extremely limiting. He said that in Kendo as an example it was extremely difficult to identify an Ippon in comparison with actually being there at the shiai.<br /><br />
Paul explained that the human mind has a very limited capacity to store visual information. If you don't put it into physical practice almost immediately then it is lost into the ether. My own introduction to mitori geiko was while training in Japan, on a few occasions the dojo floor was too full to train so my original sensei would order me to sit by the side and do "mitori geiko". I gradually became to understand that this meant "watch, study, learn, implement". As Paul explained, the vital part of the term "mitori geiko" was "keiko".</div><div><br />
So what's my point? It's the head scratching that goes on at Sim Energy Towers (a sustainable version of Hogwarts) when more than a few people post videos of embu of extremely good sensei, or maybe the finals of a shiai and write "Mitori geiko" as a comment. I'm sure by now that you have realised that the subtext of this blog post is to not use Japanese words when there are perfectly representative English/French/Italian/Martian versions. To be direct, when you sitting there, in a chair, eating popcorn, watching a video of an embu, you aren't doing mitori geiko you are simply watching a video. It's called "watching". I don't really care what people post on Facebook but I just don't think that it's healthy to make yourself believe that watching admirable performances are really going to significantly improve your own Budo. As I said to Paul, it's similar to posting a video of someone eating dinner and commenting "Learning to cook!". To be sure, I use video technology a lot in my own training and teaching. For my 6th dan prep (the original raison d'etre of this blog) I exhaustively used videos to prepare. But, to be clear, this meant filming my own embu, watching it within 3 hours of filming it, spending hours examining errors and bad habits by going through frame by frame where the problem originated from, writing copious notes, taking those notes to the dojo and working on the points. And then repeat, week after week after week. There was no popcorn.</div><div><br />
I do the same thing with my students and Budo friends when they ask for feedback. I ask them to video themselves and I spend no small amount of time going through some parts, frame-by-frame to find the root cause of problems and then ask them to have a look themselves to try to evaluate a solution. <br /><br />Honestly, I also like watching videos of Morishima Sensei going ballistic in embu but I don't pretend that that is going to fix my own performance issues. It's inspiring, yes. It's interesting, yes. It's enjoyable, yes. It's nothing like keiko (that opinion obviously has more than one meaning). I actually believe that to be able to do iaido more like Morishima Sensei, it is more useful to watch how he does repetitive physical preparation and training in the dojo. Understanding that concept at least (his breaking down of techniques into elementary units, each to be mastered before re-assembly) can be exported and transferred perfectly into one's own training regime.<br /><br />
To get off my high horse, I have to say that I am at least glad that the understanding of some Budo specific terms is usually well understood. Kan-Kyuu-Kyou-Jaku, if the contextual meaning isn't well understood then at least the individual terms are (slow, fast, strong, soft). And who could misunderstand "te no uchi" when teachers like Oshita Sensei very helpfully translate this into English themselves as "finger work", an extremely useful explanation of what "te-no-uchi" requires in order for it to be there.<br /><br />
To close, I want to emphasise that I'm not advocating that everyone needs to master Japanese in order to improve in Budo (it does help a bit though to study the language); I just want people to realise that the constant uttering of words of the Japanese Budo lexicon, like recitation of a mantra or the invocation of Cthulu, doesn't make it real or special. I am hoping that as the number of people who study and learn Japanese in the European Budo community increases, that this faith-based reliance on recitation gradually gets pushed out of the way to make room for clear and unambiguous literal understanding. When the next Japanese 8th dan sensei says "Need more sayabiki", people will hopefully understand that this doesn't mean "go and buy another left arm".</div><div><br /></div><div>Simply shouting "More kigurai!" at your students while sitting in the sidelines ain't gonna do it!<br /><br /><br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge8-pz5oGMcpeiViHENouxlkoSi2B3t90PkIYAwYt4RrPmguC3ZEFUAwghBqcxgMlbBr70wJM5uyNgB0K4awHvji677cRpU89ZuiyCB4mVJlaSFeZndKU8TgTNk9jZH7BnQRmCNLbAdQkM/s0/Albus_Dumbledore%2527s_portrait.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="449" data-original-width="409" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge8-pz5oGMcpeiViHENouxlkoSi2B3t90PkIYAwYt4RrPmguC3ZEFUAwghBqcxgMlbBr70wJM5uyNgB0K4awHvji677cRpU89ZuiyCB4mVJlaSFeZndKU8TgTNk9jZH7BnQRmCNLbAdQkM/s0/Albus_Dumbledore%2527s_portrait.jpg" /></a></div>
</div></div></div><div><br /></div><div><br /></div><div><br /></div></div>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com4United Kingdom55.378051 -3.43597327.067817163821154 -38.592223 83.688284836178838 31.720277tag:blogger.com,1999:blog-7380831531289624078.post-61439433743950050512021-02-25T17:18:00.002+00:002021-02-25T17:18:10.768+00:00Gyakuto and the three levels of noto<p><span style="font-size: small;">This is a purely Muso Shinden Ryu point, I can only claim specificity to Ishido Sensei's line as well and this is my personal translation of an excerpt from his Muso Shinden Ryu manual, Ichimaki Omori Ryu Shoden. All mistakes are my own. With all that said, it's a surprise that this blog has any credibility at all...<br /><br />I should point out that this article is almost completely useless without seeing the photos or, better still, having Ishido Sensei demonstrate this in front of you. </span></p><p><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcGI8F5qf-QG2-SjzGAbYuG8KfKN4YudtYUdQvFGkEqd19lK-2_-LBiw83IrDLQ3ze8kXFsKHDL9i4S4ysgPYYF21AfaimsMeJk0g9eEUoNekHGiMVNbHpjnsU1HfILF2r1UIAqiNNmqRg/s824/shingyoso.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiQtjYzx3jaOjIhmyODG2xcXGLFcpO-k9iQp9FSr3MTxFaph04xYPqhuthV_foLUmTuZMW32XPY0DXR0N4I7debL7O4jmDjnFm0-pdnIWxCFRhJE_lh76ECDYUwt_gaZlC71jPq7H__AfX/s765/Capture.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="765" data-original-width="199" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiQtjYzx3jaOjIhmyODG2xcXGLFcpO-k9iQp9FSr3MTxFaph04xYPqhuthV_foLUmTuZMW32XPY0DXR0N4I7debL7O4jmDjnFm0-pdnIWxCFRhJE_lh76ECDYUwt_gaZlC71jPq7H__AfX/s320/Capture.JPG" /></a></div><br /><span style="font-size: small;"><br /></span><p></p><p><span style="font-size: small;"><b>___________________________________________________________</b></span><br /></p><p><span style="font-size: small;"><b>Gyakuto - Point 5 <br /></b></span></p><p><span style="font-size: small;"><b>The Three Levels of Noto, established as if relating to "Shin</b></span><span style="font-size: small;"><b><span style="font-size: small;"><b>*</b></span>-Gyou-Sou" levels of Shodo</b></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Lss2bpYynlLmDUrJjNxBl2XC-HcXFfmbQoZ8SI3AK1AKuk5t3-9cXFFNih2GS_PgmIUaX__NE32DcW0PlMr8ETXgc_SzF5H2WTiNuwBjOA5D2nC1r5lFRD8I6wTFdnQ6xP2rQLDy-W6f/s148/Kaisho.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="148" data-original-width="116" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Lss2bpYynlLmDUrJjNxBl2XC-HcXFfmbQoZ8SI3AK1AKuk5t3-9cXFFNih2GS_PgmIUaX__NE32DcW0PlMr8ETXgc_SzF5H2WTiNuwBjOA5D2nC1r5lFRD8I6wTFdnQ6xP2rQLDy-W6f/s0/Kaisho.JPG" /></a></div><span style="font-size: small;">The first type, after completing the finishing stab completely, while keeping your eyes on the enemy, steadily bring the sword with both hands above the knee; from there, grip the koiguchi with the left hand and perform noto.<br /></span><p></p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv4-Bx9C-Ua5Uhzqd8gHe-oT-dr44KM4ScGLYbVqVDjPNIeH0bL9cdr9QO-ORIbLWoD8jiZMuckuQ37fYPY8N6NZpLiRWKTDJ-3oJ7nYRfpPYt4sNQcdIA0YbICFtHhTQ9wTeIaWblfli9/s149/Gyousho.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="149" data-original-width="123" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv4-Bx9C-Ua5Uhzqd8gHe-oT-dr44KM4ScGLYbVqVDjPNIeH0bL9cdr9QO-ORIbLWoD8jiZMuckuQ37fYPY8N6NZpLiRWKTDJ-3oJ7nYRfpPYt4sNQcdIA0YbICFtHhTQ9wTeIaWblfli9/s0/Gyousho.JPG" /></a></div><br /><br /><span style="font-size: small;"><br /></span><div class="separator" style="clear: both; text-align: right;"></div><span style="font-size: small;">The second type, keeping the sword aligned to the front right diagonal, take your left hand towards the koiguchi to grip it and perform noto. This is so to perform noto with the left hand only.</span><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcmZB2rGgagdHQQvDHwpNeDswOCvPqq_K6iC8N72IUo5DK5HY-V2QdXDblbQUOOXe3LpZ-xFV7Ag5RkJZPxywHBDaMad65x7veHCxW4sbMIg63c-ub3aUAihTNbVHOJdSrNXdrZ6jcMpm0/s149/Sousho.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="149" data-original-width="89" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcmZB2rGgagdHQQvDHwpNeDswOCvPqq_K6iC8N72IUo5DK5HY-V2QdXDblbQUOOXe3LpZ-xFV7Ag5RkJZPxywHBDaMad65x7veHCxW4sbMIg63c-ub3aUAihTNbVHOJdSrNXdrZ6jcMpm0/s0/Sousho.JPG" /></a></div><span style="font-size: small;"><br /></span><p></p><p><span style="font-size: small;">The third type, while bringing the sword to the koiguchi, gradually shorten the distance of the left hand where it is supporting the back of the sword and then from there perform noto. This is comparable to the "Sou" (cursive script) type of character in Shodo.<br /></span></p><p><span style="font-size: small;">The decision of which type of noto to use can depend on your feeling on that day or depending on the way that you start and end the technique.<br /></span></p><p><span style="font-size: small;"><b>___________________________________________________________ <br /></b></span></p><p><span style="font-size: small;"><b> </b></span></p><p><span style="font-size: small;"><b> </b></span></p><p><span style="font-size: small;">* The three levels in Shodo are often referred to as "Kaisho" (printed text), "Gyousho" (semi-cursive text) and "Sousho" (cursive script). In this particular case, "Shinsho" is merely another word meaning "Kaisho" (printed text). For more information on Shodo I recommend visiting Yukiko Ayres Sensei's website <a href="https://yukikoayres.com/" target="_blank">https://yukikoayres.com/</a><b> <br /></b></span></p><p><span style="font-size: small;">Shodo images above courtesy of <a href="https://www.takase.com/library/glossary-japanese-calligraphy-terms/">https://www.takase.com/library/glossary-japanese-calligraphy-terms/</a><b> <br /></b></span></p><p><span style="font-size: small;"><b> </b><br /></span></p>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-30976524097237861352020-10-23T14:16:00.002+01:002020-10-24T13:17:38.336+01:00Kaso Teki getting in the way<p style="text-align: center;"><span style="color: white;"><i>"<span style="-webkit-text-stroke-width: 0px; background-color: transparent; font-family: Arial; font-size: 14.6667px; font-variant: normal; font-weight: normal; letter-spacing: normal; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; word-spacing: 0px;">We talk about<span> </span></span><span style="-webkit-text-stroke-width: 0px; background-color: transparent; font-family: Arial; font-size: 14.6667px; font-variant: normal; font-weight: normal; letter-spacing: normal; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; word-spacing: 0px;">kaso teki</span><span style="-webkit-text-stroke-width: 0px; background-color: transparent; font-family: Arial; font-size: 14.6667px; font-variant: normal; font-weight: normal; letter-spacing: normal; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; word-spacing: 0px;"><span> </span>a lot because talking about our imaginary enemy doesn’t sound as cool." </span></i></span></p><p style="text-align: center;"><span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: black; font-family: Arial; font-size: 14.6667px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; widows: 2; word-spacing: 0px;"><span style="color: white;"><span style="font-size: x-small;">Peter Boylan, 2015</span></span><br /></span></p><p><span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: black; font-family: Arial; font-size: 14.6667px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; widows: 2; word-spacing: 0px;"></span> </p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jQa1QTZTZ1GDcAN0f4zuZ5daCju657bDfutrMi0cotNK3GTj6SoX7whfj0vTQZfF6c_2msAMSfxTK2E5OiT8k9Isf0xMMOi5Vr6bSVwpW25zlJhTO9CdqaQfx21RveYsBoHznJgIWEnl/s800/matrix03031.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="335" data-original-width="800" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jQa1QTZTZ1GDcAN0f4zuZ5daCju657bDfutrMi0cotNK3GTj6SoX7whfj0vTQZfF6c_2msAMSfxTK2E5OiT8k9Isf0xMMOi5Vr6bSVwpW25zlJhTO9CdqaQfx21RveYsBoHznJgIWEnl/w439-h184/matrix03031.jpg" width="439" /></a></div><p></p><p><br /></p><p style="text-align: justify;">Before reading this I would like to direct your attention to two other websites that mention this subject:</p><ul style="text-align: justify;"><li><a href="http://budobum.blogspot.com/2015/06/the-problem-of-kasso-teki.html" target="_blank">http://budobum.blogspot.com/2015/06/the-problem-of-kasso-teki.html<br /></a></li><li><a href="https://www.yaegaki-kai.be/see-and-cut-an-invisible-opponent/">https://www.yaegaki-kai.be/see-and-cut-an-invisible-opponent/</a> </li></ul><p style="text-align: justify;">These wonderful articles are published by Peter Boylan and Yuki Kanto/Michael Simonini (the latter being a translation from the book "Shinsa-In-No-Me" and is an article written by Ueno Satanori Sensei, Hanshi 8th Dan Iaido). I think it is important that they are read first as I want to build on them slightly...</p><p style="text-align: justify;">Last week at the end of a Zoom Iaido class I was talking with our budo friends about the necessity of thinking about kaso teki in both a grading and in general training. It took me a few minutes to dredge up all the memories that I had about people talking and teaching things referring to kaso teki. They were very few and far between to be honest. Well, it gets talked about frequently but rarely to any degree of detail or depth.</p><p style="text-align: justify;">In fact even doing a trawl of the internet only came up with the above two articles, almost all other links were just one-line definitions of it. The ZNKR Referees Manual also contains this clause:</p><p style="text-align: justify;"><br /></p><div class="separator" style="clear: both; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwNXAA8aq2rfZVAwajm8YEBEGmfW-oZbNzfDEapm1SXuHzBb72gaVCMiIU2rR6SMdNlKXFxA1yfydbBQKvpFJ2GxTTzk3HZt7MK1IitStwep-FvXQvS6rOyKkTAkmBbPIig2xn2XICEgLU/s945/kasoteki.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="133" data-original-width="945" height="84" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwNXAA8aq2rfZVAwajm8YEBEGmfW-oZbNzfDEapm1SXuHzBb72gaVCMiIU2rR6SMdNlKXFxA1yfydbBQKvpFJ2GxTTzk3HZt7MK1IitStwep-FvXQvS6rOyKkTAkmBbPIig2xn2XICEgLU/w598-h84/kasoteki.PNG" width="598" /></a></div><p style="text-align: justify;"></p><p style="text-align: justify;">I could find nothing the in the range of other budo books that I own; nothing by Donn Draeger, Dianne Skoss, Nicklaus Suino, Karl Friday etc.</p><p style="text-align: justify;"> Let's have a look at the detailed definition:</p><p style="text-align: justify;">仮想 - <i>Kasou</i> Imagination, supposition, virtual, potential (enemy)<br /></p><p style="text-align: justify;">敵 - <i>Teki </i>Opponent, rival, adversary<br /></p><p style="text-align: justify;">So the question being discussed after the Iaido class was, how much attention and focus do we need to give to <i>kaso teki</i>? All of the people in this discussion were planning to take a range of examinations in the near future from 4th dan to 6th dan.</p><p style="text-align: justify;">My response at the time was quite garbled but I will try here to express my opinion on this based purely on my own experience with training in Iaido.</p><p style="text-align: justify;">Firstly, I believe that in my experience we pay a bit too much attention to the more "ethereal" aspects of budo in comparison with the physical and technical. I'm not suggesting that these aspects are not important, they surely are, but I think they get too much airtime. These aspects include Zanshin, Kigurai, Metsuke, Kaso Teki. The reason why I think they get more attention than they deserve is very simple - they are not difficult to do if you pay them just a small amount of attention. To be flippant about this I am pretty sure that I could train anyone, during a one-day training session, to represent convincingly all of these aspects. The first thing to note about them is that one can do them sincerely or one can fake them and I challenge anyone to be able to even identify the difference...</p><ul style="text-align: justify;"><li>Zanshin - "Do the final part of the kata much slower like you're moving through mud except for any bits where you need to make the sword move quickly like in chiburi and noto."</li><li>Kigurai - "Keep your back and neck straight so that you look like a peacock and try to look down your nose. Closing your eyes slightly also helps."</li><li>Metsuke - "Look in the direction that I tell you and after cutting the final enemy then look down slightly."</li><li>Kaso Teki - "Make the cuts in the right direction and position."</li></ul><p style="text-align: justify;">In fact the last one, Kaso Teki, is perhaps the only one that requires some coordination and skill with the sword. </p><p style="text-align: justify;">Now, what really is the difference between faking these aspects and doing them sincerely? Can you really look into another person's mind and see if they have true belief and sincerity about these aspects? Well, maybe a bit, but not reliably and how would you know?</p><p style="text-align: justify;">My humble opinion is that these are <u>products</u> of dedicated physical, but mindful, training. Patching them on like some go-faster stripes on the side of a car doesn't necessarily improve the quality of the Iaido. Let's take Zanshin as an example. As I previously said, you could "fake" Zanshin by doing the end of the kata considerably slower (although how that would work with Okuden I'm not sure). But of course what you should be demonstrating is a degree of care and attention to your surroundings at the theoretical end of a kata. But again I ask, how would you tell the difference between faking it and a sincere expression? I think a good answer might be, train yourself to a degree where you might actually survive to the end of a theoretical fight, then put this into action in a kata and then you might, kind of, sort of,well, umm...<i>feel</i> Zanshin.</p><p style="text-align: justify;">I'm laboring this point because I have heard in the past, more than a few people saying <br /></p><p style="text-align: justify;">"I must have done the kata well because I can visualize all the dead enemies around me."</p><p style="text-align: justify;">...can you see the pointlessness of that statement? What if my response was </p><p style="text-align: justify;">"Oh that's weird, because I see three people all standing smugly over your eviscerated corpse."</p><p style="text-align: justify;">It doesn't really lead anywhere does it? We are having an unfalsifiable argument.<br /></p><p style="text-align: justify;">So, getting back to the Kaso Teki discussion. I now stand on the shoulders of the previous two articles and the one excerpt and state my opinion as:</p><p style="text-align: justify;"><b>An acceptable level of performance in showing Kaso Teki is doing the technical aspects of the form with the correct geometry and appropriate tempo along with looking in the right direction so that the technical form would be effective and represent what the exponent would almost certainly be doing in that combative situation dictated by the logic and situation of the kata.</b></p><p style="text-align: justify;">I sincerely think that anything beyond this, any inner visualization of the enemy in order to intensify the feeling of the form is entirely personal to the exponent. If this goes to an excessive degree though then it is likely that the exponent will enter a zone of self-delusion concerning the effectiveness of their performance. As Kusama Sensei has said at a number of European seminars (where I had to stifle my embarrassment while translating) </p><p style="text-align: justify;">"If you do form repetition without attention to technical detail then this is just masturbation." </p><p style="text-align: justify;">So from my opinion in bold above, if one removes reference to technical correctness, timing and metsuke (which are considered as separate necessities) ...there isn't much left really is there? It's almost like "Kaso Teki" becomes a justification and metric for doing the form correctly. </p><p style="text-align: justify;">When it comes down to it, isn't it just a useful tool for establishing if you're doing the form correctly? To borrow an understanding from Peter Boylan's post, isn't it just a temporary alternative to not having a real partner there against whom to establish if you're being accurate with your attacks?</p><p style="text-align: justify;">Sure, you can visualize even a moving opponent in order to understand the timing and speed that you need in order to win a particular moment (the two kirioroshi in Morotezuki come to mind here; many people believe the opponents are static; Ishido Sensei has in the past demonstrated that they are not and what you really have to do in order to win each encounter). </p><p style="text-align: justify;">Where I think the monsters live though is:</p><ul style="text-align: justify;"><li>Justifying to yourself that your technique must be superior because your Kaso Teki reacted appropriately to your attack (e.g. they died - dramatically).</li><li>Pretending that you can see someone else's Kaso Teki based on something other than the physical performance (i.e. technical correctness, accuracy, metsuke and appropriate use of speed, power and timing) of their form.<br /></li></ul><p style="text-align: justify;"><b> </b>During this rather long lockdown period, it has been something of a blessing for me as the restriction that Zoom sessions have on being able to coach effectively has meant that I have been doing far more training myself than I usually would. During some really nice sessions with the Loki-Ryu (!) crowd on Sunday mornings, I have been able to completely focus on my own training. For ZNKR training I have been mostly doing them slowly and methodically, analysing how techniques respond to small changes in effort and timing. On a few occasions I have taken my foot off the brake and allowed myself to try to do the form as if it were a real fight. Even at these times, I don't find dedicating lots of brain power into literally visualizing a person there does anything to improve the performance. For all the mental processes going on in ones brain, all the little plates that need to be kept spinning, there are far more useful and effective ones to dedicate resources to than trying to paint a picture of a ninja/ronin/samyoooorai in my head. Even sensing how ones centre of mass is moving and changing while stepping is far more rewarding and improving than doing this kind of deep visualization of an enemy. I can see if my cuts are straight and I can develop good cutting technology without having to think about an organic target.</p><p style="text-align: justify;">I am passionate about this because I think that Iaido, being a generally solo training art, already has a susceptibility to lead to self-delusion and...well...a kind of "legal in public" masturbation. Too much theatre (which I have always been pretty talented at) is not a good thing for long term and consistent development of one's Iaido. At some point you have to be honest and ask yourself if your technique is as good as you imagine it is.<br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"> </p><p style="text-align: justify;"> </p>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com3tag:blogger.com,1999:blog-7380831531289624078.post-8231627741630809152019-05-28T09:56:00.000+01:002019-05-28T10:38:17.233+01:00Iaido Gradings - Getting Ready (read 1 year before yours)<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: justify;">
<span style="font-family: "arial" , sans-serif;">I just enjoyed a very pleasant 5 days in Zawiercie for this year's Polish
Iaido and Jodo Championships. There were examinations for both with iaido going
up to and including 4th dan. I only sat on the 4th dan panel and only 1 out of
4 candidates passed. Those that failed came up to me afterwards to ask for some
feedback and advice and I wasn't able to offer much. The problem was that no
one made any big mistakes, I believe the main reason for not passing was a
conglomeration of many minor errors. What has become very obvious to me is that
Jodo technical performance is much easier to self-evaluate as the visible
effects are there and a good partner will also provide some feedback. Not so
with Iaido of course.</span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: justify;">
<span style="font-family: "arial" , sans-serif;">I wanted to write this
short post especially for those who didn't pass but I hope it will be useful to
many.</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: justify;">
<span style="font-family: "arial" , sans-serif;">Firstly I don't believe
that any of the failures were due to not enough "practice"; everyone
looked quite strong and vigorous. If one reads the earlier posts in this
blog I think you will see where I am heading. To cut a long story short I will
explain the main preparation for my iaido 6th dan in a few short paragraphs.</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: justify;">
<span style="font-family: "arial" , sans-serif;">Every Wednesday evening
that I went to the dojo I would be videoed by a dojo elder, Tony Brocklebank.
