[ THIS MATERIAL RETRIEVED FROM HAWAIIKENDO.COM WEBSITE, September 22, 2016 ]
INSTRUCTING THE BEGINNERS
Rev. January 2000
GENERAL BENEFITS OF KENDO TRAINING
• Physical conditioning, maturity of mind
• Etiquette, courtesy, morality, ethos, respect, empathy
• Concentration, focus, attentiveness, eagerness to learn
• Agility, dexterity, coordination
• Endurance, strength, perseverence
• Care of equipment, tools
• Promptness, reliability, accountability
• Orderliness, neatness
BASIC UNDERSTANDINGS
• Make it a habit to SEIZA quietly at the beginning and the end
• Always value the basics
• Practice repeatedly and many times; practice with someone formidable
• Practice with proper attitude
• Practice with courtesy and respect
• Unobsessed with winning, practice with desire to study the principles
• Have devotion to KENDO and practice with initiative
• Practice with determination
• Value graceful, elegant, dignified KENDO
• Be prepared physically and mentally then practice with eagerness
• Know your capabilities and practice accordingly
• Learn by experiencing
• Always consider ways to improve
• Be mindful of everyday life
• Be conscious of safety
• Be conscious of health and hygiene
• Do not overextend unreasonably
• For youths, consider how school work and KENDO can be balanced
• Grasp the value of watching; humbly learn merits of others by observing
• Always do warming up and cooling down exercises
ABOUT DOJO
• The term DOJO comes from Buddhism meaning "place to study," which originally referred to the platform Buddha meditated on
• Commit yourself to sincere training when entering DOJO; appreciate having a place to practice and people to practice with; maintain cleanliness; take care of your own belongings neatly (eg, shoes, clothes)
• Know the location of KAMIZA, the upper seat; this may be a shrine (SHINDEN), national flag or other symbol; the term KAMIZA can be written in different Japanese characters which mean "upper seat" or "towards the altar"; beginners line up towards the lower end (SHIMOZA)
PRELIMINARY STEPS AND PREMISES
• Put on the KENDO-GI and HAKAMA properly (CHAKUSO); in the beginning training clothes is sufficient
• SHINAI represents a sword (KATANA, KEN); treat with respect; do not step over it; when picking it up from the floor or placing it on the floor, drop one knee (the one away from the KAMIZA) to the floor (ORISHIKI) and carefully handle it
• Check equipment for damage, especially the SHINAI; splintered SHINAI is dangerous especially to opponent; if damaged ask SENSEI to repair; eventually, learn to repair equipment
• Perform adequate stretching and warm up exercises
• Check physical condition and health; hygiene; learn how to wash KENDO-GI and HAKAMA
• Learn the names of SHINAI parts: TSUKA, TSUBA, TSURU, NAKAYUI, KENSEN (SAKIGAWA)
• KENDO is a Japanese culture (BUNKA); KENJUTSU, the medieval warfare technique, became KENDO as moral, ethical and philosophical aspects of SAMURAI training became part of the art; BUTOKU (virtue of the way of SAMURAI) are considered to be beneficial even today; it has been said that KENDO is spread internationally and people are actively living the spirit of KENDO, so it is a civilization (BUNMEI)
• At first, sportslike physical aspect of KENDO may be encouraged; as one progresses to higher rank, cultural, philosophical and other cognitive and affective aspects become important
• It is equally valuable to observe others practice (MITORI GEIKO); pay attention to others; show consideration when others are practicing
• Especially for the very young, exercises without SHINAI may help develop agility, strength, coordination: dashing, jogging, jumping, walking in squat position, etc.
ABOUT REI
• REI is a way to pay respect and show acknowledgement
• Upon entry to the DOJO, enter then REI to the KAMIZA; this is a way to pay respect to the DOJO and to commit yourself to a sincere practice; keep the back straight and bow from the hip to about 30-degrees with eyes naturally to the floor; some DOJO have religious symbols (SHINDEN) which represent deities of BUDO; when exiting, REI to the KAMIZA, then exit
• Commands may be: KAMIZA NI REI (to the upper seat), KAMIZA NI REI (to the altar), SHOMEN NI REI (to the front), JOZA NI REI (to the upper seat), SHINZEN (SHINZA) NI REI (to the altar), SENSEI NI REI (to the teachers), OTAGAI NI REI (to each other)
• Acknowledge SENSEI (teacher), SENPAI (senior) and each other with REI; this is to show respect and appreciation; to someone senior, bow first and rise last; to each other, bow together simultaneously
• At the start of a class, sit at SEIZA, REI to KAMIZA, then REI to SENSEI; at the end, REI to SENSEI, then REI to KAMIZA
ABOUT SEIZA
• SEIZA is a formal sitting postion; sit in this position when ever possible; sit in informal ANZA (AGURA) if permitted; written in another Japanese character SEIZA means to sit quietly (as in MOKUSO)
• Overlap big toes only, not the feet; hands on the lap without flairing elbows out; back and neck straight; eyes forward; sit gently so that a paper between the heel and buttock can be readily pulled out
• When turning direction (eg, to REI to KAMIZA), move knees in small increments without putting hands on the floor
