ucl kendo

Bits and Bobs for budding mid-graders

Below is a rough cut and paste job courtesy of Mike Molloy, that has been ripped from various threads on KW. Many thanks to Mike for this. It is in its roughest form at the mo, so when I have some time I will go through it and edit it with my keyboard of death and editing.

Further note: this really does need some serious editing. Get what you can/want from it, but if you whinge at me that its not reader friendly the most sympathy you will get from me is a kick in the knackers and my fingers up your nose. Don't say I didn't warn you.

The godan section is here because there is too much for one page and I didn't think this through properly. Bite me.

Here you are:

Yondan Examination Questions

Japanese site with yondan written exam questions and answers here. http://www.ne.jp/asahi/aaa/tagi2/gakka/yodan.htm

You may or may not find some of these useful for reference. Some of the content is targeted towards Japanese candidates, but I have left the content in its original state (more or less). Just select the relevant bits.

Question 1: What is the purpose of and correct attitude to kendo training?

Answer 1: Kendo has developed alongside the history of our country and is a cultural treasure of the Japanese people. As such it is not simply a game where skills are compared by idly hitting and thrusting at one another. Kendo is an important means of physical and spiritual development for Japanese people and could thus be said to be close to a religion. Kendo is not about theory, it is in itself a way of life, a way of attaining spiritual development, a way of developing character, a form of physical education, and its purpose is the training of both the mind and body.

I the training of whatever pursuit, if one's spirit has not been sufficiently strengthened then it will be difficult to appreciate the intricacies of that pursuit. Kendo involves techniques performed from the hara, not the arms and legs. This means that the spirit is at the foundation of kendo so however deft the movement of your joints and however swift your use of the shinai or tachi, if your spirit is not developed parallel to this, however many years you may attend dojo training you will be able to attain a true understanding of kendo.

There are many important aspects to correct attitude to kendo, but the following five are the most important.

1) Treat etiquette and manner with importance. 2) Train with unyielding perseverance. 3) Conscious innovation is necessary. 4) It is necessary to learn "seiken" (orthodox technique). 5) Be conscious of hygiene/health and never quit training.

Question 2: What are the most important points for improving kendo?

Answer 2: Sufficiently grasp the purpose of and attitude to kendo, understand that your whole life should be dedicated to kendo training, and training without forgetting the feeling that you are competing in a real swordfight. The following points are generally considered to be important to keep in mind.

1) Mentally (spiritually) and technically study theory. 2) Master kendo kata. 3) Be conscious of safety and hygiene.

Whether you are a beginner or a kohdansha (higher grade), you should sufficiently learn kihon-waza, ooyoh-waza, train to have your spirit, technique and body as one, rid yourself of distractions and humbly follow the teachings of your instructor. This is the basis of improvement in kendo.

Question 3: Effective kendo instruction methods

Answer 3: Instructors should keep the following in mind when considering kendo instruction

1) Understand the essence of kendo well and instruct in accordance with this understand (this means instruction with the purpose and spirit of kendo in mind) 2) Always be mindful to develop one's own character, kendo technique and teaching abilities. 3) Study instructional techniques thoroughly and instruct in a systematic way (create an appropriate instruction plan). 4) Teach beginners to hit with correct posture and with expansive movements, to not have unnecessary movements, and so as they don't lose interest in kendo. 5) Instruct higher grades while making them aware of kendo theory, and have them understand true kendo. 6) Understand that kendo helps develop an understanding of other things outside of kendo (not sure about this one)

The above are the most important things to keep in mind when instructing kendo. However it is important to take the age, skill, physical ability etc. of each student into consideration and always keep the well being of students in mind.

Question 4: Correct attitude to practicing kendo kata

Answer 4:

1) Kendo is performed in agreement between two people to a set pattern, however psychologically speaking it is not simply a matter of carrying out the prescribed movements. You should always maintain the attitude of being able to change movements in any way throughout the performance of the kata.

The uchidachi is plays out various types of seme in his/her mind, and finally at an agreed point hits forward with vigour sufficient to break the guard of the shidachi. The shidachi on the other hand takes an attitude of being able to fluidly react to the attack of the uchidachi, and must maintain this attitude when reacting to the predetermined attack by the uchidachi.

If you perform kata with this type of attitude it will in itself be an effective means of kendo training, and will also help practitioners in their everyday lives.

2) During the practice of kata, from the first Rei to the final Rei, and especially when the kamae is broken when moving backwards and forwards, you must not relax concentration, and you should always maintain a high level of intensity.