He would transfer the few embu that I did onto VHS and give me the latest
recording a week later. I would then, at home, review every recording and make
a note (actually a spreadsheet) of:</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
</div>
<ol start="1" style="margin-top: 0cm;" type="1">
<li class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify; vertical-align: baseline;"><span style="font-family: "arial" , "sans-serif"; mso-fareast-font-family: "Times New Roman";">Which
particular kata were giving me problems and<o:p></o:p></span></li>
<li class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify; vertical-align: baseline;"><span style="font-family: "arial" , "sans-serif"; mso-fareast-font-family: "Times New Roman";">Which
individual technical components were giving me problems.<o:p></o:p></span></li>
</ol>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: justify;">
<span style="font-family: "arial" , sans-serif;">I would then focus all my
training on those problem areas until they were up to the same level as
everything else. With the one week delay between being videoed and seeing the
video, then the three to four weeks of repair-and-improve training and then a
one week video check, this meant that all problems went through an approximate
6 week cycle. This would of course overlap other video cycles so there was
always a variety of things to do. </span><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: justify;">
<span style="font-family: "arial" , sans-serif;">The main point was though
that it forced me to do frequent, detailed self-evaluations. This has become my
regular approach to training (although these days with mobile phones and
great apps like "Coaches Eye" this has a much shorter feedback loop).
I thereby become responsible for identifying all of my shortfalls and doing
something about it. I know which are my strong techniques, which are my weak ones
and what to do to make improvements. </span><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: justify;">
<span style="font-family: "arial" , sans-serif;">This is, I believe, a key
stage of preparing for a grading. Allow me to reiterate:</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
</div>
<ol start="1" style="margin-top: 0cm;" type="1">
<li class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify; vertical-align: baseline;"><span style="font-family: "arial" , "sans-serif"; mso-fareast-font-family: "Times New Roman";">Regular
(like <u>every</u> week) videoing.<o:p></o:p></span></li>
<li class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify; vertical-align: baseline;"><span style="font-family: "arial" , "sans-serif"; mso-fareast-font-family: "Times New Roman";">Self
analysis and training planning at the same frequency.<o:p></o:p></span></li>
</ol>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: justify;">
<span style="font-family: "arial" , sans-serif;">And I also think that this
is what was missing from the training schedule of those that failed 4th dans. I
don't think they actually know what they look like when they do an embu, or at
least, I didn't get that impression.</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: justify;">
<span style="font-family: "arial" , sans-serif;">For more information on
this I introduce the entire rest of my Shugyo Blog….</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt;">
<div style="text-align: justify;">
<br /></div>
</div>
<b id="docs-internal-guid-4dfbcd20-7fff-d9c9-785b-7353a91e6e24" style="font-weight: normal;">
</b>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com4tag:blogger.com,1999:blog-7380831531289624078.post-80262782881469089732018-10-14T09:30:00.003+01:002018-10-15T11:59:36.535+01:00Translation of Shimizu Sensei's notes in Jodo Kyohon and a Quick Reference GuidTo assist in the delivery of last weekend's Jodo Koryu Seminar I distributed the following documents to the attendees. <div>
<br /></div>
<div>
They are here at these links if you would like them...</div>
<div>
<br /></div>
<div>
<a href="https://drive.google.com/file/d/1FQwINdonkz5J3S5H8BXbN-GTbhJ76EI2/view?usp=sharing" target="_blank">Shimizu Sensei's Notes</a></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<a href="https://drive.google.com/file/d/1RknmQDan0EzPnmHRUTM3GU5wM6Q6Buf-/view?usp=sharing" target="_blank">Quick Reference Guide</a></div>
<div>
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://upload.wikimedia.org/wikipedia/commons/7/73/Shimizu_Takaji.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="334" data-original-width="214" height="320" src="https://upload.wikimedia.org/wikipedia/commons/7/73/Shimizu_Takaji.jpg" width="205" /></a></div>
<div>
<br /></div>
Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-2079168725456613882018-03-25T13:29:00.001+01:002018-03-25T13:29:33.919+01:00Sword balance researchYou should just come and do this, it only takes five minutes. I will share all the results when completed...<br />
<br />
<a href="https://www.facebook.com/jaswoba/" target="_blank">Facebook Sword Balance Research Page</a><br />
<br />
Or you can go straight to the survey...<br /><br /><a href="https://docs.google.com/forms/d/e/1FAIpQLSeEBaOW_bkBHWUT4vcuTdDh3UTUBBV46fizOq4sGlmddqg22g/viewform" target="_blank">Sword balance survey</a> <br />
<br />Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-81177586034423199352018-03-13T19:27:00.002+00:002018-03-13T19:27:07.684+00:00Unpacking A Koryu Kata<!--[if !mso]>
<style>
v\:* {behavior:url(#default#VML);}
o\:* {behavior:url(#default#VML);}
w\:* {behavior:url(#default#VML);}
.shape {behavior:url(#default#VML);}
</style>
<![endif]--><br />
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves>false</w:TrackMoves>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-GB</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0cm;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]-->
<br />
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
At a
recent Muso Shinden Ryu Keikokai, I presented a brief explanation on what I had
learned from, primarily, Ishido Sensei but also from other prominent teachers
as well in terms of what is actually in a kata. </div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
Most
of us I’m sure are familiar with the meaning of kata (<span lang="JA" style="font-family: "MS Mincho"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">形</span>)
meaning shape or form of something. As Jock pointed out at the Keikokai, there
is a lot more content within the learning of koryu than just the easily visible
and physical shape of the form. Given that we all have a limited amount of time
available to learn and practice budo, the habit of “collecting” koryu kata is
in direct opposition to the ability of being able to develop “depth of
knowledge” of any kata. While we shouldn’t spend the rest of our lives learning
how to bow to the shomen, the learning of all aspects of a kata is what makes a
study of budo interesting and worthwhile rather than just a rehearsal of
choreography.</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
I
have heard Ishido Sensei explain how kata can fit into certain categories, how
it can be parsed into components and separated into variances. Furthermore the
performance of a kata should change as the exponent develops themselves. In
this way, while the koryu might be described on the surface as a set of
choreographed movements, it becomes something of a living and growing organism
that gets born when it is learned and develops and then dies with the exponent.</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
Anyway,
away from contemplating ones navel, being someone who relies on visuals and
patterns to describe and remember abstract stuff, I built my own appreciation
for a kata on a set of views and components of each kata. It goes something
like this (in fact it goes exactly like this).</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<br />
<ul>
<li><h3>
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>1. Kihon waza<span style="mso-spacerun: yes;">
</span><span lang="JA" style="font-family: "MS Mincho"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">基本技</span></h3>
</li>
</ul>
<br />
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuV_wVbWfcnAQO23SuCnQyn3TUSCSxRx9_BfExruCgUdxmrUacLs8jfHnFg7_0XifYxvfLdwZqv4T1BYVrxNXMYSxAczWcq7drputMtttSi2tlDsgCRD5MZqKL8ve9zI3tcnmIomIDIRqG/s1600/Slide1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuV_wVbWfcnAQO23SuCnQyn3TUSCSxRx9_BfExruCgUdxmrUacLs8jfHnFg7_0XifYxvfLdwZqv4T1BYVrxNXMYSxAczWcq7drputMtttSi2tlDsgCRD5MZqKL8ve9zI3tcnmIomIDIRqG/s400/Slide1.JPG" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
The
kata is originally described and taught by its kihon, its basic form. This
describes roughly what the techniques are, what is the scenario, what the
enemies are doing and where they are. It is what one sees when one reads a book
on the style and sees the kata, what one learns in the first few months of
studying a new kata. It is, unfortunately, what one can mistake for being the
important thing to learn. It is of course the basic architecture and is of
paramount importance to learn correctly and preserve. One shouldn’t think
though that because they have learned the choreography that one has mastered
the kata. It is the framework for further study and discovery, some via ones
teacher, some through solo training and research.</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<br />
<ul>
<li><h3>
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span>2. Teigi <span lang="JA" style="font-family: "MS Mincho"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 定義</span></h3>
</li>
</ul>
<br />
<div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<br /></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF2wqmk0sFRBC7ymaXvUlebU7PvZAkhTsKS94WwomrbUYwpEj9AdYUGM5pWpHf9gawqm2LyC5d_QtVSz4lPDLtHSE3549E3S10Vn4NnXXwF33j7k_yZ2LFFmAcd2UePLZn09hBBqbPAeHv/s1600/Slide2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF2wqmk0sFRBC7ymaXvUlebU7PvZAkhTsKS94WwomrbUYwpEj9AdYUGM5pWpHf9gawqm2LyC5d_QtVSz4lPDLtHSE3549E3S10Vn4NnXXwF33j7k_yZ2LFFmAcd2UePLZn09hBBqbPAeHv/s400/Slide2.JPG" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
The
route to explaining this becomes a bit mixed up here so please bear with me. In
terms of deconstructing the kata, Teigi and Gainen should be explained in
parallel. However in terms of the order in which one learns and discovers the
depths of the kata, teigi is probably learned first followed by Oyo and then
Gainen.</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
Anyway,
teigi means “definition” and in this context it is the fine detail, like the
geometry or techniques and postures which go on to give finer and finer
information concerning the kata. It is important to understand the teigi as
these give vital information about how to deliver the kihon waza “correctly”
and thus preserve the koryu accurately. An example of this might be (and this
example was used at the Ishido Cup in 2018) how one defines hasso kamae, i.e.</div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo2; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Tsuba one fist away from the mouth</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo2; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Kensen elevated to approximately 45°</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo2; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Hasuji inclined forwards</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo2; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Left hand at the centre of the body</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo2; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Body slightly turned</div>
<div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Etc. </div>
<div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<br /></div>
<br />
<ul>
<li><h3>
3. Oyo<span style="mso-spacerun: yes;"> </span><span lang="JA" style="font-family: "MS Mincho"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">応用 </span></h3>
</li>
</ul>
<br />
<div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIuSOqKWMY15IzVGphJIJS7pjxs41QxSDp33bft0Auj6vFFrMkb-6NEbrbKO31dR8f-Qu0Oj_yO38e8KRsN_LXxhJxQs8WkwgxP-LiXyGQeu_8qeFuldLegxZWUmHRnpqvUvaz5gybl7Wt/s1600/Slide3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIuSOqKWMY15IzVGphJIJS7pjxs41QxSDp33bft0Auj6vFFrMkb-6NEbrbKO31dR8f-Qu0Oj_yO38e8KRsN_LXxhJxQs8WkwgxP-LiXyGQeu_8qeFuldLegxZWUmHRnpqvUvaz5gybl7Wt/s400/Slide3.JPG" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
Oyo
means application, to put the kata into practical usage. For exponents this
means three things:</div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo3; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Through a volume of training, certain parts of
the kata become very fluid and natural. This leads to edges and corners
becoming rounded off both in terms of physical movement and timing. While the
overall shape of the kihon is still there and visible, this is how the form
should look when put into action.</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo3; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>That certain parts of the kata may actually be
omitted or changed. The kata looks almost the same as the kihon but the parts
which were originally included to explicitly train the body are now made so
subtle that the kata may look different.</div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo3; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>That this may form another version of the kata
(a kaewaza) meant to show how the basic technique leads to a more fluid and
flexible version.</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS Mincho"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"></span></div>
<br />
<ul>
<li><h3>
4. <span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Gainen<span style="mso-spacerun: yes;"> </span><span lang="JA" style="font-family: "MS Mincho"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">概念</span></h3>
</li>
</ul>
<br />
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="mso-no-proof: yes;"></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEM2G2Bezdu1UOSQmKw_jEaVaqHbSsRA6pwtxTLa9QG-mNXT5odb8BbZnMmCDTTdm-rz7nx9uSzNvcdPJTUeioXv1rHM_ynEQpCRuX8eYMDKMx-qVJ9YSSArjOQLhKaTLbpi1gFO3S8-41/s1600/Slide4.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEM2G2Bezdu1UOSQmKw_jEaVaqHbSsRA6pwtxTLa9QG-mNXT5odb8BbZnMmCDTTdm-rz7nx9uSzNvcdPJTUeioXv1rHM_ynEQpCRuX8eYMDKMx-qVJ9YSSArjOQLhKaTLbpi1gFO3S8-41/s400/Slide4.JPG" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
At
some point in the training, the exponent begins to learn that individual
techniques within, or the kata as a whole, is composed of one of more practical
concepts or ideas. These are different to teigi in that they rarely have
definitive qualities like dimensions or strict physical criteria. Instead they
have uses. The example that Ishido Sensei gave was, how would one define
Ukenagashi. Looking at its presence in Seitei and in Muso Shinden Ryu for
example, it is used in a typical flowing way with the sword declined to allow
the opponent’s sword<span style="mso-spacerun: yes;"> </span>slide off the defending
sword. However, the kensen may be elevated to make Ukenagashi or even flat. It
doesn’t have teigi (definition), it exists only as a concept. In ZNKR iaido for
example, it is used as a style of making furikaburi in the most efficient way
possible.</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
On
examination, a kata may be trying to instill a gainen to the student or it may
make use of concepts to construct the kata.</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<br />
<ul>
<li><h3>
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">5. <span style="font: 7.0pt "Times New Roman";"></span></span></span>Kotsu<span style="mso-spacerun: yes;"> </span><span lang="JA" style="font-family: "MS Mincho"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">骨</span></h3>
</li>
</ul>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeVfnIUI0ST-jCpZHXRU_1Hth38LR42TaY31Fw2NswBzI73NQZt3gtCGApD6yr3sfRb0hZ4aB9yCMhWsxxlDwb17RsEYdsIxdns7OwRtyb_44uuiz5SLxFSPTvyA0_w11sb-3Pq2Cq0rq5/s1600/Slide5.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeVfnIUI0ST-jCpZHXRU_1Hth38LR42TaY31Fw2NswBzI73NQZt3gtCGApD6yr3sfRb0hZ4aB9yCMhWsxxlDwb17RsEYdsIxdns7OwRtyb_44uuiz5SLxFSPTvyA0_w11sb-3Pq2Cq0rq5/s400/Slide5.JPG" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="mso-no-proof: yes;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
Kotsu
is the Chinese reading of the Japanese word for “bone”. In this context, kotsu
means knack, skill, secret or know-how. In my opinion, it is the slightly
concealed kernel at the core of every kata which one has to search for and
master in order to really “know” the kata. I believe personally that a kata may
have one or several such kotsu but essentially they are the key skills that one
is aiming to develop through learning, researching and training the kata. From
Ishido Sensei’s explanations it seems fairly clear that the kotsu can be
divided into two main categories (which aren’t so strikingly different from
each other):</div>
<br />
<ul>
<li><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Jokyo – situation, how to deal with one
particular scenario</li>
</ul>
<br />
<ul>
<li><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Toho – methodology or swordsmanship, how to use
the sword in a certain way</li>
</ul>
<br />
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
So
what’s the point of all this then? I should here point out that this parsing of
the kata into different aspects does not reflect the importance or priority of
one aspect over another. The kihon is not more or less important that the
kotsu. Without one or the other the kata makes no sense and has no practical
usage or method of learning. </div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="mso-no-proof: yes;"></span></div>
<br />
<ul>
<li><h3>
6. Kaewaza 変え技</h3>
</li>
</ul>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqIcTEDxsTDbTkyBx0U-SIha9dPBSYqoH2kLIe4C8k_HzYGSRK0O2CMpazLhSgU-Z5NfU0Hh58QrpTXbLeH6nkJo89c60QL2ziBQFAf_OOAsFJiZzxdrncIB7De567GRqkfo0w57556So0/s1600/Slide6.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqIcTEDxsTDbTkyBx0U-SIha9dPBSYqoH2kLIe4C8k_HzYGSRK0O2CMpazLhSgU-Z5NfU0Hh58QrpTXbLeH6nkJo89c60QL2ziBQFAf_OOAsFJiZzxdrncIB7De567GRqkfo0w57556So0/s400/Slide6.JPG" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
Ultimately
it is possible to make enough changes to the Teigi that the architecture of the
form is slightly different and takes the shape of “kaewaza” <span lang="JA" style="font-family: "MS Mincho"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">変え技 </span>or
alternative form. The gainen within and the main kotsu may be the same, it is
the outside form which is likely to be different.</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
As a close, I should point out that these aren't strict definitions or meanings. The order in which they are taught or learned may vary kata-to-kata, ryuha-to-ryuha, teacher-to-teacher, student-to-student. The importance, I believe, is that one shouldn't be satisfied with the learning of a kata until all of these aspects are assimilated. One need only then go onto master the various aspects until....one dies. Then let's hope one has written enough blog posts to accurately pass on this knowledge to the next generation.<br /><br />LOL</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com5tag:blogger.com,1999:blog-7380831531289624078.post-74810962107247642462017-11-30T13:12:00.002+00:002017-11-30T13:12:43.846+00:00European Championships Organisation (and scraps of paper found on the floor)So, while Stoj was tidying up my house (otherwise known as reducing the universal entropy by a quantum fluctuation) she came across a scrap of paper that I had scribbled out from the last European Jodo Championships. It was some feedback from Kurogo Sensei about how we might consider improving the organisation of the Championships so that it ran a bit smoother on the day. He was quick to point out that these were just his ideas and weren't "direction" by any means.<br />
<br />
I thought it would be useful to replicate those points here and they are almost as relevant for a European Iaido Championships (except the stuff about Uchidachi of course):<br />
<br />
<ol>
<li><b>Referee rotation system: </b>This should be decided before the day of the taikai between the EKF, the host country, the ZNKR shinpan and the referees themselves. Rather than just talking about the procedure at the shinpan seminar, it should be decided how many bouts will take place before a rotation occurs. This shouldn't be decided on the morning of the taikai but in fact all referees should arrive at the taikai knowing completely how the day will run so that they can concentrate on judging only.</li>
<li><b> Opening commands:</b> It should also be decided and explained how the taikai will open with regards to the commands made by the shinpancho and the shinpan at the first match of the day. It should also be confirmed how the final matches will run with regards to the closing commands (how many shomen no rei to do for example). This needs to be confirmed with the competitors as well so that they don't have to listen to instructions before going out to the finals and they're not called back to the shiaijo after the last final has finished (as happens almost every year).</li>
<li><b>What to judge on: </b>This is a point for Jodo, it should be clearly agreed what the judges are judging on during the taikai with regards to it being either jo only, jo and tachi equally or jo mainly with a nuance of tachi.</li>