• MOKUSO: literally means contemplate in silence; a way to calm mind, focus and regulate breathing; gently close eyes or close halfway (HANGAN) by focusing on the floor about 3 feet in front; breath gently and deeply from the abdomen (KOKYUHO) and focus your KI in the lower abdomen; place hands in front with left hand over the right and tips of thumbs touching (HOKKAI JYOIN); teachers may say think of nothing, focus, think of something big like the universe, etc.; alternatively, a command "SEIZA" (sit quietly) may be used since the goal is to focus and remove irrelevant thoughts (MUSHIN) rather than contemplate
STEP 1: POSTURE, SONKYO, KAMAE
• SAGETO (TEITO), SHIZENTAI: maintain straight posture, shoulders relaxed, eyes forward
• TAITO: on left hip, thumb on TSUBA, SHINAI tips 45-degrees down in the back, and TSURU is down
• Draw SHINAI in upward arc, not to the side (command: NUKE TO)
• SONKYO; keep back straight when squatting or rising; when rising stand as if a string from the top of the head is being pulling up or like a thin smoke rising from an incense
• CHUDAN NO KAMAE: left grip at the end of TSUKA in front of the navel; right hand near but not touching the TSUBA; V between the thumb and index finger of both hands over the top of the TSUKA; left grip with last three fingers hold the SHINAI while right hand with last two fingers lightly support it; KENSEN towards the opponent's throat; TSURU is up; right foot forward; width of a foot between feet; left heel slightly off the floor; left knee straight but not locked
• Retrieve SHINAI in reverse of drawing (command: OSAME TO)
STEP 2: ASHISABAKI (FOOTWORK)
• OKURI ASHI: forward and backward; left and right; later diagonally forward and backward; use SURI ASHI (feet glide on the floor)
• HIRAKI ASHI: diagonally left and right
STEP 3: STATIONARY SHOMEN UCHI
• FURIKABURI: up until left fist is above forehead; SHINAI is 45-degrees up; keep head straight without tilting forward; check against mirror to see if SHINAI is straight up
• FURIOROSHI, SHOMEN UCHI: left fist in front of chest; right arm extended and parallel to floor; imagine reaching for the summit of a faraway mountain; both hands (TE NO UCHI) snap and squeeze slightly inward in CHAKINSHIBORI (squeezing a napkin in tea ceremony); express sharp loud KIAI "Men!"
• Later, do both action in one continuous motion (IKKYODO); no pause between FURIKABURI and SHOMEN UCHI; command is SHOMEN WO UTE
STEP 4: OKURI ASHI SHOMEN UCHI
• FURIKABURI as above
• One step forward from right in SURI ASHI as SHINAI strikes MEN; later motion should be in IKKYODO
• At the moment MEN is stuck, express KIAI and bring left foot up to proper position
• Retreat from left foot in two small OKURI ASHI steps to original position; assume CHUDAN NO KAMAE
STEP 5: FUMIKOMI ASHI SHOMEN UCHI
• FURIKABURI as above
• In IKKYODO, strike MEN while stepping decisively forward from the right and expressing KIAI; the step should be large enough to reach the opponent at ISSOKU ITTO NO MA (as if stepping over a small brook about 3 feet wide); the striking, KIAI and stomping must be simultaneous (KI-KEN-TAI NO ITCHI)
• Immediately bring the left foot to proper position; use quick successive OKURI ASHI to proceed straight forward; relax hands; keep the arms extended until ready to return to CHUDAN NO KAMAE
• Later, from ISSOKU ITTO step a small distance forward and express KI (Yah!), then do the FUMIKOMI
STEP 6: KOTE UCHI, DO UCHI
• KOTE: FURIKABURI is as in SHOMEN UCHI; strike right KOTE straight; arms extended; eyes to opponent's eyes
• DO: FURIKABURI is as in SHOMEN UCHI; bring SHINAI down in 45-degree angle to strike DO; HASUJI (dirction of the blade) is diagonally down; arms extended; keep both hands on the TSUKA; if necessary left grip may be brought closer to the right hand; eyes to opponent's eyes
STEP 7: UCHIKOMI GEIKO
• Against a MOTODACHI, practice continuous FUMIKOMI practice: SHOMEN UCHI, KOTE UCHI, DO UCHI
• Add RENZOKU WAZA (KOTE MEN, KOTE DO, KOTE MEN DO)
• Combine the WAZA in a prearranged order (YAKUSOKU GEIKO) STEP 8: KIRIKAESHI
• See Chapter 3
• Perform KIRIKAESHI before and after practice as a warm up and cool down exercise as well
STEP 9: KAKARI GEIKO
• See Chapter 3
• With the KENDO-GU on, continue the above exercises in the same way, although proper movements may be difficult with new KENDO-GU
• To put on or remove the KENDO-GU, sit at SEIZA
• Traditional DOJO would teach only these KIHON for as long as three years; JIGEIKO or SHIAI were not allowed until the fundamentals are mastered
DOJO KUN: MOTTOS
• Some DOJO have a set of mottos or songs to remind students of the important things; these mottos or important teachings are posted or written on the towel (TENUGUI, HACHIMAKI)
• Example: DOJO KUN of KOUBUKAN DOJO (originally in Saitama Prefecture, now in Tokyo), Takashi Ozawa HANSHI 9-DAN:
Let's train our bodies
Let's purify our hearts
Let's take care of our parents
Let's value respect and courtesy
Let's work for the people and the world
REFERENCES
• T Matsubara. Kendo no Susume #26. Kendo Jidai 1998;25(3):3741
• H Takano. Kendo Dokuhon. (1973) Yomiuri Shinbun
• T Baba. Kendo Reiho to Saho. (1990) Physical Education and Sports Publishing, Tokyo
• All Japan Kendo Federation. Dojo Kun Shu (1971)
• Mr. Takeshi Kudo, personal Communication
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