<li><b>Restriction of dan grade of Uchidachi: </b>While it may be written in the rules, it is important that the restriction of dan grade of the Uchidachi (within 2 dans of the Shijo) is clearly explained and confirmed. This is important as if a shinpan suspects that an Uchidachi is beyond the two grade limit then they have to stop the match and reset it possibly. There is no clear procedure for this so it is best that it never occurs through clear explanation.</li>
<li><b>Match records</b>: It should be clearly explained to each Shinpan Shunin how the matches will be recorded on the paperwork. Usually there are three Shinpan Shunin from the ZNKR and one from Europe and it might be constantly changing how the matches will be ordered and recorded. The host country with the EKF should ensure that this is confirmed with the Shunin each year.</li>
</ol>
<br />
I just also would like to mention something that happened at this year's EJC which was very interesting. When we got to the finals, Kurogo Sensei selected the finals shinpans. It was pointed out that some of the judges were of the same nationality as the finalists. Instead of replacing them, Kurogo Sensei explained that by the time we got to the finals, every shinpan should be able to judge fairly and accurately regardless as to whether they were judging their own country.<br /><br /> While I realise that this is currently against our regulations, I thought it was a nice touch and I would welcome a time in the future when all of our referees are able to judge without bias and take some regard for the extreme time and effort every competitor has put into their training to be there. Judging should be hard work and not simply an opportunity to sit back and wait to be impressed or see an obvious fault.<br />
<br />
<br />Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-49116556173717010202017-03-28T16:56:00.000+01:002017-03-28T22:39:27.252+01:00Some Traditional Ways To Do Kesagiri Incorrectly<div class="separator" style="clear: both; text-align: center;">
</div>
So I am now approaching the one-year boundary to taking my 7th dan grading in Iaido and achieving Level 10 Paladin status (with a +8 vorpal blade to boot). Naturally this means I now have to focus on the important things in life to prepare:<br />
<ul>
<li>Watching more Youtube</li>
<li>Starting to write more blogs</li>
<li>Procrastinating about finishing them</li>
<li>Doing the washing up</li>
</ul>
So in this theme of avoiding doing any training at all costs, I thought I would spend some time in the dojo filming my students and commenting about how they are "still doing it wrong, you never listen, why am I even here if you don't listen, I told you this last week etc, etc, etc" so I ensure that they feel that they are properly valued.<br />
I decided to turn my focus on Kesagiri, a form that somehow gets little attention compared to other Seiteigata so by my reckoning probably means that we (I mean me) are missing out some essential bits.<br />
Let's start at the beginning with the translation of the ZNKR instruction on the most important part in this path to spiritual perfection - hacking your opponent in two...<br />
<br />
<ol>
<li>While facing the front, begin walking with the right foot; when the left foot is in front quickly place both hands on the sword. Rotate the saya left and down while drawing the sword; at the same time that the right foot moves forwards, with a right-handed grip cut the enemy in front from their right wakibara in a reverse kesa cut. Note - when the sword has cut up, the sword should be rotated when the right fist is above the right shoulder.</li>
<li>With the feet in the same position, with the left hand bring the saya back to it's original position, release the koiguchi and grip the tsuka; without stopping the sword from the rising cut, cut the enemy from the shoulder joint down through the kesa. Note - at the end of the cut, the alignment of the left fist and the kissaki should be the same as Kata No. 3 Note on Point 2.* </li>
</ol>
* This refers to the kissaki being slightly below horizontal and slightly to the left with the left hand in front of the navel<br />
<br />
I'm going to stop there because I don't want to get into how to make hasso kamae etc.<br />
<br />
In the chakuganten (critical points for examination and judging) the significant one of the two is asking whether the rotation of the sword is made above the shoulder or not.<br />
<br />
So these are the bits which are "decided"; we also receive various bits of advice and instruction from our Japanese patron teachers over many years including:<br />
<br />
<ul>
<li>The two cuts should be joined into one</li>
<li>The initial draw should make a pressure to the enemy's face</li>
<li>The distance to the enemy for both cuts is the same</li>
</ul>
I think these are generally inarguable as they have been instructed by a very wide range of teachers, both from official delegations to private invitations. <br />
<br />
So, the fun began by seeing how each cut related to each other when I started torturing (aka filming) certain students. I present here a small sample of those movies and I am grateful to those who allowed me to make these images. Not to be outdone by Yuki Shima's Jodo blog (with animated images) I thought I would waste some time doing the same.<br />
<br />
Oli is first...<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dy_AiSLaUWak_kTQBKShA6mm5ZW0xX9JRYymBOE2_30O1dTk75hgZH4uN-xWjCS7lBUgvexPj8ubZyGUPeJFQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
<br />
I should add here, before Oli falls on his sword, this was the worst case out of three movies that I took but I would say pretty typical of what most people do.<br />
<br />
I have combined a sequence with no enemy and with an enemy in the following clip...<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYqdZaayAficzwEOTVRzcxvYV27La6arNPliyQPIyF_4UPgRSYEGyHTRn0JKpZAAG3alPr8dPwMgjUtcyk3UyDaTXGwOY4Z6_keHwj6_30dfDJ636XG_h2y23nowGzoA-dIXtJ68qIfVzc/s1600/output_ZcbgZh.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYqdZaayAficzwEOTVRzcxvYV27La6arNPliyQPIyF_4UPgRSYEGyHTRn0JKpZAAG3alPr8dPwMgjUtcyk3UyDaTXGwOY4Z6_keHwj6_30dfDJ636XG_h2y23nowGzoA-dIXtJ68qIfVzc/s400/output_ZcbgZh.gif" width="400" /></a></div>
Again you can see that the course described by the kissaki on the uppercut shows an opponent that is so close on the downward cut that they would likely be hit the hands or the tsubamoto rather than the monouchi.<br />
<br />
You might now also start to see some extra lines showing one of the probable causes.<br />
<br />
Let's look at Will next. Firstly just the cutting lines...<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdRHyF-fiPXhwKy-oqPtqoZDx9facUzUAsd6iXdOuTPFWVwwKcj824seGpwUDq-plf8RHouAzLw012mgDOO45Mzj1Q7O4TXxk5woLIO_w4-QzS7ZKl8UV1AmV4UKTdiokgdz3TGnqrxKDG/s1600/output_Jj82KB.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdRHyF-fiPXhwKy-oqPtqoZDx9facUzUAsd6iXdOuTPFWVwwKcj824seGpwUDq-plf8RHouAzLw012mgDOO45Mzj1Q7O4TXxk5woLIO_w4-QzS7ZKl8UV1AmV4UKTdiokgdz3TGnqrxKDG/s400/output_Jj82KB.gif" width="400" /></a></div>
You will notice that Will's uppercut has a bit more of an outreach than the other examples. Let's see it with Mr K.Teki in the image...<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbasxJ8RpTm3xuUQTsy8G3ATj9kDU6kFI26P1u0krSEur2CJJ93bkLJAmR8levkP4vzE7xIK6PZoZsOJz2_3tg6-R-tExSYRJyKW4lVYUJ9xbIKP4lX4B27B6uGWL-3i8HA91ETyHIxuH4/s1600/output_yLgiUp.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbasxJ8RpTm3xuUQTsy8G3ATj9kDU6kFI26P1u0krSEur2CJJ93bkLJAmR8levkP4vzE7xIK6PZoZsOJz2_3tg6-R-tExSYRJyKW4lVYUJ9xbIKP4lX4B27B6uGWL-3i8HA91ETyHIxuH4/s400/output_yLgiUp.gif" width="400" /></a></div>
So, while it isn't perfectly aligned for both cuts, this is slightly better; Will's downward cut is using the centre of the blade. I should also point out another couple of interesting observations:<br />
<br />
<ol>
<li> I haven't made markings of Will's changing foot positions during this sequence because they don't move.</li>
<li>The red circle at the end of the sequence shows the intersect point. This is where the upper cut and downward cut have the sword in the same position (albeit with the hasuji rotated) and so show that the sword position is defining the enemy's position as being the same.</li>
</ol>
So, now onto Perfection itself i.e. me.<br />
<br />
I should point out that I asked myself to be filmed after:<br />
<ul>
<li>Watching and filming other people doing Kesagiri</li>
<li>Spotting this issue with distance</li>
<li>Thinking carefully about the causes</li>
<li>Trying hard to implement solutions</li>
</ul>
So basically I cheated. Anyway, here I am in glorious normal speed...<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dy-Sd2qomflTYEgKhzJ5GzYsKlfUsYudhSM_6uKYKqimTX3TLjj6t3dj63pYmDl9srnRLIhnEMJT4_SF3aB1A' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
<br />
You can then see the kissaki course lines and my front foot positioning...<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz3KEIJRYcN5To1hANTy7xOYeeoQjD-zi7YIjAlI7QoI3AXlOfDkXES1pJG5erBJGZHPeMLxe9Hcs3qXZOc3liA3zh3fok_OWZcqEu8Z0GztnvdKw5oAEr4M6nPbyWWdBg93zAP-DyZf__/s1600/output_wNkNCY.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz3KEIJRYcN5To1hANTy7xOYeeoQjD-zi7YIjAlI7QoI3AXlOfDkXES1pJG5erBJGZHPeMLxe9Hcs3qXZOc3liA3zh3fok_OWZcqEu8Z0GztnvdKw5oAEr4M6nPbyWWdBg93zAP-DyZf__/s400/output_wNkNCY.gif" width="400" /></a></div>
You will notice that the intersect point is quite low now with this version. I then superimposed Mr K.Teki and also emphasised the entry points of the sword by turning my shinken into a nice yellow light sabre...<br />
<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVcCFFWzB9532Uj5rWTBZ2LSq8czaFtPflCwdDkQqPcfxQjExjL8XpXytL-lLBjF_tehryYUH-Eds6FABApC4eynbeWCQM-P3M-f-PAIpWA3Nk0bVUKiDPz3TfD1akjGi6KhJ_NVMv26iE/s1600/output_NfGO7p.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVcCFFWzB9532Uj5rWTBZ2LSq8czaFtPflCwdDkQqPcfxQjExjL8XpXytL-lLBjF_tehryYUH-Eds6FABApC4eynbeWCQM-P3M-f-PAIpWA3Nk0bVUKiDPz3TfD1akjGi6KhJ_NVMv26iE/s400/output_NfGO7p.gif" width="400" /></a></div>
Not perfect by any means (the camera perspective here doesn't help much either) but the point I am trying to make is that to enhance one's Kesagiri one should try to ensure that the entry part of the upper cut and the downward cut both use a reasonable portion of the monouchi and not the kissaki going up and the tsuba coming down. The position of this intersect point is crucial to doing this right. The higher the intersect point is then the less chance that a correct paired cut is made.<br />
<br />
For example:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0lVbSpleML2v-tR27CatFo-C_Y90cRMfy2m1Ncv9ABEqsjJe0FX-AO59f9l4-Q3IBgaDVk1mGtEcs6eRB9gnKouzWgDq5vEVR6bZrF834Uhc8fJZlVtBE4SRtE_5rhg-FkD_H58Jewx4t/s1600/Comparison+of+intersect+point.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0lVbSpleML2v-tR27CatFo-C_Y90cRMfy2m1Ncv9ABEqsjJe0FX-AO59f9l4-Q3IBgaDVk1mGtEcs6eRB9gnKouzWgDq5vEVR6bZrF834Uhc8fJZlVtBE4SRtE_5rhg-FkD_H58Jewx4t/s320/Comparison+of+intersect+point.jpg" width="176" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
So I think from some of the observations from these clips, the causes of a distance mismatch can be boiled down to:<br />
<br />
<ul>
<li>The body moving forwards after the entry point of the upper cut. This can be further broken down to:</li>
<ul>
<li>The front foot continuing to move forwards </li>
<li>The rear foot being pulled up afterwards (Oli's case)</li>
</ul>
<li> The right arm being pulled up too quickly after sayabanare or the right arm being too contracted during the uppercut</li>
</ul>
This latter point I actually noted back in a previous posting...<br />
<br />
<a href="http://iaidojodotraining.blogspot.co.uk/2011/02/iaido-training-session-44.html" target="_blank">Iaido Training Session 44</a><br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh75KKm3qNxTBiV1TlEcouZv7ajAxnSZe5uDk-G5P4xKkzPh34C96EhBYohRhJA31M67TpiCUOlL5S1C72MXRA_XptLJ1AlI8jd-HWT5L2_rbJi00s4N_t9Po2GfhImx0mVdt6aVWWYlyXM/s1600/Kesagiri.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh75KKm3qNxTBiV1TlEcouZv7ajAxnSZe5uDk-G5P4xKkzPh34C96EhBYohRhJA31M67TpiCUOlL5S1C72MXRA_XptLJ1AlI8jd-HWT5L2_rbJi00s4N_t9Po2GfhImx0mVdt6aVWWYlyXM/s320/Kesagiri.jpg" width="320" /></a></div>
The course on the left is fairly typical with the right arm dragging the sword up instead of using the tenouchi to drive the kissaki forwards. This shouldn't mean drawing the sword downwards so that the kissaki hits the floor. Ishido Sensei has demonstrated time and time again how leaning forwards doesn't help at all.<br />
<br />
To continue this analysis, I have had to call upon the help of a friend of mine. Ladies and gentlemen, for his first time on Shugyo - Iaido and Jodo Training Blog - please let me introduce Arthur...<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg64mAiqe2ox0iy-FnFITLN46XD3faHZ7eDYP2fmXM_6tHuQaE0Zm8U6uELzBVsWd5hwMt_HaBKAfsE4SG2tAPn-6KV9BhzhWJcxmBDWLyl_sDHOFFVg8x0AQkwNPeRTeAB1fOT_gmYl6lw/s1600/20170328_160041.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg64mAiqe2ox0iy-FnFITLN46XD3faHZ7eDYP2fmXM_6tHuQaE0Zm8U6uELzBVsWd5hwMt_HaBKAfsE4SG2tAPn-6KV9BhzhWJcxmBDWLyl_sDHOFFVg8x0AQkwNPeRTeAB1fOT_gmYl6lw/s400/20170328_160041.jpg" width="400" /></a></div>
<br />
<br />
Arthur has quite a nice dojo. Wooden floors, mats stacked up in the corner, even a bar to go for a bit of a warm down snuck around the back. He's also a bit of an idiot. His feet come unstuck during camera shoots and he won't allow to put screws through his feet. Still he can be of some help...<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD9CKsektKeZ9cDKJPjGJcMTSmc7pz1jv_kq7tRTezw4AADypeSLBkDy_2yFAcyZ_xzRjY7xybapGqMWHlexvGrvLjPY__jAjT0uQP1qU9DCsUZ8rAKxWR9yhprokiUmdj-eWUgV9PEk0y/s1600/output_vooUie.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD9CKsektKeZ9cDKJPjGJcMTSmc7pz1jv_kq7tRTezw4AADypeSLBkDy_2yFAcyZ_xzRjY7xybapGqMWHlexvGrvLjPY__jAjT0uQP1qU9DCsUZ8rAKxWR9yhprokiUmdj-eWUgV9PEk0y/s400/output_vooUie.gif" width="400" /></a></div>
<br />
<br />
<br />
Now look at the intersect point. It's almost in front of his face. If we put Mr K.Teki in position (he's wearing a very fetching green today) we can see how the two cuts relate to each other...<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilbrYl7aDP6NG5PDW-sRv0ScFBzbFRURkuRfUKgXt9iCRCFiUsutRfdzDx1enWrp-mn2COFxhIyoN02Sml-tqoKYDfrvsRFxjRzhfDTFxtgvGYxuH2gQTkEqBTqgh9B738TwcHkChCPODj/s1600/output_vl4Cs0.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilbrYl7aDP6NG5PDW-sRv0ScFBzbFRURkuRfUKgXt9iCRCFiUsutRfdzDx1enWrp-mn2COFxhIyoN02Sml-tqoKYDfrvsRFxjRzhfDTFxtgvGYxuH2gQTkEqBTqgh9B738TwcHkChCPODj/s400/output_vl4Cs0.gif" width="400" /></a></div>
<br />
Points to note though:<br />
<br />
<ol>
<li>Arthur doesn't need to lean forwards in order to get the monouchi to cut the opponent's wakibara. In fact you can see that the right arm is at shoulder height during this initial drawing sequence.</li>
<li>The kissaki's course from the saya to the wakibara is not overly curved. It isn't straight either, it follows a natural arc made by leaving the right hand fairly still and using tenouchi.</li>
<li>Once contact is made, the right arm starts to lift. Those of you with even a rudimentary knowledge of anatomy and the cutting dynamics of a sword will know that during this uppercut it is more than likely that the sword will run over the top of bones such as the ribs while going across the chest. One wouldn't be able to cleave through the body with a one-handed uppercut. This upward course is nicely represented by the kissaki arc now moving much more vertically once contact is made.</li>
<li>This alignment of the cutting courses only works effectively if the feet aren't moving after first contact is made with the sword.</li>
</ol>
With regards to 4. I don't believe that it's necessary that the feet should remain absolutely static in order for one to make friends and influence people. However, the more residual movement there is, the less alignment occurs between the two cuts. This isn't by any means in order to make the kata static and non-dynamic. There should be no problem with, for example, the rear foot shifting up slightly while the sword is traveling from the koiguchi to the first contact point. The point is that the body shouldn't be moving <u>after</u> this first contact.<br />
<br />
So now, how to avoid dragging the sword up into what would be a very short distance cut during the kiriage. I tried it myself and advised others to train this nukitsuke without any intention of lifting the arm. This starts off with a very light and moderately slow cut. However, our muscle memory is so tuned to wanting to lift the sword, after even a small amount of practice, the feeling of needing to lift the arm once the kissaki had moved into a first contact position was very strong and almost automatically resulted in a kiriage. A much better result than before.<br />
<br />
Actually all of this reminded me of a comment that Ishido Sensei made while talking about Morishima Sensei; he said that now Morishima Sensei was making his final steps in this kata much slower in order to accentuate the speed of the cut. This certainly works very nicely to control and moderate the foot movement so that there isn't this post-cut residual movement.<br />
<br />
So in summary, a note to myself (and to you if you find yourself doing the same thing in this kata, it shouldn't be many of you, perhaps only 95% of you....):<br />
<br />
<ol>
<li>Observe and control step speed and spacing so that post-cut movement is minimised.</li>
<li>Don't intend to pull the right hand up during the cut. Instead focus on the tenouchi of the first cut and allow this to blend naturally into the rising cut (kiriage).</li>
</ol>
Anyway, I have some washing to go and do during which I can think about training....hmm, maybe something wrong here....<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com6tag:blogger.com,1999:blog-7380831531289624078.post-64397895233231212882016-08-15T21:32:00.002+01:002017-03-29T23:28:45.038+01:00ZNKR Iaido Special Points for ConsiderationAs 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.<br />
<br />
You can find the link below, please feel free to distribute (for no commercial gain of course)...<br />
<br />
<br />
<a href="https://drive.google.com/file/d/0B1_Xmy_vHCsRY0FrLVR5Y1YxaDg/view?usp=sharing" target="_blank">ZNKR Special Points for Consideration</a>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com1tag:blogger.com,1999:blog-7380831531289624078.post-46623122167677598962016-03-02T01:36:00.000+00:002016-03-02T01:36:14.756+00:00Fu-Rin-Ka-Zan (and does anyone know where the off-button is?)<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-GB</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1;">
<br /><span style="mso-bookmark: _MailOriginal;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"></span></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="mso-bookmark: _MailOriginal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDcH1EwX3M5h_Q5b1yHUfPhsuF5AQhxuMaf8FaZJHDJ3cxNu_4bGgNsqLc953SBHuUkXMZmoeeGQsvL8VxJIO5_TlUhr6-TYw5jstCWbiEFAOqOoYhxD0SBNeGpSYMyg7Xp8UzegZXG2W1/s1600/Furinkazan.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDcH1EwX3M5h_Q5b1yHUfPhsuF5AQhxuMaf8FaZJHDJ3cxNu_4bGgNsqLc953SBHuUkXMZmoeeGQsvL8VxJIO5_TlUhr6-TYw5jstCWbiEFAOqOoYhxD0SBNeGpSYMyg7Xp8UzegZXG2W1/s400/Furinkazan.jpg" /></a> </span></div>
<br />
<br />
<div style="text-align: justify;">
<span style="mso-bookmark: _MailOriginal;">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.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="mso-bookmark: _MailOriginal;">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.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="mso-bookmark: _MailOriginal;">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.</span></div>
<div style="text-align: justify;">
<span style="mso-bookmark: _MailOriginal;">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...</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="mso-bookmark: _MailOriginal;">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 (</span><span style="mso-bookmark: _MailOriginal;"><span lang="JA" style="font-family: "MS Mincho"; mso-ascii-font-family: "Times New Roman"; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";">応用</span>). It turned
out that I had trained this aspect before but didn't realise exactly the
concept I was focusing on.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="mso-bookmark: _MailOriginal;">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 i<span style="color: #1f497d; mso-themecolor: dark2;">n</span> the form
are studied. This might include variations in the distance and position of the
enemy, what the enemy is doing, variations in timing<span style="color: #1f497d; mso-themecolor: dark2;"> etc</span>. 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.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="mso-bookmark: _MailOriginal;">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...</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="mso-bookmark: _MailOriginal;">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.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="mso-bookmark: _MailOriginal;">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.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="mso-bookmark: _MailOriginal;">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.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="mso-bookmark: _MailOriginal;">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.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="mso-bookmark: _MailOriginal;">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).</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="-moz-border-bottom-colors: none; -moz-border-left-colors: none; -moz-border-right-colors: none; -moz-border-top-colors: none; border-color: -moz-use-text-color -moz-use-text-color windowtext; border-image: none; border-style: none none solid; border-width: medium medium 1.5pt; padding: 0cm 0cm 1pt; text-align: justify;">
<div style="border: medium none; padding: 0cm;">
<span style="mso-bookmark: _MailOriginal;">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.</span> 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.</div>
<div style="border: medium none; padding: 0cm;">
<br /></div>
</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
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.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
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.</div>
<div style="text-align: justify;">
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.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
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....</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
(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)</div>
<br />
<br />
<br />
<div style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpB_Mu_E4f_YvP1386v-79MwSmwD0NmplGuohv-D0XzDdh13TsRx_wasXi2cPAC8ZHtxBgzY-fmp1o4N0uffS0LBvPekzE9CUCUs4pmipcbixfcyNnd7agkfjebg33DrvkV1sXjuRzyjnO/s1600/2016-03-01+11.50.46.jpg" imageanchor="1"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpB_Mu_E4f_YvP1386v-79MwSmwD0NmplGuohv-D0XzDdh13TsRx_wasXi2cPAC8ZHtxBgzY-fmp1o4N0uffS0LBvPekzE9CUCUs4pmipcbixfcyNnd7agkfjebg33DrvkV1sXjuRzyjnO/s320/2016-03-01+11.50.46.jpg" width="320" /></a> </div>
<span style="color: #1f497d; font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin; mso-themecolor: dark2;"><span style="color: blue;">Steffen demonstrating the benefit of<span style="font-family: serif;"> a cattle-based diet</span> and the ability to reach objects on high shelves</span> </span><br />
<br />
<span style="color: #1f497d; font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin; mso-themecolor: dark2;"><span style="color: black;"></span><br /></span>
<br />
Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-31312580416759287692015-06-13T02:49:00.001+01:002015-06-13T02:57:04.807+01:00The Meaning of TohoWhile 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.<br />
<br />
The thing which hit me strongest in this period is Sensei's use of the word "toho".<br />
<br />
刀 = to; <i>sword</i><br />
法 = ho; <i>law</i><br />
<br />
刀法 = sword method<br />
<i> </i><br />
This is also often translated into swordsmanship or sword methodology. The way Ishido Sensei uses it though is more along the lines of <i>efficient and effective use of the sword</i>. 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.<br />
<br />
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 (<i>kuden</i> or oral transmission).<br />
<br />
I have written articles for the BKA news before which presented a dichotomy of a kata being either a situational one (<i>jokyo</i>) or a sword method one (<i>toho</i>). 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.<br />
<br />
Some of the toho points that were mentioned this week (at least one from Aurelien) include:<br />
<br />
<ol>
<li>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.</li>
<li>That the kissaki should move in an upwards motion when commencing kirioroshi instead of being pulled forwards.</li>
<li>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. </li>
<li>Hikinuki leading to ukenagashi ni kaburi can be achieved by softening the arms as the body turns. </li>
<li>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.</li>
</ol>
Etc etc<br />
<br />
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 <i>tsune ni itte, kyu ni awasu </i>(being in a state of calm, quickly adapting to the situation). Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com1tag:blogger.com,1999:blog-7380831531289624078.post-50619200160821633242015-05-24T16:40:00.000+01:002015-05-24T16:40:53.293+01:00The Wonder of Lists (oh, and some dummy’s guide for taking a grading)<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-GB</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0cm;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<br />
<div class="MsoNormal">
Everyone loves a list, don’t they? It’s like the Readers
Digest method for learning anything; reduce a whole group of concepts into
lists, numbered or bullet pointed, and it somehow looks more attractive and
easier to remember for us. In fact I memorised a list memory-retaining method
for sticking some of these following points in my head while I was unable to
write them down. Surely the word “listless” refers to the fatigue generated by trying
to remember something without the ability to consign it to a list.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Well, on this flight to Poland (the second time in as many
weeks) I thought I would put together another of these lists and talk about
what is usually never written down – a summary of all the unwritten “handy
hints and tips” about taking a grading. Those of you that have had involvement
with being “on the other side of the tablecloth” are surely aware of all the
tiny reasons why grading candidates get docked one point or gain another but
I’m sure this knowledge should be known equally by those for whom it is more
important (and who definitely have some financial stake in it).</div>
<div class="MsoNormal">
I should emphasise here that this whole article is my
opinion only, some of it based on what I have heard from other panellists, some
of it probably from my own feckin’ humble opinion. It’s not official and if you
take note of it I won’t be held responsible for you passing, failing or the increase
in number of odd socks. Hopefully though this will all be useful and I look
forward to hearing some more good advice from those who read this and have had
similar experiences…</div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1</span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span></div>
<br />
<ol>
<li><u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span>Dress for the occasion</u></li>
</ol>
<br />
<div class="MsoListParagraphCxSpMiddle">
<img alt="http://www.bullshido.net/gallery/data/2/usa_hakama.jpg" src="http://www.bullshido.net/gallery/data/2/usa_hakama.jpg" /> </div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
I always used to be fond of slightly worn
and faded jodogi, like how jeans always look best after a few years of being
used to wrangle horses or dig for coal. I have heard in the last few years
though that faded jodogi aren’t good for gradings so with this in mind it seems
that having blue arms, feet and possibly ears is more favourable than having a
keikogi that shows that you have trained hard (or washed your keikogi in pure
acid). For training and appearing at seminars one should be smartly dressed
anyway. This doesn’t mean buying a new keikogi every year but things like holes
in knees should be repaired and the kit should be clean. For the grading itself
though, one should be wearing the best of what one has. In this instance, holes
in the knees (or in the bicep area of the left arm depending on how you prefer
to do tsuka-ate) is not a good thing. </div>
<div class="MsoListParagraphCxSpMiddle">
It should be remembered that grading
candidates are making a presentation of their iaido and jodo and showing the
very best of what they can do. Commitment to your art might also include tying
your hair back especially if it keeps getting in your eyes or getting stuck in
your saya when you do noto. These are small, cosmetic things but everything
counts (having once failed my 6<sup>th</sup> dan grading and then being told my
hakama was too long I am sensitive to not letting others suffer the same
treatment). Realising that not everyone can afford two sets of keikogi or even
a decent sword, there’s nothing wrong, or rare, about asking to borrow
something from your dojo colleagues (I mean like a hakama with no holes in, not
250 Euros for a new one).</div>
<div class="MsoListParagraphCxSpMiddle">
No one is going to pass you solely for
having been to the hair stylist before but if you look like you have just come
out of the forest from a six-month “getting to know yourself” period then you
might not get the best reviews from the panel. Oh, and the steam iron does
often come with instructions in case you’re not sure how to use one.</div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
(…incidentally, the bottom of the hakama
should be in line with the ankle bone)</div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">2. <span style="font: 7.0pt "Times New Roman";"></span></span></span>Arrive early (like one year before)</u><br />
<br />
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
Why wouldn’t this be an obvious one? Get
there early and you have time to get dressed properly, warm up, do some
practice, ensure you know where to go and what to do, keep warm, get re-dressed
and then get bored of course. Seriously though, it’s important that you are not
flustered before the grading and in all the activity to get registered and get to
the right place it is possible to lose one’s cool. When everything else is
ready though, you can sail over to get your “certain to fall off during the
grading” sticky number and then be ready to perform. </div>
<div class="MsoListParagraphCxSpMiddle">
As I get older and generally lazier, I am
starting to realise how much my performance is affected by how “warmed up” I
am. I don’t just mean a minute of jogging, I mean every muscle woken up,
exercised, stretched and ready to move. My best iai for example is normally
done at the end of our regular 2-hour sessions, not five minutes from the
start.</div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">3. <span style="font: 7.0pt "Times New Roman";"></span></span></span>The Pre-Grading Seminar</u><br />
<br />
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<img alt="http://www.coopersofstortford.co.uk/images/products/large/st09021i.jpg" class="shrinkToFit" height="400" src="http://www.coopersofstortford.co.uk/images/products/large/st09021i.jpg" width="400" /> </div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
In the BKA and I suspect in many other
countries, it is not compulsory to attend the pre-grading seminar to take and
pass one’s grading. In these cases one cannot be failed for not attending the
pre-grading seminar. <span style="mso-spacerun: yes;"> </span>It would, however,
be a bit stupid not to. I mean why wouldn’t you? Here is a chance to:</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l2 level1 lfo2; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">a)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Get a sneak preview of what exactly the grading
panel will be looking out for (hint: it will probably be footwork).</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l2 level1 lfo2; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">b)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Allow the seniors (who will probably be the
examiners) a chance to see you perform so that they know you have trained hard
and fulfil the “depth of practice” criteria (yes, this is a criteria as one
ascends the grades).</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l2 level1 lfo2; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">c)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Do some training and maybe push your 99% of what
is required for the grading to the 103% for what is required.</div>
<div class="MsoListParagraphCxSpLast" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l2 level1 lfo2; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">d)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>If you lucky and are told the shitei waza in
advance of the grading then you can focus on those kata and make sure that you
are doing them to the very best of your ability.</div>
I am painfully aware that on more
than one occasion, someone who has failed a grading has asked a panellist why
and been told “because you didn’t come to the seminar yesterday”. I am now
almost certain that the meaning of this wasn’t
<div class="MsoNormal" style="margin-left: 36pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36pt; text-align: justify;">
“you didn’t attend so we failed
you” </div>
but…<br />
<br />
“you didn’t attend and didn’t get
told the important things to focus on and then you didn’t perform them so we
failed you”.<br />
<br />
Of course, life happens and
sometimes one might be too busy to attend the pre-grading seminar. In that
particular case it might be better to consider that now is not the perfect time
to take the grading although one should of course be ready to take the grading
before attending the pre-grading seminar which leads us onto the contradiction
of….<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"> </span></span><br />
<br />
<br />
<br />
<u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">4. <span style="font: 7.0pt "Times New Roman";"></span></span></span>Be ready to take the grading before attending the
event</u><br />
<br />
<br />
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
Yes, I know that this kind of contradicts
point 3. but the meaning of this is for you to be as prepared as you can be
before the event. Don’t attend the pre-grading seminar with the expectation
that you will learn everything you need to pass in that one-day session.
Hopefully your own teacher will have got you adequately prepared for the
grading. Also hopefully you will have attended a few seminars before your
grading and received some useful input from other seniors. Remember, for iaido
and jodo this is generally a seitei-based examination. What you do in your dojo
is your own business but the examination is based on an international standard
and with its occasional “gaps in detail for personal interpretation”, it
wouldn’t harm to know what other people, more senior than you, make of these
personal interpretations.</div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"> </span></span><br />
<br />
<u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>If you can’t do the difficult stuff well then
you need more training; if you don’t do the easy stuff well, you’re an idiot</u><br />
<br />
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<img height="298" id="irc_mi" src="http://www.newslinq.com/wp-content/uploads/2014/06/84143229.jpg" style="margin-top: 0px;" width="400" /></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
I make light of this but it is also
incredibly important. Easy stuff like reiho, putting on your hakama the right
way, standing in keito shisei etc. requires the minimum of physical fitness,
flexibility and skill. It is stuff that you have to learn and then show that
you have learnt it. Speaking personally, on the few times I have been on a
grading panel if I see someone do something like reiho incorrectly I don’t
necessarily make a big thing of it but I do then keep an eye out for other
fundamental stuff being done correctly (or not). It wouldn’t surprise me if a. other
people think the same way or b. I learnt this from my seniors (and so read a.)</div>
<div class="MsoListParagraphCxSpMiddle">
Jodo, whilst having less to do in reiho,
has similar easy things that need to be remembered but which require virtually
no physical exertion or coordination such as:</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">a.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Not bringing your feet together at the end of
the kata</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">b.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Not bringing your feet together when you walk
back to your start line</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">c.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Not bringing your feet together when you start a
kata</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">d.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>You get the point, I’m sure</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto;">
<br /></div>
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"> </span></span><br />
<br />
<u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">6. <span style="font: 7.0pt "Times New Roman";"></span></span></span>Behave yourself before the grading</u><br />
<br />
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
By this I don’t mean spend the morning in
quiet meditation but before the examination it might be better not to:</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">a.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Indulge in with wrestling your dojo colleagues
like a bunch of piglets.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">b.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Get drunk at lunchtime.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">c.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Fall asleep in the dojo with your hakama hitched
up to your thighs.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">d.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Practice your exotic and unique koryu (unique,
just like everyone else’s) when you are just about to do 5 seitei shitei waza
(or amounts more than 2).</div>
<div class="MsoListParagraphCxSpMiddle">
Everyone deals with pre-grading stress in
their own way but it is important to display some decorum before you get
elevated to your lofty new responsibilities. It is also important not be
outside drinking coffee when the grading officials are looking for you.</div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">7. <span style="font: 7.0pt "Times New Roman";"></span></span></span>This is your grading and your life force is
limited</u><br />
<br />
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
This is more particular for jodo than
iaido. Quite often someone going for, say, 4<sup>th</sup> dan will do uchidachi
for someone going for, say, 2<sup>nd</sup> dan. This of course is done out of
nothing but kindness for others, showing willingness to sacrifice one’s own
time and effort for the benefit of others. </div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
Unfortunately it says some other things to
the grading panel such as:</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l3 level1 lfo3; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>“I am so good at jodo that I can focus on this
person’s katas as well as my own”</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l3 level1 lfo3; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>“I don’t need to train with my grading partner
that much in preparation for my grading”</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l3 level1 lfo3; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>“I’m going to leave my number attached just to
make the grading a little bit more challenging for the panel”</div>
<div class="MsoListParagraphCxSpLast" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l3 level1 lfo3; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>“I want you to watch all my mistakes not once
but twice, or more, just so you can be sure that I’m doing stuff wrong”</div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
None of the good reasons for
partnering someone else before your own grading are as impacting as those above
(in my opinion). All gradings should be treated with some seriousness (there
are almost certainly people other than you who have contributed something to
getting you ready to take your grading) but this seriousness doesn’t shine
through if you appear already sweaty and with your number label tsuki’d to
death. There are almost certainly other people not taking a grading who can
partner someone for theirs.</div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<br /></div>
<u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">8. <span style="font: 7.0pt "Times New Roman";"></span></span></span>Read the regulations, dammit!</u><br />
<br />
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<img alt="http://lawsonstone.seedbed.com/files/2013/03/Heston-tablets-Commandments.jpg" class="shrinkToFit" height="400" src="http://lawsonstone.seedbed.com/files/2013/03/Heston-tablets-Commandments.jpg" width="319" /> </div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
Actually, there are some rules for being a
grading panelist (a whole course in the UK) and there are even some rules
about being a grading candidate that might be useful to read. For example, many
countries don’t allow people to take a grading of ikkyu and above with a bokuto
but still some people turn up with one. Usually these rules are on federations’
websites or are available from the grading officer. Just like your first time
for diffusing a nuclear bomb, you might want to read the instructions first.</div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">9. <span style="font: 7.0pt "Times New Roman";"></span></span></span>Sticky means slowly</u><br />
<br />
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<img alt="http://img2.wikia.nocookie.net/__cb20120325145054/uncyclopedia/images/e/ed/25-MPH-Regulatory-Speed-Limit-Sign-with-Radar-Sign.jpg" src="http://img2.wikia.nocookie.net/__cb20120325145054/uncyclopedia/images/e/ed/25-MPH-Regulatory-Speed-Limit-Sign-with-Radar-Sign.jpg" /> </div>
<div class="MsoListParagraphCxSpMiddle">
Could that be the title of the new Rolling
Stone album? Anyway, this generally refers to the fact that most of the parts
of katas which require some skilful coordination are trained, demonstrated and
performed a bit slower than the simpler movements. A simple downward cut is
difficult to do extremely well but is also difficult to completely mess up.
This is why generally kirioroshi is done quickly, right? But let’s look at a
few example more-complex parts that people make a complete hash of because they try to do it
quickly when in fact there is no requirement to do them like that:</div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo4; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">a.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Mae: Furikaburi – of the seven grading points
for this form, three (although I count four really) are directly referring to
or have strong correlations with how furikaburi is performed. Furikaburi is not
required to be performed quickly, in fact most teachers want to see some
contrast in speeds between furikaburi and “cuttier” bits like nukitsuke and
kirioroshi. And yet people love to bring the sword straight up onto the
centreline, drop the tip, bring their right arm in front of their eyes. Don’t
do it; take your time; get to the choppa (taking all necessary care)!</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo4; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">b.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Hissage/Kasumi/Tachiotoshi/Raiuchi/Midaredome:
Gyakute no kamae – when standing like a lemon in awase at the beginning of these
forms one should be gripping the jo in a relatively strong gyakute grip. Why
some people seem to think that gently pinching the jo between thumb joint and
forefinger like picking up a piece of toilet paper stuck to one’s shoe is
correct is slightly mysterious. Oh, and right now the grading panel are now
looking at you standing there like that wondering what else you are going to do
wrong.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo4; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">c.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Shihogiri: Wakigamae<span style="mso-spacerun: yes;"> </span>- no wakigamae, no cigar! There is one
requirement of this kamae in this form – that it exists! If you lower the sword
into gedan and then turn the body and lift the sword up then you have just
skipped one of the vital parts of shihogiri (a bit like driving to work without
a leg). It’s not difficult, it doesn’t require speed or athletic prowess, it
definitely annoys the panel when it’s not there.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo4; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">d.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Err, everything: Metsuke – I suspect that
Japanese sensei scream about metsuke more because it requires more effort to do
it wrong than doing it right. Perhaps I am being too harsh though, the rules
are pretty simple:</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 108.0pt; mso-add-space: auto; mso-list: l0 level2 lfo4; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">a.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Look at what you are doing and where you are
going</div>
<div class="MsoListParagraphCxSpLast" style="margin-left: 108.0pt; mso-add-space: auto; mso-list: l0 level2 lfo4; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">b.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Refer to a.</div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
There are a few variations on
where to look in different parts of the kata but generally one looks into the
distance during the fight (like, kinda, at the opponent) and looks down at the
end of the fight (just to check that their opponent has fallen into a dignified
position and isn’t showing their ankles). For seitei iai, when you bow to the
sword, you look at the sword as you bow even if you are maintaining some
magical 360° spatial awareness. When you are bowing to the shomen you look
towards the floor and don’t keep peering forwards like you’re afraid the wall
is going to fall on you. When you are walking back to the start line you try to
judge your position based on your warrior-special-powers of recognising where
on the planet you are, you don’t look down at the start line to make sure that
no chipmunks have taken residence there.</div>
<div class="MsoListParagraph" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo4; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">e.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Start line – known as the “kaishisen” which
means “there is a trapdoor to some crocodiles in front of this line”. Between
kata it is enough to return to being close to this line, if you are a bit in
front – no problem, if you are bit behind – no problem. Skilled taikai
exponents will adjust themselves in relation to the kaishisen so that they
don’t step out of the shiaijo area or decapitate a judge (thus potentially
costing them a flag). At the beginning and end of the grading though one should
be careful to be behind the line. Up to a certain level in iaido (let’s
arbitrarily say nidan) it’s not a problem to kneel on the line to do one’s
torei, after that though one should check what is fashionable at the moment.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So there you have it. Nine beautifully formed, evenly sized,
cream-filled slices of strawberry grading advice.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I am now off to catalogue my spice rack….</div>
<div class="MsoNormal">
<br /></div>
Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-6779305964350709912015-05-20T08:18:00.000+01:002015-05-20T08:18:06.784+01:00Polish Iaido and Jodo National Championships 2015<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<div class="MsoNormal">
So after a wonderful four days of teaching, judging,
examining, demonstrating, eating, drinking and generally putting on weight, I
am now home with a wonderful set of memories of an excellent event and meeting
some wonderful people.</div>
<div class="MsoNormal">
During the iaido championships I made some notes about
common mistakes that people were making and we rushed through these points on
the Sunday. I was painfully conscious that providing people with information in
this format (a quick chat and a quick demo) is rarely useful as retention is
minimised so I have here listed these points to add an additional 5% chance of
them being retained…</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>The Easy Stuff (previously known as “Easy Sh!te” but
changed to be polite)</u></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Keito Shisei</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Ensure the position of the sword is 45° but also
ensure the position of the hand is correct. In general some part of the left
hand should be in contact with the obi but many people position their hand on
the upper thigh.</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Shomen ni rei</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>This should only be 30° but very often the upper
body dips below 45°. Also make sure that the metsuke naturally drops and that
you don’t keep the eyes looking up and forwards.</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Mae</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Make sure when sitting in seiza that there is no
gap between your arms and your body. You don’t need to clamp your arms tight
but there shouldn’t be sunlight coming through. </div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>When making the nukitsuke ensure that the
sayabiki makes the saya position itself not only horizontally but that it is
rotated so that the saya’s hasuji is pointing towards the rear. Many people
have the saya in the same orientation (i.e. up). </div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Ochiburi should of course be as close to 45° as
possible but also make sure that the sword doesn’t elevate during the fumikae
(foot change) movement as this is very common and makes a small error even
worse.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Regardless of your koryu, seitei noto must start
at the centre of the body (i.e. sword and koiguchi meet at the centre) and
should start from the tsubamoto (close to the tsuba). Many people pull the
sword around the left to meet the saya.</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Ushiro</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Ensure that the sword is brought at least close
to the centre of the body before sayabanare. Many people draw too far to the
front right diagonal meaning that they would miss the opponent.</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Ukenagashi</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Sword must cover head with the “bo” portion of
the sword i.e. the third closest to the tsuba.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>At the moment of the deflection stance being
made, the feet must be in the configured with the right toes kicking into the
middle of the left foot (in the Japanese “i” katakana shape). Many people are
in the Jikiden Ukenagashi position at this point. </div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>The body should be completely turned to face the
shomen in this deflection position.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>The kissaki must not finish to the right of one’s
body centreline at the end of the cut and not too low.</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Kesagiri</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>During the chiburi, the left hand must properly
grip the koiguchi and this must happen before the end of the cutting action.
Many people push the koiguchi down using the palm and too late.</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Sanpogiri</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>The final cut should show some small contrast to
the first two cuts i.e. the first two cuts are very static and grounded, the
third cut should be dynamic and the preparation should lend itself to this.</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Ganmenate</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Ensure the first strike to the face is decisive
using the left hand.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>It is very important to show the clear change of
line during the turning to the rear tsuki and especially for the final cut.</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Soetezuki</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Instead of turning the right foot too early on
the final step (a historically popular mistake) many people move the right foot
to the right front diagonal thus moving them too far away from the opponent.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>The cut must be clearly from the shoulder and
not from the belly. Many people drop their right hand too early making this cut
a flick to the belly.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>The fingers beneath the blade still show very
easily even in this age of climate change and global economic disaster.</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1</span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Shihogiri</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>No wakigamae, no cigar! If wakigamae is not
clearly visible then it never happened.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>It is important to make clearly defined cuts and
not blend one into the other especially with regards to making correct metsuke.
Look first and then cut.</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Sogiri</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>The “ukenagashi ni kaburi” (going through
ukenagashi to bring the sword above the head) must still properly cover the
head with the “bo”. Many people make this action bringing the right hand onto
the centreline.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Preparation for the sideways cut must be made
properly.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Don’t blend the end of the 4<sup>th</sup> cut
with the beginning of the 5<sup>th</sup> cut i.e. don’t whip the sword across
and up withouth making clear cuts and clear kaburi.</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Final torei</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Don’t hook the forefinger over the tsuba. The
finger should be pressed onto the edge of the tsuba, not hooking over it.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>The left hand must slide from around the middle
of the saya, many people slide from the top.</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1</span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>General for taikai</div>
<div class="MsoListParagraphCxSpLast" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>If you get knocked out, don’t go and get changed
and go for a sleep. This is your prime opportunity to learn why you lost your
match and you can learn from some of the best sources how to improve your
performance (i.e. your peer group).</div>
<div class="MsoNormal">
<br /></div>
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-GB</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0cm;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-37683320441512678702014-08-27T18:35:00.001+01:002014-08-27T18:35:29.184+01:00Owning upLast night I had dinner with the ex-Chaiman of the BKA, an extremely pleasant and balanced gentleman by the name of Errol Baboolal Blake. We have known each other for a number of years and Errol was largely responsible for the complete restructuring of the BKA resulting in the highly democratized and process-driven association we have today. Errol noted during the evening that to many, the appearance of my character was "pointed" or "sharp" and he thought it was important that people also showed their "blunt" side in order to be well rounded as martial artists. Quite a full debate ensued but one key part of it was me sharing what I had written for my Iaido Renshi examination which in my honest opinion is how I feel about budo and ones interaction with it. <br />
<br />
So, I thought now would be a good time to share these thoughts with the community of faithful followers of this blog. Here is the initial English draft which was translated into Japanese with a few small bits cut out.<br />
<br />
________________<br />
<br />
<u>The Significance of the Sword</u><br />
<br />
<br />
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-GB</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0cm;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<br />
<div class="MsoNormal">
In my Iaido training in more recent years I have tried my
best to ensure that my activities with Iaido contain both aspects of
Katsujinken and Setsuninto. In the study of Setsuninto, this means training
that is highly technical and concerned with survival in a combat situation. In
this case it is with reference to the main points for examination and judging
taikai particularly those concerned with technical skill that are important:</div>
<div class="MsoNormal">
<br /></div>
<br />
<ul>
<li><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"></span></span>Correct height, position and angle of sword<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"></span></span></li>
<li><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Correct cutting and drawing<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span></li>
<li>Correct ashisabaki and taisabaki</li>
<li><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Ma and maai</li>
<li><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Compliance with the main points from the ZNKR
Iaido Manual</li>
</ul>
<br />
<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<br /></div>
<div class="MsoNormal">
In the study of Katsujinken, this means that when one is
doing kata one must be aware of the life of ones enemy, not just so that one
can cut down the enemy but that one might prevent the fight and achieve “saya
no uchi no kachi”. In this case it is with reference to the main points for
examination and judging taikai:</div>
<div class="MsoNormal">
<br /></div>
<br />
<ul>
<li><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Metsuke</li>
<li><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Zanshin</li>
<li><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Ochitsuke (calmness)</li>
<li>
Depth of training</li>
<li><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Kigurai, hin’i and fukaku</li>
</ul>
<br />
<div class="MsoListParagraphCxSpLast" style="mso-list: l1 level1 lfo2; text-indent: -18.0pt;">
<br /></div>
<div class="MsoNormal">
If someone can master these points above then one should be
able to control the encounter: to injure instead of kill; to subdue instead of
injure; to inspire peace rather than war.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When one trains in these Katsujinken points it then becomes
easier to realise that the purpose of one’s training is not just about
self-centred improvement but generally using Iaido to bring good things into
the life of others.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When instructing others in Iaido I try to balance the
emphasis between technical points and those which reflect the mental state.
Through concentration on jo-ha-kyu and kan-kyu-kyo-jaku one is able to quickly
combine and switch between aspects of setsuninto (killing the enemy) and
katsujinken (saving the enemy). Of important consideration I believe that the
–ken of katsujinken refers to the double edged tsurugi with one edge facing the
enemy and one facing the self. In my mind this reverse edge is for the dual
purpose of cutting off unnecessary and unwanted parts of the ego as well as
reminding that any attack on a person is also an attack and a degradation of
the self.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Finally, I try to emphasise to the people that I teach, the
words of our shisho, that the luxury of being able to train in budo is due to
the cooperation and goodwill of others and we should be thankful and
considerate to those that provide that opportunity through their sacrifice.</div>
<div class="MsoNormal">
<br /></div>
Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-10925994275069253272014-05-01T15:02:00.000+01:002015-03-24T19:17:05.681+00:00Parts of the sword<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtrQZmZfsVdSdvIAuj1ERd_25DJf8lY_NBMbDtQFLNxjDVkEAHcCG7vU41kLoqH-MhdQ6rbi2pUenT_YvKOhNS-vqcQDrnMyyZegCV4cNDDPE_VudTOgUwupIGq_dunb043tXLMLrQ5KsC/s1600/Sword+areas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<i>Please note that I have updated this post with an addition of the term "tsubamoto" meaning the area of the sword closest to the tsuba. Initially I didn't include this as it was my impression that the tsubamoto wouldn't have included the entire lower third of the sword but after discussing this with a budo friend I decided to include it.</i> <br />
<br />
Just recently it has been raised to my notice that a particular aspect of iaido has been mentioned at seminars but there isn't anything I can find on the interwebs about it. It concerns the three main areas of the blade of the katana. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjETcCLpCK-en-rYw3IMdorYGUHTcnGRk7-8Im_Z79-xTx7CcYCT-KWu9KYqB7Tt7-AyYzYUbCPlzidFSFljvQigAlE60PDAaz_lov4PBP-yq4nMYujPPODuuafkZAef8UHgSsuVQtVqdY/s1600/Slide1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjETcCLpCK-en-rYw3IMdorYGUHTcnGRk7-8Im_Z79-xTx7CcYCT-KWu9KYqB7Tt7-AyYzYUbCPlzidFSFljvQigAlE60PDAaz_lov4PBP-yq4nMYujPPODuuafkZAef8UHgSsuVQtVqdY/s1600/Slide1.JPG" height="240" width="320" /></a></div>
<br />
<br />
Some years ago in Eindhoven, Kishimoto Sensei taught us that the blade area can be divided up into three main zones.<br />
<br />
The closest zone to the tsuba is, what most people would expect it to be, the area for defending oneself (it is the zone which is used in the initial contact of the seiteigata Ukenagashi). This zone is called the "Bō" (no relation to the Japanese staff) and is referred to also as the "tsubamoto" (origin or zone of the tsuba).<br />
<br />
The middle zone is called "Sei" meaning control i.e. this is the region that controls the enemy's sword during a deflection or similar movement. It is also referred to as the "nakahodo" (meaning approximate centre).<br />
<br />
The zone closest to the end is called "Satsu" (or "Setsu") meaning the killing region. This region is also known as the monouchi.<br />
<br />
That said, I sense a sudden increase in site traffic from people about to answer their iaido gakka...Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com5tag:blogger.com,1999:blog-7380831531289624078.post-44555009879996611092013-04-07T06:28:00.000+01:002013-04-07T06:28:39.173+01:00Blogpost Special – Judging Points for Iaido and Jodo
<div style="margin-bottom: 0cm;">
Just between me finishing off the
3-part (or possibly more) article I am writing at the moment on the
Suio Ryu Taikai I thought I would quickly bash off a short posting on
judging points for iaido and jodo. Considering the emphasis that
Ishido Sensei has given to these at recent event I think they can be
considered to be useful points to concentrate on whether one is
training for a taikai, towards a grading or simply deepening their
training experience. The points are taken from a section in each
art’s judging rules and comes as a list of items to consider in no
particular order of emphasis. I have translated specialist words
where necessary if they happen to be terms which the exponent might
want to learn (I have omitted well-known words such as <i>chiburi</i>
where if the reader doesn’t know them then they need to learn
fast).</div>
<div style="margin-bottom: 0cm;">
It is slightly interesting that both
iaido and jodo essentially require the same criteria albeit there are
one or two specific to the art.</div>
<div style="margin-bottom: 0cm;">
I hope you find these useful…</div>
<div style="margin-bottom: 0cm;">
<br /></div>
<div align="CENTER" style="margin-bottom: 0cm;">
<b>Jodo Shiai –
Refereeing Rules (Originally Published 1</b><sup><b>st</b></sup><b>
July 1997)</b></div>
<ol>
<li><div style="margin-bottom: 0cm;">
Fullness of spirit.</div>
</li>
<li><div style="margin-bottom: 0cm;">
Correct posture.</div>
</li>
<li><div style="margin-bottom: 0cm;">
Correct balance of strength and
softness of strikes and thrusts.</div>
</li>
<li><div style="margin-bottom: 0cm;">
Ma (timing) and ma’ai
(distance).</div>
</li>
<li><div style="margin-bottom: 0cm;">
Metsuke.</div>
</li>
<li><div style="margin-bottom: 0cm;">
Zanshin.</div>
</li>
<li><div style="margin-bottom: 0cm;">
Reiho.</div>
</li>
<li><div style="margin-bottom: 0cm;">
Ki-jo-tai no ittsu (Spirit-jo-body
as one).</div>
</li>
<li><div style="margin-bottom: 0cm;">
Whether it is logical as budo.</div>
</li>
<li><div style="margin-bottom: 0cm;">
Accordance with the ZNKR Technical
Manual – special points for consideration for examinations and
taikai.</div>
</li>
</ol>
<div align="CENTER" style="margin-bottom: 0cm;">
<br />
</div>
<div align="CENTER" style="margin-bottom: 0cm;">
<b>Iaido Shiai –
Refereeing Rules (Originally Published 1<sup>st</sup> October 1996)</b></div>
<ol>
<li><div style="margin-bottom: 0cm;">
Depth of practice.</div>
</li>
<li><div style="margin-bottom: 0cm;">
Reigi (correct behaviour and
etiquette).</div>
</li>
<li><div style="margin-bottom: 0cm;">
Technique:</div>
<ol type="I">
<li><div style="margin-bottom: 0cm;">
Correct nukitsuke and kiritsuke
(drawing and cutting).</div>
</li>
<li><div style="margin-bottom: 0cm;">
Correct sayabanare and hasuji
(release of sword and blade angle).</div>
</li>
<li><div style="margin-bottom: 0cm;">
Correct chiburi with angle.</div>
</li>
<li><div style="margin-bottom: 0cm;">
Correct noto.</div>
</li>
</ol>
</li>
<li><div style="margin-bottom: 0cm;">
Kokorogamae (preparedness,
readiness):</div>
<ol type="I">
<li><div style="margin-bottom: 0cm;">
Calmness.</div>
</li>
<li><div style="margin-bottom: 0cm;">
Metsuke.</div>
</li>
<li><div style="margin-bottom: 0cm;">
Kihaku (spirit, vigour), zanshin,
ma (timing) and ma’ai (distance).</div>
</li>
</ol>
</li>
<li><div style="margin-bottom: 0cm;">
Ki-ken-tai no ittsu
(Spirit-sword-body as one).</div>
</li>
<li><div style="margin-bottom: 0cm;">
Whether it is logical as budo.</div>
</li>
<li><div align="JUSTIFY" style="font-weight: normal; margin-bottom: 0cm;">
Accordance with the ZNKR Technical Manual – special points for
consideration for examinations and taikai.</div>
</li>
</ol>
Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com11tag:blogger.com,1999:blog-7380831531289624078.post-21545417499511931372013-03-21T16:20:00.001+00:002023-11-08T11:59:14.330+00:00Suio Ryu Koden Embu Taikai, Katsujinken Setsuninto and the Rest of the Universe – Part 2<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:RelyOnVML/>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-GB</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<w:DoNotOptimizeForBrowser/>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0cm;
mso-pagination:widow-orphan;
font-size:11.0pt;
mso-bidi-font-size:10.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMVaR0RUszE0WRKySoC3zebYFNmmGYDnB8vD6jaCCu9S40-DDuRDc9ArNM3EtP_Lq_PGXLSiiW2KxE0QLVfI0RHvfg80sDnwK2Qf2Ppuk7hG651LMRCfkcjADwnbv_Sfvv9qddsI8btRuM/s1600/533565_10151315563236153_1150544780_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMVaR0RUszE0WRKySoC3zebYFNmmGYDnB8vD6jaCCu9S40-DDuRDc9ArNM3EtP_Lq_PGXLSiiW2KxE0QLVfI0RHvfg80sDnwK2Qf2Ppuk7hG651LMRCfkcjADwnbv_Sfvv9qddsI8btRuM/s320/533565_10151315563236153_1150544780_n.jpg" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What else might this imply in terms of this separation from
reliance on one’s teacher? Let’s look at some individual aspects:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Seminar attendance: </b>regularly attending seminars is a great
way for obtaining and absorbing a breadth of information. I rarely see a
seminar as being a chance to do hundreds of forms but rather a learning
activity of new matter OR the same matter but explained and demonstrated in a
different way.<span style="mso-spacerun: yes;"> </span>One gets to learn from
potentially higher graded and more experienced teachers than one’s own dojo
teacher as well as the much underrated experience of learning from one’s peers
and even juniors. I think that every single person has something to offer in
terms of learning martial arts, which although sounds a bit woolly, I should
add means not that everyone can directly teach something of the art but, for
example, watching a complete beginner struggle to get through a technique is in
itself valuable and interesting data.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Reading and research: </b>by this I mean to not limit absorption
activities to just reading the written word as I am aware that there are many
other sources to learn from including video and audio media. Reading the
thoughts and opinions of very senior teachers has been very inspiring
personally and is another underrated and underused form of study especially
when it comes to Koryu.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Taikai: </b>yes, here it comes, the banner flying for taikai
against all forms of criticism! Yes, budo is not a sport and maybe a
competitive spirit is not in alignment of the budo spirit (or so some might
think) but surely any activity which pushes the individual to try their very
best to “beat” another person is exactly the basis of all martial arts. I have
personally learned so many aspects of budo, both standardized and Koryu, from
taikai I can’t understand why people limit themselves by avoiding them. Surely
just coming to watch some spirited performances would be a useful insight into
one’s art…?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Self-critique: </b>I am going to emphasise this again as I’m not
sure I convey how important this is. Limiting one’s self-evaluation to using
your own eyes in realtime while doing a form has limited use as a) perspective
is important (parallax error being a great example of how to mess up angles
terribly) and b) the act of observing itself is likely to change what one does
during a form. I like the idea of using mirrors although that in itself suffers
similar problems to those immediately above. Video, from various angles and
heights, is an indescribably useful medium for learning about one’s own
performance.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>The body you train with:</b> this might be a new thought to many
people (albeit not those who have done any kind of coaching course I am sure.
Looking after your own health is an important and instrumental part of one’s
martial arts training – isn’t it? I don’t believe that in martial arts the
student should rely on their teacher to tell them how to look after themselves
in terms of health. Why not? For the same reason that I don’t ask my sensei
where I should park my car when I come to training or which way to drive to the
dojo or from which bank account to pay for dojo subs. They are all strongly
associated to my personal application of martial arts training but are probably
utterly irrelevant to everyone else. I know when to say to a dojo member that
they should warm up and stretch more than they do but I am not keen on
providing life coaching to anyone. That is a responsibility that each student
must assume for themselves. I won’t tell anyone that they should lose weight,
gain weight or lose a limb – that’s up to them. However, from this student’s
perspective what is important about bodily health? It’s a fairly general term
but I think it applies to a number of criteria:</div>
<div class="MsoListParagraphCxSpFirst" style="line-height: 115%; margin-left: 72pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";">
</span></span></span>Cardiovascular fitness: this means that a
general amount of exercise doesn’t leave you lying in a heap on the floor.
Neither Iaido nor Jodo are generally aerobic enough to create or demand an
athletic level of fitness but it certainly doesn’t help if exhaustion is
holding back one’s training during important parts of a training episode (like
when at the end of the seminar the sensei says “and now for something
completely different”). Doing some work to maintain a good level of cardio
fitness will often contribute to the other following criteria.</div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 115%; margin-left: 72pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";">
</span></span></span>Limb and core strength: meaning muscular
strength in the arms, legs, connecting joints, trunk and back. Iaido and Jodo
for me seem easier to perform well when the legs are feeling strong, warmed up
and able to carry oneself quickly and efficiently around the katas. Building up
some strength in the arms means that less consciously applied effort is
required to make sharp and powerful cuts, strikes and thrusts. Having good core
strength improves stability of posture and reduces the effort required to move
around.</div>
<div class="MsoListParagraphCxSpLast" style="line-height: 115%; margin-left: 72pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";">
</span></span></span>Flexibility: this is so important to asymmetric
arts like iaido which is strange when one thinks about what are important
physical actions in the kata i.e. sayabiki, the ability to turn and look
fluidly. Iaido can destroy flexibility and it requires it as well. What does
this tell us? It says that we have to supplement our normal training to drive
that inflexible condition away. I leaned a couple of years ago that Morishima
Kazuki Sensei (Ishido Sensei’s star pupil) did about 30 minutes of stretching
before he started training. I’m sure that’s not the sole cause of him being so
good but it must surely be a significant factor. As soon as I started applying
a proper stretching regime to my training I found my legs and feet starting to
be used in a constructive manner rather than being long blobs of tripping
hazard.</div>
<div class="MsoListParagraphCxSpLast" style="line-height: 115%; margin-left: 72pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18pt;">
<br /></div>
<div class="MsoNormal">
So, that’s quite a long diatribe concerning passing
gradings, something that I can sit smugly and cast advice about. What I really
mean to convey though is that as the gradings get more advanced, especially
around 4<sup>th</sup> dan, candidates need to start taking care of their own
training, progress and preparation. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Getting back to the taikai, it was very interesting to judge
as there were four Iaido koryu styles present and various subsets within those
including:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo2; text-indent: -18pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";">
</span></span></span>Suio Ryu – generally the whole group under
Robert Rodriguez Sensei</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo2; text-indent: -18pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";">
</span></span></span>Muso Shinden Ryu:</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72pt; mso-add-space: auto; mso-list: l1 level2 lfo2; text-indent: -18pt;">
<span style="font-family: "Courier New"; mso-fareast-font-family: "Courier New";"><span style="mso-list: Ignore;">o<span style="font: 7pt "Times New Roman";">
</span></span></span>Poznan (Adam Kitkowski) under Ishido Sensei via
Momiyama Takao Sensei</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72pt; mso-add-space: auto; mso-list: l1 level2 lfo2; text-indent: -18pt;">
<span style="font-family: "Courier New"; mso-fareast-font-family: "Courier New";"><span style="mso-list: Ignore;">o<span style="font: 7pt "Times New Roman";">
</span></span></span>Wroclaw (Michal Szczepanski) under Murakami
Sensei</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72pt; mso-add-space: auto; mso-list: l1 level2 lfo2; text-indent: -18pt;">
<span style="font-family: "Courier New"; mso-fareast-font-family: "Courier New";"><span style="mso-list: Ignore;">o<span style="font: 7pt "Times New Roman";">
</span></span></span>Czech Republic (Tomas Kyncl) under Ogino Sensei</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72pt; mso-add-space: auto; mso-list: l1 level2 lfo2; text-indent: -18pt;">
<span style="font-family: "Courier New"; mso-fareast-font-family: "Courier New";"><span style="mso-list: Ignore;">o<span style="font: 7pt "Times New Roman";">
</span></span></span>Gdnia (Dariusz Leszczyński) under Ishido Sensei
via various sensei’s</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72pt; mso-add-space: auto; mso-list: l1 level2 lfo2; text-indent: -18pt;">
<span style="font-family: "Courier New"; mso-fareast-font-family: "Courier New";"><span style="mso-list: Ignore;">o<span style="font: 7pt "Times New Roman";">
</span></span></span>Other parts of Poland (Krztof Górnicki) under
Inoue Sensei</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo2; text-indent: -18pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";">
</span></span></span>Muso Jikiden Eishin Ryu:</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72pt; mso-add-space: auto; mso-list: l1 level2 lfo2; text-indent: -18pt;">
<span style="font-family: "Courier New"; mso-fareast-font-family: "Courier New";"><span style="mso-list: Ignore;">o<span style="font: 7pt "Times New Roman";">
</span></span></span>Katowice (Lukasz Machura) under Oshita Sensei
via Henry Schubert Sensei</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 72pt; mso-add-space: auto; mso-list: l1 level2 lfo2; text-indent: -18pt;">
<span style="font-family: "Courier New"; mso-fareast-font-family: "Courier New";"><span style="mso-list: Ignore;">o<span style="font: 7pt "Times New Roman";">
</span></span></span>Krakow (Michal Nowakowski) under Iwata Sensei
via Neil Kemp Sensei</div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l1 level1 lfo2; text-indent: -18pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";">
</span></span></span>Tamiya Ryu – generally the whole group under
Patrik DeMuynck Sensei</div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l1 level1 lfo2; text-indent: -18pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho0hs34HRcj4C9QEPBBhPGD4E7jJn-uZzNc04mPShBQbgosJqU6XWxeazb34BkMdUjWrx7sqt_uYiYeydOMAcyp3Ccitb6KC8059XRIhHXDGRDsjcvOTbbKPxVKapR7pxswfkQtMaB1nru/s1600/575274_389242597819337_1852692612_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho0hs34HRcj4C9QEPBBhPGD4E7jJn-uZzNc04mPShBQbgosJqU6XWxeazb34BkMdUjWrx7sqt_uYiYeydOMAcyp3Ccitb6KC8059XRIhHXDGRDsjcvOTbbKPxVKapR7pxswfkQtMaB1nru/s320/575274_389242597819337_1852692612_n.jpg" width="320" /></a></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l1 level1 lfo2; text-indent: -18pt;">
<br /></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l1 level1 lfo2; text-indent: -18pt;">
<br /></div>
<div class="MsoNormal">
With all these potential variations it was impossible to lay
too much emphasis on judging on technical correctness (there was no seiteigata
in the taikai). Robert spoke to the judging group and said to judge on what you
could perceive from the heart of the performance. </div>
<div class="MsoNormal">
The taikai started and the judges sat down ready (feeling
slightly bemused, or was it confused?) but within a short period of time we
became used to judging not on the minutia of the technique but other things,
more difficult to describe.</div>
<div class="MsoNormal">
For me it began to resound with something that Ishido Sensei
had spoken about before in articles and explanations. This issue had been
explained to him by his father, Ishido Sadatoro Sensei, as the essence of
Niku-Sanke, a nature which is present in styles of Iaido.</div>
<div class="MsoNormal">
Rather than present my own memory of this explanation I have
pasted in below the article excellently translated by Richard Stonell and
published in Kendo Nippon in an article with Ishido Sensei:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 11.0pt;">My father was not the kind of man to make
detailed comments when I was training like this. He would only repeat a single
phrase occasionally: “remember the ‘two <span style="mso-bidi-font-style: italic;">ku</span>’
and ‘three <span style="mso-bidi-font-style: italic;">ke.</span>’”</span></i><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;"></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 11.0pt;">The ‘two <span style="mso-bidi-font-style: italic;">ku</span>’ are <span style="mso-bidi-font-style: italic;">ochitsuku</span>
(calm and relaxed) and <span style="mso-bidi-font-style: italic;">hayaku</span>
(quickly). The ‘three <span style="mso-bidi-font-style: italic;">ke</span>’ are <span style="mso-bidi-font-style: italic;">metsuke</span>, <span style="mso-bidi-font-style: italic;">nukitsuke</span> and <span style="mso-bidi-font-style: italic;">kiritsuke</span>.
These are, regardless of the school or the technique, the absolute fundamentals
of iai. I came to realize more and more that no matter what kind of practice
you are doing, these ‘two <span style="mso-bidi-font-style: italic;">ku</span>’
and ‘three <span style="mso-bidi-font-style: italic;">ke</span>’ should be the
foundation. However, at the time my father was telling me this, I didn’t yet
understand properly, so I thought of these words simply as something my father
liked to say.</span></i><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;"></span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-size: 11.0pt;">From this I tried to
spot these elements in the competitors’ performance by asking myself the
following questions:</span></div>
<div class="MsoNormal">
<br /></div>
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1.<span style="font: 7pt "Times New Roman";">
</span></span></span><span style="mso-bidi-font-size: 11.0pt;">Is the
exponent calm and relaxed so that the techniques are soft and sharp
(ochitsuku)?</span><br />
<br /><span style="mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">2.<span style="font: 7pt "Times New Roman";">
</span></span></span><span style="mso-bidi-font-size: 11.0pt;">Does
this softness build into natural speed and power (hayaku)?</span><br />
<br /><span style="mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">3.<span style="font: 7pt "Times New Roman";">
</span></span></span><span style="mso-bidi-font-size: 11.0pt;">Do they
maintain good metsuke which shows clearly where the opponent is?</span><br />
<br /><span style="mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">4.<span style="font: 7pt "Times New Roman";">
</span></span></span><span style="mso-bidi-font-size: 11.0pt;">Is their
nukitsuke (or opening attack) performed with decisiveness and clarity?</span><br />
<br /><span style="mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">5.<span style="font: 7pt "Times New Roman";">
</span></span></span><span style="mso-bidi-font-size: 11.0pt;">Is their
kiritsuke (or finishing attack) delivered with a sense of finality and natural
power?</span><br />
<br />
<br />
<div class="MsoNormal">
I started trying to vote on these criteria and found my
voting to be closer to the other judges (rather than standing out like a plum).
Judging and deciding became a lot easier once stability also became a part of
the criteria.</div>
<div class="MsoNormal">
Towards the end it became obvious who was going to reach the
finals. It was a very interesting experience trying to develop a method of
judgement when adherence to geometric form no longer became under critique. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPHPM-HV0qwbmPPfQaf91gspH_h65ovWJ1ITkMWMr7Dk3fCsy1mcu3V5cWwU9HixulbE2-C-6fKVTo949cs3CEnXsW23K2Z-qTIfwe-e7XVdMdUV-t6XoBmqWB3wogfyw6GqdpTVcGK1uM/s1600/248866_389868214423442_1952478420_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPHPM-HV0qwbmPPfQaf91gspH_h65ovWJ1ITkMWMr7Dk3fCsy1mcu3V5cWwU9HixulbE2-C-6fKVTo949cs3CEnXsW23K2Z-qTIfwe-e7XVdMdUV-t6XoBmqWB3wogfyw6GqdpTVcGK1uM/s320/248866_389868214423442_1952478420_n.jpg" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At the end of the presentations I offered a prize to one of
Robert’s students who I thought, while his embu wasn’t beautiful per se, it
showed what I thought were lots of the five criteria listed above. </div>
<div class="MsoNormal">
In the next and possibly final part of this posting I want
to discuss how these criteria reach into the notion of “Setsuninto Katsujinken”.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0V0BPVrJ6_8caL-FnP9Uoek9NbYKJLgB1Ay1n2peZW2RGhYEdScq_zUAq_mLDSyf9RQsOiZUtDCsp4X7x0MPTaOOjX6gr28DaVg22n_PsSmf3JdBHec22c4XoeUDfIgRKwB0OuOxhkz-0/s1600/fudo-myo-o.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0V0BPVrJ6_8caL-FnP9Uoek9NbYKJLgB1Ay1n2peZW2RGhYEdScq_zUAq_mLDSyf9RQsOiZUtDCsp4X7x0MPTaOOjX6gr28DaVg22n_PsSmf3JdBHec22c4XoeUDfIgRKwB0OuOxhkz-0/s320/fudo-myo-o.jpg" width="256" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Thanks to <a data-hovercard="/ajax/hovercard/user.php?id=100000676494459" href="https://www.facebook.com/meishinkan.pskiij" id="js_2">Meishinkan Pskiij Pskiij</a> and Maria Enquist for the use of their photos. </div>
Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com2tag:blogger.com,1999:blog-7380831531289624078.post-62061020587353502522013-02-14T16:05:00.000+00:002013-02-14T16:05:08.546+00:00Suio Ryu Koden Embu Taikai, Katsujinken Setsuninto and the Rest of the Universe – Part 1<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-GB</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<w:DoNotOptimizeForBrowser/>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if !mso]><img src="//img2.blogblog.com/img/video_object.png" style="background-color: #b2b2b2; " class="BLOGGER-object-element tr_noresize tr_placeholder" id="ieooui" data-original-id="ieooui" />
<style>
st1\:*{behavior:url(#ieooui) }
</style>
<![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0cm;
mso-pagination:widow-orphan;
font-size:11.0pt;
mso-bidi-font-size:10.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<br />
<div class="MsoNormal">
<i>So this was to be my final blog post for 2012, it got
delayed quite a bit with all the stuff going on at the end of 2012 and
beginning of 2013 and by February I decided that it would be best broken up
into several sections so here goes part 1…</i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I expect this will probably be my final blog post for 2012
so it’s going to be a long one. I just got back from the 20<sup>th</sup>
Anniversary of Tenshinkan Dojo, Warsaw which saw the first Suio Ryu Koden Embu
Taikai in Europe. I was invited by Marcin Wojtacik along with:</div>
<div class="MsoNormal">
<br /></div>
<br />
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Robert Rodriguez Sensei: (Suio Ryu)Iaido 7<sup>th</sup>
dan, Jodo 6<sup>th</sup> dan<br />
<br /><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Patrik DeMuynck Sensei: (Tamiya Ryu) Iaido 7<sup>th</sup>
dan, Jodo 6<sup>th</sup> dan<br />
<br /><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Takao Momiyama Sensei: (Muso Shinden Ryu) Iaido
7<sup>th</sup> dan, Jodo 7<sup>th</sup> dan<br />
<br /><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Neil Kemp Sensei: (Muso Jikiden Eishin Ryu)
Roshukai Iaido <br />
<br /><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Philipe Merlier Sensei: (Muso Shinden Ryu) Iaido
6<sup>th</sup> dan<br />
<br /><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Henry Schubert Sensei: (Muso Jikiden Eishin Ryu)
Iaido 5<sup>th</sup> dan, Jodo 5<sup>th</sup> dan<br />
<br /><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jose Martinez Aberco Sensei: (Suio Ryu) Iaido 5<sup>th</sup>
dan<br />
<br />
<br />
<div class="MsoNormal">
This for me was a complete delight; I get on well with these
EKF teachers and had never met Neil Kemp before although I had heard a lot of
good things about him. For those that don’t know him, Neil heads the UK
Roshukai group, a group of dojos who were under the tutelage of the late Iwata
Norikazu Sensei learning the Tosa-ha branch of Muso Jikiden Eishin Ryu Iaido.
Robert had through his presence brought a massive contingent of the Spanish
Iaido group as well as many students from Versailles. They all seemed very
excited and glad to be here.</div>
<div class="MsoNormal">
On Day 1 the event was divided into those who wanted to do
koryu (dividing into Muso Shinden Ryu, Muso Jikiden Eishin Ryu with Neil and
Henry working together, Tamiya Ryu and Suio Ryu) and those wishing to do seitei
(mainly people taking a dan grading that day). Given that there were some 33
people in this group and I had been asked to lead this group I asked Jose for
some help to which he obliged. We ran through three katas at a time showing the
important points and addressing questions. BY rotating ten people out at a time
we managed to get through a lot of actual kata practice. We tried to emphasise
the importance of correct footwork –this seemed to stick with some people and
not with others. We did a bit of a grading rehearsal and then the grading was
on us. </div>
<div style="border-bottom: solid windowtext 1.5pt; border: none; mso-element: para-border-div; padding: 0cm 0cm 1.0pt 0cm;">
<div class="MsoNormal" style="border: none; mso-border-bottom-alt: solid windowtext 1.5pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;">
The results were quite mixed but
I could see that nearly all the panellists were fairly consistent in their
marking. The shodans and nidans were not much of a problem with them all
passing, the sandans passed three out of five but only four out of thirteen
yondans passed (31%). It reminded me of the article by Peter West, The 4<sup>th</sup>
Dan Barrier in Iaido which I will represent for you here, it is an excellent
read:</div>
<div class="MsoNormal" style="border: none; mso-border-bottom-alt: solid windowtext 1.5pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;">
<br /></div>
</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">In my opinion to pass 4th dan an applicant must show ALL
of the following:</span></i></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<ul style="margin-top: 0cm;" type="disc">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">There should be no technical
errors in the Seitei performance. (By technical errors I mean those
details describing the correct actions of the reiho and kata as laid down
by the ZNKR. The document for this has been ably and expertly translated
by Chris Mansfield and copies
are readily available. This project has been of enormous benefit to our
Iaido. All members should obtain a copy.)</span></i></li>
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">There should be no errors in the
reiho</span></i></li>
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">The first cut of the first kata
must be strong, well timed and decisive. (In 1995 Sagawa Sensei made the
point that the first cut is the most important. If it fails, then anything
that follows has no meaning. In competition he said that if two
performances are so similar it is impossible to judge between them, then
the effectiveness of the first cut should be the deciding point.)</span></i></li>
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">Shisei should be strong, focussed
and well balanced. (shisei does not only mean having good posture physically,
but the correct state of mind)</span></i></li>
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">Kigurai should be demonstrated
from the first moment you are seen approaching the shinza jo to your
manner after leaving.</span></i></li>
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">The performance should
demonstrate Jo-ha kyu in all actions, kan kyu in the kata, ma and maai
should be correct as demonstrated by metsuke and how far you travel
between cuts for the timing you choose.</span></i></li>
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">The performance should
demonstrate aji, fukaku</span></i></li>
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">There should be no suki that
could be entered by a person of at least similar grade.</span></i></li>
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">This is the first grade at which
the performance should consistently appear as though it would work in a
real situation. (The applicant should not look as though they are trying
to correctly remember a sequence of movements, but are performing
naturally and realistically, performing effective cuts and strikes to deal
with the situation of the Riai of the kata while remaining in control and
not looking overly aggressive, rushed or as if taken by surprise.)</span></i></li>
</ul>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">This may all sound a tall order, but is it really too
much to expect after a minimum of 7 years training? I really don’t think so.
And, as I have said, this is only my opinion. Other examiners may have
different criteria. That said, I feel confident that all of us who have sat on
grading panels in the UK have similar requirements. I know people have passed
that I have thought should not, and vice versa. For this reason, to eliminate
the inevitable variations of specific expectations of the different examiners,
grading panels increase in size for higher grades.</span></i></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">You might reasonably ask then, what you should do if you
are one of the unfortunate people who have failed 4th dan on more than one
occasion. </span></i></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<ul style="margin-top: 0cm;" type="disc">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l2 level1 lfo3; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">Of course, more training is
necessary, but if what you are training is incorrect it will do you no
good. You need to find out what is wrong with the way you train.</span></i></li>
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l2 level1 lfo3; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">After teaching at Watchet last
year it became all too apparent that many people who do not train kendo,
but only iaido or Iaido and Jodo do not do enough suburi. Suburi not only
improves cutting efficiency (reducing the need for force and making the
movement faster, sharper and less stiff), but improves shisei, breathing,
seme, kigurai and many other aspects of the performance.</span></i></li>
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l2 level1 lfo3; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">Seek help from other teachers.
This is not an insult to your own teacher, whose permission or
recommendation should be sought. I don’t mean you should abandon your own
teacher. Seeking help elsewhere is useful for you both. This can be done
at BKA seminars for example, or squad training. Another teacher might
explain the same thing differently or change the emphasis so that you
better understand what you have already been shown. This is particularly
the case if you have access to a Renshi or Kyoshi instructor from time to
time. Looking beyond the confines of your own dojo and deepening your understanding
in this way is the “Ha” stage of “Shu-ha-ri”. Anyone seriously challenging
4th dan should be seeking knowledge and understanding from all sources and
beginning to assimilate different methods.</span></i></li>
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l2 level1 lfo3; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">Have faith in what you have been
taught and in your training. Practice with no thought as to the
correctness of your movements, but try to imagine the enemy and deal with
the situation using the method in the kata. Use a video camera and review
your practice as soon as possible after the session so you can recall what
happened, how you felt and connect what you see with the performance
itself. Of course you should not be making technical errors. By this I
mean that your training should now allow and enable you to perform a kata
correctly in this sense without thinking through the various stages and
moves. This will allow your movements to flow naturally your own personal
interpretation of ma and mai will develop and subsequently so will fukaku.</span></i></li>
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l2 level1 lfo3; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">Do grading embu practice as often
as possible.</span></i></li>
</ul>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">At all times maintain a positive attitude. We all have
barriers to our progress, and they are often related to a wrong perception, or
wrong thinking rather than bad teaching or reaching a competence limit of some
kind. When this barrier has to be crossed, and it is different for all people,
it can seem insurmountable and frustrating, but generally most people hit one
in those 3 years after third dan. Look deeper, train harder and seek further
afield for the answers. They are there to be found.</span></i></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">Good luck</span></i></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div style="border-bottom: solid windowtext 1.5pt; border: none; mso-element: para-border-div; padding: 0cm 0cm 1.0pt 0cm;">
<div class="MsoNormal" style="border: none; mso-border-bottom-alt: solid windowtext 1.5pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-align: justify; text-justify: inter-ideograph;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt;">Peter West Myoken Dojo</span></i></div>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I guess what this means for me is that most cannot pass
their 3<sup>rd</sup> dan and then carry on coasting at the same speed into
their 4<sup>th</sup> dan. <span style="mso-spacerun: yes;"> </span>At some point
one has to engage significantly more with their training and their budo; simple
repetition of forms will probably not suffice. This has prompted me to write a
more in-depth document for taking iaido gradings in my capacity of Iaido Bucho
for the British Kendo Association, not because I claim to know all the in’s and
out’s completely but I do know that there is a lot of information out there
which relates to this topic which doesn’t always get distributed evenly to all
members.</div>
<div class="MsoNormal">
So what else does this mean? </div>
<div class="MsoNormal">
In my humble opinion, and this mirrors heavily on that which
Peter wrote, before one even tries for 4<sup>th</sup> dan one should be
starting the gentle separation from the reliance on one’s teacher to be the
single source of knowledge, feedback, criticism. Quite recently at 4<sup>th</sup>
dan gradings it has become apparent that many of the candidates had
insufficient idea or perception of what they were doing in comparison to the
standard seitei description. There was lots of evidence of hard practice but
not so much in adherence to technical detail. I wonder if any of them had seen
themselves on video doing iaido. I don’t mean spending hours delighting oneself
with relentless showings of one’s last taikai embu; I mean that, for example,
every time someone videos me doing a taikai, grading, embu or just training, I
try to watch it very carefully trying to identify: bad habits that have crept
in or crept back, good aspects that I want to amplify more and simple
compliance or non-compliance with technical standards. Those who have read
older posts in this blog may know already that I wasn’t against doing weekly
videos of my grading practice and getting home to go through it frame-by-frame
and critically appraising the technical correctness and performance of each
form. I’m not suggesting that this is anything special, I just think that a
serious approach to training, where training opportunities might be limited to
a few hours a week, requires a very broad range of training aids to progress
oneself. </div>
<div class="MsoNormal">
I would like to unpack that further: simply turning up to
the dojo once or twice per week for a couple of hours isn’t going to overcome
the natural plateau’s that occur in one’s development. One has to do some kind
of “extracurricular activity” and the higher the immediate grade one is aiming
for the more is required. Most of us outside of Japan unfortunately don’t have
the luxury of having a dojo and a sensei available for nearly every day of the
week. I am sometimes ashamed and frustrated that I don’t train more considering
how much time my line of teachers have devoted to their training. Some of this
is me being lazy, other times I’m enthusiastic to train but I just don’t have
the opportunity to have some space and time to do it properly.</div>
<div class="MsoNormal">
<br /></div>
<div style="border-bottom: solid windowtext 1.5pt; border: none; mso-element: para-border-div; padding: 0cm 0cm 1.0pt 0cm;">
<div class="MsoNormal" style="border: none; mso-border-bottom-alt: solid windowtext 1.5pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;">
End of Part One</div>
</div>
Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com1tag:blogger.com,1999:blog-7380831531289624078.post-23668733889394666982013-01-15T19:23:00.002+00:002013-01-15T19:24:01.128+00:00Supplementary Post - Dojo Layout and Stepping From ZNKR Seitei ManualI have quite a sizable article being written right now although it does go on a bit and is being in parallel with a document concerning iaido gradings so it's taking quite a looooooonnnngggg time.<br />
<br />
In the meantime I decided to translate page 35 of the ZNKR Seitei Iaido Manual which covers "How to enter and leave the dojo: Direction of stepping and rotation". This wasn't translated in the current English version and I have to be honest, I am not sure of the purpose of this except when we all go and do our 8th dan embu in Hakone. If you watch videos of these embu then you might notice a slightly more elaborate style of entry to the dojo and carrying out reiho. I believe this is in harmony with this diagram shown below.<br />
<br />
The link for the PDF of this drawing (which is better quality than the JPEG shown below) should be downloadable here:<br />
<br />
<a href="https://www.dropbox.com/s/5syj10lqe5m6zv9/Dojo%20layout%20and%20stepping%20orientation.pdf" target="_blank">https://www.dropbox.com/s/5syj10lqe5m6zv9/Dojo%20layout%20and%20stepping%20orientation.pdf</a><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvakL8icOi2NuRNn-DPwZFhQhIRuNSwmmRqzt1hyphenhyphenqVAXw9UllLa8uDKsHtXkHWgIczCT04_2t1v3WfiOaXKPtznzC6uJmtJF0JZR37w6KSs3m-o1bsEzcJibXXlPdW-Zg6g9Yu81BmcPqJ/s1600/Dojo+layout+and+stepping+orientation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvakL8icOi2NuRNn-DPwZFhQhIRuNSwmmRqzt1hyphenhyphenqVAXw9UllLa8uDKsHtXkHWgIczCT04_2t1v3WfiOaXKPtznzC6uJmtJF0JZR37w6KSs3m-o1bsEzcJibXXlPdW-Zg6g9Yu81BmcPqJ/s320/Dojo+layout+and+stepping+orientation.jpg" width="240" /></a></div>
Any questions, please drop me a message.Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com1tag:blogger.com,1999:blog-7380831531289624078.post-3128594246626770052012-11-21T14:52:00.000+00:002012-11-21T15:03:56.816+00:00A Thanks to Murakami Sensei (and how to make Ochiburi easy)<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:RelyOnVML/>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-GB</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<w:DoNotOptimizeForBrowser/>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0cm;
mso-pagination:widow-orphan;
font-size:11.0pt;
mso-bidi-font-size:10.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]-->
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Well that was quite a lull wasn’t it? I guess I haven’t been
actually that busy with training for a while and the time I have spent in the
dojo has been mostly about helping others. Our dojo suddenly seems full of
newish people, space is in demand and I generally default into the helping
position when it gets congested.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I would like to share one point though that was conveyed to
me by Murakami Sensei during his visit to Wroclaw recently. As I may have
mentioned, this was the first time for me to meet him and his dojo members and
it was a very enjoyable few days. What comes across very clear from Murakami
Sensei is that very little of what he does he does simply because someone has
told him so. It is very obvious that he is no stranger to hard and vigorous
training and everything he demonstrates he does so with an air of something
very well grounded in. He does iaido and jodo as it works for him, a lot of
which I’m sure is because he has applied himself so hard to learning but the
outward appearance isn’t that he has great difficulty doing anything that he
demonstrates.</div>
<div class="MsoNormal">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNAQgzXkqPZCgMZD0t3mPPl-SAxRpxTBi30VKUqUczkVEQytMpz-9r7JKWv4A6ziS1z3CPdNwwWt28tVgznT-3X0r9QFtpF-b46bbZGWo5YiKETYF806iEm-zLfeK6XIi0t3YTmr0BtCFG/s1600/Murakami+seminar+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNAQgzXkqPZCgMZD0t3mPPl-SAxRpxTBi30VKUqUczkVEQytMpz-9r7JKWv4A6ziS1z3CPdNwwWt28tVgznT-3X0r9QFtpF-b46bbZGWo5YiKETYF806iEm-zLfeK6XIi0t3YTmr0BtCFG/s320/Murakami+seminar+1.jpg" width="320" /></a></div>
<br />
<br /></div>
<div class="MsoNormal">
One thing which stuck with me was his very interesting
explanation of ochiburi and how it makes it much easier to do. I would like to
start this explanation with a premise concerning a particular point within the
ochiburi action and if you don’t already do it this way then this post might
not be very helpful. That premise is that between the point from the arm being
stretched out to the right to the point where it brings the sword close to the
head that the grip should relax so that the potential to do tenouchi is
created. I realise that the absence of this premise is that the right hand
holds the sword very stiffly maintaining an elevated kensen throughout this
action. I don’t personally believe that that way of doing it is natural or
necessary if the physical action of chiburi is to shake the blood from the
sword (regardless of whether that literal interpretation is practical or not).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What has always been a difficulty for me though is
maintaining some semblance of kissaki control during this action, typically
with the kissaki waving to the left and right so that it goes behind my head
and then back to the outside as the grip starts to engage. Through the
transition from the position of the right arm being outstretched to holding the
sword near the temple the following conditions must be maintained (or so I have
been taught):</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>The kensen must not drop below horizontal</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>The kensen should not waiver to the left and
right but should remain at roughly the same relative position to the hand</div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>The grip should relax so that tenouchi can be
used to actually make the chiburi cutting action</div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<br /></div>
<div class="MsoNormal">
Murakami explained that the seiteigata method of doing this
was to ensure the the kensen projects out to the side when the right arm is
outstretched, essentially meaning that the right hand grip doesn’t change from
the end of the kirioroshi.<span style="mso-spacerun: yes;"> </span>He further
outlined that it was koryu methodology that required the kensen going straight
back but seitei should have the sword kept out to the side (see images below).</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Cg1xo84X3fzsZBgqS_Ok-zP0ehcZ34LPv0KMbUj5kiSWaROhN17txbVyY_HFpaju4MR2-aSymMzODGa5vqrnbXwHmS6QIs7-gBp8R8r7vIutO9l40XbLhD4OYwRSC17L-DTQplK9BIm-/s1600/Ochiburi+pt1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Cg1xo84X3fzsZBgqS_Ok-zP0ehcZ34LPv0KMbUj5kiSWaROhN17txbVyY_HFpaju4MR2-aSymMzODGa5vqrnbXwHmS6QIs7-gBp8R8r7vIutO9l40XbLhD4OYwRSC17L-DTQplK9BIm-/s320/Ochiburi+pt1.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzQAGQdVJHRPv1FwKYc1k7UAAd6PTkHIvs5K0yh4eoh75i21w3CyN7oZenkUr-FW1g9VH2TdB22WRlpmQU41Y3PY7zvXIibwIKbhgflkwGvyhOnxsSkOGOmoZz7-7bGUN8pB_Az9UirzcE/s1600/Ochiburi+pt2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzQAGQdVJHRPv1FwKYc1k7UAAd6PTkHIvs5K0yh4eoh75i21w3CyN7oZenkUr-FW1g9VH2TdB22WRlpmQU41Y3PY7zvXIibwIKbhgflkwGvyhOnxsSkOGOmoZz7-7bGUN8pB_Az9UirzcE/s320/Ochiburi+pt2.jpg" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The images above don’t of course show the final position by
the side of the head with the tsukagashira towards the front of the right eye
but I’m sure you get the meaning. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Anyway, by actively making the kensen adjust from an oblique
position to a straighter position during the movement from outstretched to the
temple this tends to keep the kensen in a much tighter control that is, it is
easier to control the position by actively moving it rather than trying to keep
it relatively still. Simple though this revelation was it fairly well fixed a
problem that didn’t seem to be going away. Such is life with long arms and a
long sword.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I think now even in shoden I will try to provide a small
part of this movement even though I try to keep the movement more fluid.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I don’t believe it is explicitly written in the ZNKR seitei
manual that ochiburi must be performed like this, it sounds like something
transmitted orally and learned through good training which is the thing that is
so obvious with Murakami Sensei, he appears like a keiko workhorse.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Shortly after this seminar Murakami Sensei with his brother
won the All Japan Jodo Championships for 7<sup>th</sup> dan, an acclaim which I
think must be well deserved. There were some aspects of his technical
methodology in both iaido and jodo which I had not come across before and even
where it was slightly counter to my study lineage it was all worth trying,
incorporating and finding useful aspects for one’s own technique. His compact
but devastating hikiotoshi demonstrated to me how important it was to keep
one’s body angle at 90 degrees for as long as possible so that the hip twist is
still taking place during the contact period between jo and tachi.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Anyway, a new blog entry is waiting for my fingertips….</div>
<div class="MsoNormal">
<br /></div>
Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com14tag:blogger.com,1999:blog-7380831531289624078.post-13916990578363364382012-09-18T10:29:00.000+01:002012-09-18T10:29:21.318+01:00Passing Jodo 6th Dan<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-GB</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0cm;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]-->
<br />
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"></b></div>
<div class="MsoNormal">
Well, I guess the title gives away the content of this
posting then. Let’s leap straight to the finale, I passed my 6<sup>th</sup> dan
Jodo examination a couple of Sundays back at the European Jodo Championships in
Brussels along with my partner Harry and one other candidate, Chantal from
France. The seminar was led by three Japanese sensei:</div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Tominaga Sensei, Hanshi 8<sup>th</sup> dan</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Kurogo Sensei, Hanshi 8<sup>th</sup> dan</div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Arai Sensei, Kyoshi 8<sup>th</sup> dan</div>
<div class="MsoNormal">
It was a fairly interesting seminar for me as I had already
been to three previous main seminars with 8<sup>th</sup> dans at them and so to
see how each explained the latest emphases was going to be insightful. </div>
<div class="MsoNormal">
As I haven’t really detailed my Jodo training what with my
Iaido 6<sup>th</sup> dan taking centre stage for so long I ought to outline
what I have done during 2012 to push my Jodo further:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Villingen Seminar</b></div>
<div class="MsoNormal">
We had two and a half days with Ishido Sensei, assisted by
Hayashi Sensei, in Villingen this year. I now find these smaller seminars far
more beneficial than the larger summer events as there are fewer people that
attend (just) and they generally have a higher distribution of grades in
attendance. To request, Ishido Sensei spent the first half day holding a senior
session with the 5<sup>th</sup> dans and above to cement the important points
for seitei. I will summarise what the majority of these are later.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Japan</b></div>
<div class="MsoNormal">
Harry and I had one week in Kawasaki regularly training with
Ishido Sensei. This only allowed us one evening’s training with the Shinbukan students
and very little feedback. I did however try to identify what the students their
exhibited as part of their Jodo and I guess I would have to say that it was to
do with effortlessness. Soft and efficient technique seems to be mainstay of
the training and one didn’t feel like they were being intimidated when they
trained. Everyone focussed on improving themselves and not at the expense of
their partner. We also had the fortune of attending the 30<sup>th</sup>
Kanagawa Ken Taikai and the 1<sup>st</sup> Commemorative Yano Sensei taikai
which was extremely enjoyable and has been detailed in another post. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Eindhoven Seminar </b></div>
<div class="MsoNormal">
Ishido Sensei once again insisted on a total of a five-day
seminar rather than the six and this worked out quite nicely. I had a good
opportunity to train with Janet Griffiths as well who was about to go to Japan
to try her 6<sup>th</sup> dan (which she passed – well done Jan!). Shoji
Sensei, Miyagi-ken’s new 8<sup>th</sup> dan took a large part of the seminar
and went over the salient points of what was considered important to the ZNKR
Jodobu. As well as doing lots of training with Harry I had some opportunity to
also do some nice training with Margherita from Italy, Catja from Switzerland
(sorry for the bad spelling all) and many others. This enforced training with
people one hasn’t trained with before is extremely useful and insightful. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">British Kendo
Association Summer Seminar</b></div>
<div class="MsoNormal">
Otake Sensei, kyoshi 8<sup>th</sup> dan from Kanagawa led
the seminar this year. I have to say right now that he is one of my favourite
Jodo teachers. He is the perennial student and an absolute technician. His
enthusiasm and studiousness is infectious and you get to feel like he shares
everything he knows. One never feels ashamed to ask him any question regardless
how stupid and he is generally always able to answer. On the last day he gave
the “soon to be grading” group a run for their money and put them through the
mincer – very useful it was too.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And so back to Brussels. I tried my best to participate
although I was nursing a very sore back and neck that had locked up in the last
couple of days (from lying on my sofa of all things). We did a bit of tandoku
dosa on the first afternoon followed by a quick run through the salient points
of Seiteigata. The referees seminar consisted merely of practice and going
through the 3-man team procedure.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The next day was the taikai starting with the team event. It
is wonderful to see how the various participating countries have moved up to
similar levels as everyone else nowadays. There are no foregone conclusions and
the veteran countries of the earlier years are constantly stressed into doing
their utmost best to beat relatively newer countries which have no leaders
above 4<sup>th</sup> or 5<sup>th</sup> dan.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I was delighted to see the UK team come second to the host
country, Belgium, and I am sure it was a close thing. The team was led by
Aurelien Nacrour (Taisho), with Daniel Silk as Chuken and Jo Hirst as Senpo.</div>
<div class="MsoNormal">
The individuals took up the afternoon and after a long wait
the 5<sup>th</sup> dan division started. Both Harry and I won our individual
pools which meant we wouldn’t meet before the final…and then surprise,<span style="mso-spacerun: yes;"> </span>we both made it through to the final. As the
finals were run at the end of the day, Harry chose Catja as her uchidachi and I
chose Aurelien. The fight took place and I was unfortunately aware that I was
using a little bit too much strength in the final strikes as I am apt to do in
finals. The flags went up and Harry won 2-1. I looked at Aurelien and we both
grinned like cats. This was the first time Harry had won a European Jodo Taikai
(she had previously only won a bronze and that was in a taikai with only about
3 people). I was so delighted with her. I had lost and yet somehow I had also
won. I can say with all honesty that this was the best result to me. I had won
lots of taikai before and the feeling of elation was fleeting, lasting only
about 5 seconds as one is walking off. For Harry though I am sure this was a
big thing and so it was a big thing for me too…just before our 6<sup>th</sup>
dan exam too!</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We had a bit of time in the afternoon to practice before the
grading as we were doing the okuridashi system. This meant:</div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l4 level1 lfo2; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Harry tachi’d me.</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l4 level1 lfo2; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>I tachi’d Chantal.</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l4 level1 lfo2; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Chantal tachi’d Len.</div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l4 level1 lfo2; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Len tachi’d Harry.</div>
<div class="MsoNormal">
Poor Harry, she had to stay on the longest before it was her
time to do the jo. After the 6<sup>th</sup> dan candidates I tachi’d for Chris
Buxton who was the sole 7<sup>th</sup> dan candidate. Funnily enough I was
feeling much better about that embu than my own.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/xlfDEEI2vi8?feature=player_embedded' frameborder='0'></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
My thanks to George Valkov for recording our taikai as well as our gradings. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The results went up. Harry, Chantal and I had passed and so
had Chris Buxton! The dojo went a bit mad. It was fantastic. Chris has been
trying on and off for 7<sup>th</sup> Jodo since around 2003 (I think Papendal
was his first try). Although I train a lot with Chris and helped him prepare
for 7<sup>th</sup> dan I think this is the first or second time only that I had
tachi’d him for his grading so it was a great honour for me to see him pass; I
don’t mean that with conceit, I am sincerely pleased that he passed and know
that he did it on his own steam.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Fay Goodman also passed 5<sup>th</sup> dan which was great
to see as she has also been going to European seminars this past couple of
years to get extra training at Ishido Sensei’s seminars. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And so, menjo’s were awarded, tears were shed (i.e. the
menjo registration fee was over 100 Euros!) and thanks were given. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Where to go with this? I haven’t yet decided what I want the
6<sup>th</sup> dan to mean for me and how I want to recreate myself with this.
I have done it with my Iaido 6<sup>th</sup> dan but I’m not sure about my Jodo.
I certainly want to be more consistent in my Jodo and I want the catches in
Kuritsuke, Kurihanashi and Taiatari to be more reliable. I realise that Rai
Uchi has its own very unique challenge regarding sharp timing but other than
that I don’t feel an Achilles Heel in my seitei<span style="mso-spacerun: yes;">
</span>jodo – that’s not to say of course that they couldn’t all be improved,
I’m just reflecting that most people have a least favourite seitei iaido form,
I don’t have the same thing for Jodo.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Key Findings</b></div>
<div class="MsoNormal">
I don’t want to pretend to have reached some form of
enlightenment from this experience, just as I have with the rest of the Shugyo
blog, I merely want to reflect and share some of the things I have learned
along the way. I guess for Jodo, the majority of the key points are very
general and don’t refer to any particular grade; the quality and quantity with
which one applies these points though of course becomes more critical as one
progresses up the grades.</div>
<div class="MsoNormal">
In no particular order:</div>
<div class="MsoNormal">
<br /></div>
<ul>
<li><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"></span></span></b><b style="mso-bidi-font-weight: normal;">Ma-ai
(distance)</b></li>
</ul>
<div class="MsoNormal" style="margin-left: 18.0pt;">
Ishido Sensei stressed this as
being a factor not considered strongly enough amongst the European students on
more than one occasion this year.<span style="mso-spacerun: yes;"> </span>In
particular, Seiteigata has very strict definitions of what the distance is
between Shi and Uchi through every point of the kata. How this is created is
important as well as how it is then further utilised, for example:</div>
<div class="MsoListParagraphCxSpFirst" style="margin-left: 54.0pt; mso-add-space: auto; mso-list: l0 level1 lfo4; text-indent: -18.0pt;">
<span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>With two-step cutting distances it is important
that the Uchidachi doesn’t lift the sword on the first step but waits until the
second step is well underway before lifting and cutting.</div>
<div class="MsoListParagraphCxSpLast" style="margin-left: 54.0pt; mso-add-space: auto; mso-list: l0 level1 lfo4; text-indent: -18.0pt;">
<span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>With one-step cutting distances, the lifting of
the sword and cutting commences almost simultaneously and should be executed
without delay (or without <i style="mso-bidi-font-style: normal;">sukima – </i>opening).</div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
At these one-step cutting
distances it is important to check that neither side should be able to hit each
other without moving. However, if they are too far away then they are not in <i style="mso-bidi-font-style: normal;">issoku-ittou-no-maai </i><span style="mso-spacerun: yes;"> </span>(one-step cutting distance) therefore the
approach should bring the Uchidachi right up to the very danger limit. Both
sides should sense a danger within this proximity akin to standing on the very
edge of a cliff. Without this critical sense of danger there is no longer any
point in the Uchidachi stopping as they do in Seitei – this is the very meaning
of the pause – to exude, exhibit and sense this danger zone.</div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
There are two other factors of
distance which are important in Seiteigata, those being <i style="mso-bidi-font-style: normal;">Chijimeru </i>and <i style="mso-bidi-font-style: normal;">Nobasu </i>which
respectively mean “to shorten” and “to lengthen”. More than is realised, these
two actions happen in nearly every kata but they are more easily identified in
Katas 3 and 12, Hissage and Ran Ai. </div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
In Hissage, from the initial <i style="mso-bidi-font-style: normal;">awase</i> distance, the action of the Shijo
as the Uchidachi moves into Jodan Kamae is to lengthen (<i style="mso-bidi-font-style: normal;">nobasu</i>) the distance between them thus creating a brief pause
during which the Uchidachi has to recalculate and re-establish their
distance.<span style="mso-spacerun: yes;"> </span>While the word “Hissage” means
to carry in one’s hands, I believe that the name is a play on words as the
individual characters that make up the name mean to “draw back” which is the
ultimate action of the Shijo at the aforementioned point.</div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
In Ran Ai, after the initial encounter from which
the Uchidachi draws the sword up and back and the Shijo steps back to
hikiotoshi, the next action of the Shijo is to suddenly and drastically shorten
(<i style="mso-bidi-font-style: normal;">chijimeru</i>) the distance thus forcing
the Uchidachi to arrest their forward movement and make a shorter cut. Again
this sudden change of distance along with the action of <i style="mso-bidi-font-style: normal;">seme</i> causes the Uchidachi to pause briefly in jodan kamae allowing
the Shijo to execute their next technique (the outside kuritsuke).</div>
The importance and the effect of these two actions
are often overlooked as the exponent focusses on what to do with the stick
rather than considering what to do with their feet.<b></b>
<ul>
<li><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span></b><b style="mso-bidi-font-weight: normal;">Ma
(timing)</b></li>
</ul>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
It would be inappropriate for me to say at my level
that I have a consistent understanding of what overall the timing of the katas
should be. I am certain that the individual levels of the exponents, the kind
of training they are doing and their individual physical criteria and feeling
all play a part in dictating the katas timing. Certainly at 6<sup>th</sup> dan
level it was clearly expressed to us that clear and steady timing of the katas
was important rather than focussing on speed.</div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
The aspect of timing which I have learned is a) of
utmost importance and b) often overlooked is: <b style="mso-bidi-font-weight: normal;">timing with regard to one’s opponent</b>. We have often been told of
late that as individuals we are doing the techniques very well but we are not
doing them in accordance to what the opponent is doing. Kuritsuke is a good
example: moving too late is generally unheard of but moving too early provides
the Uchidachi an opportunity to change directions and cut to where the Shijo is
moving to.</div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
The Japanese term is “<i style="mso-bidi-font-style: normal;">aite o ishiki suru”</i> that is “to be aware of one’s opponent”. This
doesn’t of course merely realise that they are there and thundering towards you
but that you are actively and carefully monitoring their position and movement.
Ultimately in Jodo, the timing of the Shijo’s movements are, and I don’t like
to use this word, dictated by the timing of the Uchidachi. The reason why I
don’t like to use this word is that it can be wrongfully equated to mean that
the Uchidachi controls the Shijo’s timing – I don’t mean this. The subtle
nuance I mean to communicate is that the Shijo’s timing is dependent on various
aspects of the Uchidachi’s timing….I think I might have laboured this point a
lot now.</div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
On the side of the Uchidachi there are equally
important factors to consider. In a two-step cut, revealing ones intention by
lifting the sword too early leaves an easy opening for the Shijo to evade or
counterattack. The timing should be set to the very limit of unexpectedness
just like the distance mentioned before. The term “<i style="mso-bidi-font-style: normal;">giri giri made</i>” is often used to describe both timing and distance
and means “to the very edge” or “to the very last moment”.</div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
Furthermore, it should be considered that in long
katas the general rhythm of the form is dictated by the Uchidachi and it is
important that one’s form does not become too “busy”. This is best understood
through an example in either Kasumi, Midare Dome or Ran Ai when the Uchidachi
has to step back into hasso kamae to make a new attack. Without the tiniest
brief pause or change of pace it looks like the Uchidachi has pre-empted the
next attack and hasn’t taken the time to check distance and the availability of
the target. While physically stopping (“<i style="mso-bidi-font-style: normal;">tome”</i>)
is not advanced Jodo, a moment of re-establishing one’s position and
accumulating intent (<i style="mso-bidi-font-style: normal;">“tame”</i>) provides
a good tempo to the form. My own teacher does this very well, on receiving, for
example, a Tai Atari he moves back regaining his balance and for just a split
second he is at a two-step cutting distance to the Shijo during which a
split-second decision is made and he returns for the next cut. It is very
perturbing for the Shijo.</div>
<ul>
<li><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span></b><b style="mso-bidi-font-weight: normal;">Ashi
Sabaki (footwork)</b></li>
</ul>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
It’s very strange and I’m sure most people don’t
notice it but if one were to measure the amount of time that the average 8<sup>th</sup>
dan spends explaining and demonstrating footwork compared to how much time they
spend on the action of the stick itself I am sure the proportions would be
around 5:1 in favour of footwork. Yet, we spend so much time worrying about and
correcting the jo and taikai shinpan strain their eyes to look to make sure the
jo has landed in the right place……</div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
The Seitei manual makes it very clear about the
correct positioning of the feet and how they relate to the angle of the hips
and thereby the shoulders and upper body. There are only a few foot positions
but they have to be clearly distinguished and correctly executed. Blurring one
to another is out as is moving outside of the carefully described limits on
angles and weight distribution. </div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
Of much interest of late was a teaching from Otake
Sensei who emphasised that in Yaya Hanmi (for honte no kamae for example) that
the weight in the rear foot should be distributed to the ball of the foot so
that the rear heel can ever so slightly be lifted from the floor (and by that I
mean by about 1mm). Furthermore, when moving forwards from a static position,
the distribution of weight should be so that 55-60% of the weight is on the
front foot. Just like Seitei iai as well, rotation of the feet is best done on
the balls of the feet and not the heels. The effect of this is that as the hips
turn the weight doesn’t sink down as it can tend to do when rotating on the
heels.</div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
<br /></div>
<ul>
<li><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span></b><b style="mso-bidi-font-weight: normal;">Dai-Kyo-Soku-Kei<span style="mso-spacerun: yes;"> </span>(large, strong, fast, smooth)</b></li>
</ul>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
This covers a multitude of technical points really
but I guess with regard to the Jo it has the following relevance:</div>
<div class="MsoListParagraphCxSpFirst" style="margin-bottom: 10.0pt; margin-left: 90.0pt; margin-right: 0cm; margin-top: 12.0pt; mso-add-space: auto; mso-list: l2 level1 lfo5; text-indent: -18.0pt;">
<span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>When striking actions are made they should be
delivered with a feeling of largeness. This has the effect of relaxing key
muscles and allowing the functional ones to work unhindered. The effect on the
jo is that strikes are made with a smooth arc and accelerate through their
movement while maintaining a good level of accuracy.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 10.0pt; margin-left: 90.0pt; margin-right: 0cm; margin-top: 12.0pt; mso-add-space: auto; mso-list: l2 level1 lfo5; text-indent: -18.0pt;">
<span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>When thrusting actions are made they should be
delivered with a smooth acceleration thus ensuring that the leg and body movement
plays an integral part of the thrust instead of merely providing a firm base
from which only the arms are used.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 10.0pt; margin-left: 90.0pt; margin-right: 0cm; margin-top: 12.0pt; mso-add-space: auto; mso-list: l2 level1 lfo5; text-indent: -18.0pt;">
<span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>When catches are made (kuritsuke, kurihanashi,
taiatari) the body should be relaxed in the preparatory movement so that the jo
remains fixed to the body and should only be lifted as the body gets into its
evaded position.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 10.0pt; margin-left: 90.0pt; margin-right: 0cm; margin-top: 12.0pt; mso-add-space: auto; mso-list: l2 level1 lfo5; text-indent: -18.0pt;">
<span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>The power of strikes and thrusts should be
primarily generated from the lower body; the upper body is merely an instrument
through which this power is transmitted.</div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 10.0pt; margin-left: 90.0pt; margin-right: 0cm; margin-top: 12.0pt; mso-add-space: auto;">
<br /></div>
<ul>
<li><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span></b><b style="mso-bidi-font-weight: normal;">Shisei
(posture)</b></li>
</ul>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
I realise that in the west, posture is often
translated into “kamae” but I want to draw a difference between understanding
the technical points of each stances of readiness and what I think is a
slightly different aspect which is the beauty of correct and refined posture.</div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
Firstly, being able to clearly define one kamae from
another is a key point of Jodo, it is very easy to blend them especially as
there exist small margins of allowable difference in each kamae. What one
should aim for though is the action of making a visible change from one kamae
to another rather than it being too fuzzy. Once one is able to make the changes
clear then the next stage of course is to make these transactions smooth and in
the right time with regards to the opponent.</div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
Returning back to the “beauty” of shisei, the
posture should reflect what one should be feeling inside i.e. alertness,
flexibility, mobility and with a certain tension.<span style="mso-spacerun: yes;"> </span>In general, the lower body contains all the
strength that the body needs and should support the upper body which should
thereby be relaxed and able to produce large expressive movements. </div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
I could of course spend an entire post devoted to
what is said about shisei but I think I should leave this for now.</div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
So, now having written all this out, I am waiting in
an airport lounge at 5:30am after another seminar in Poland, this time led by
Murakami Sensei and I have a whole raft of other points to work on and describe
in time. Anyway, enough for now….</div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">
<br /></div>
Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0