3) Kata is performed by a uchidachi and a shidachi. The uchidachi takes the position of the guest/assistant in the relationship and must help fully exhibit the movements of the shidachi. In other words the uchidachi is the instructor. Shidachi takes the lead role, making the uchidachi perform movements and in reacting to the uchidachi's movements fully displaying his/her own techniques. The shidachi's position is thus that of a student. When practicing kata the senior grade usually takes the role of uchidachi. The uchidachi should always lead the shidachi and the breathing of both parties should be as one. Kiai should be full. The uchidachi should lead even the thought of the movement, and the shidachi should always move in accordance with this.

4) Kata practice is of course about the mastery of the techniques in the kata, but at the same time you need to understand the theory of the kata. If only the techniques of the kata are practiced, the kata is as good as lifeless, and only through theory does kata attain true meaning.

You must also embody kata with sufficient "kiai" as well as subtleties of speed and strength. Just as music has beat and temperament, there are changes in strength and speed in kata and herein lies the charm of kata.

Often the movements in kata can become uniform and lack subtlety of strength and speed. Too much emphasis is placed on getting the movements right and the kata becomes lifeless and spiritless.

In summary, true kata is born when a combination is made between technique, theory, kiai and subtlety. If these characteristics are always employed in kata practice the kata will naturally take on finesse and style. Finesse and style are born of dedicated training over many years and can't hope to be achieved in a short period of time. If kata is practiced in this way, then kata practice will show results on a par with keiko.

5) Kata used to be performed with the uchidachi on the left and the shidachi on the right when facing forward. The reason for this was unknown and this positioning actually varied regionally. As the result of a meeting of instructors at a seminar held at the Nihon Budokan in 1967 it was agreed that as when facing shomen joseki is on the right, the uchidachi should stand on that side. The reason for this is that in the etiquette of the Japanese Imperial Household joseki is on the right hand side when facing shomen.

Question 6: The meaning of keiko and shiai.

Answer 6:

The Chinese characters of "keiko" are broken down to "kei" 稽 , which is also written as the verb kangaeru "to think", and "ko"　古 which means "old" and in of old times. In this sense "keiko" means to learn repetatively. The purpose of keiko is to use the kihon waza that you have learned and to refine these and the waza you have learned through application of the basics. You should learn to read the intention of your opponent, always be on the offensive, move with precision and such that you can perform datotsu freely. In this way, keiko forms the basis for shiai. At the heart of keiko is the training of the mental and technical aspects of basic (kihon) movements. The following are the three main types of keiko.

1) Uchikomi-geiko 2) Kakari-geiko 3) Gokaku-geiko

The purpose of shiai is to employ the waza you have learnt through keiko, to decide victory by both parties using all of their ability and thus further maturing technique and training mind and body. Training of the spirit and mind is the ultimate goal of kendo and shiai is the best way of achieving this, so it should be employed sufficiently.

Question seven: Correct attitude for shimpanin

Answer seven: In kendo shiai it is the role of the shimpan to adjudicate victory or defeat of both competitors. Kendo shiai is a means of developing kendo. Because of this the shimpan must make sure the shiai is carried out in a manner that will ensure that it will result in the development of correct kendo.

1) The meaning of "shimpan"

The first character of shimpan "shin" 審 also has the reading tsumabi(raka) which means "in detail" or "clearly". The second character "han" 判 means "seal (as in what japanese use instead of a signature)" and also has the reading waka(ru)/kotowa(ru) which means "to decide" or "to understand". When the two characters are combined the meaning is "to decide clearly".

Usually asking exactly what to "decide clearly" the following six items are usually considered.

a) Target area (datotsu-bui) b) Ma-ai (distance) c) Ri-ai (I'm a bit confused by this one) d) Strength of the cut e) Ha-suji (blade) f) Zanshin

Being a shimpan is about being able to decide in an instant whether these six things are present. Therefore the shimpan must be proficient in both technique and understanding.

2) The following are the required credentials for a shimpanin (psychological, technical and physical)

a) Impartiality b) Cool-headedness, resoluteness and conviction c) Ability to maintain impartiality from start to finish d) Familiarity with kendo theory e) Knowledge of shimpan rules and ability to make instant decisions in any situation f) Sufficient kendo training and deep experience g) Sufficient physical strength and condition i) To be able of sight and sound j) To be capable of clear speech

3) Understanding of the shimpan's mission

Correct or incorrect judgement in kendo is connected with the prosperity of kendo and on the other can also give rise to confusion and the degradation of kendo. This means that the fate of Japanese Kendo is ever dependent on the judgements made by shimpanin. This mission should always be stressed, and shimpan should make sure that they themselves are aware of this too.

a) Shimpanin should be aware that they are responsible for the fate (actually says "life") of the competitors b) Shimpanin should be aware of the difficulty of kendo shimpan c) Shimpanin should be aware of the need for shimpan training

4) Shimpanin duties and privileges

It is forbidden for anyone, regardless of the number of people involved, to directly question a shimpanin regarding a decision. Because of this the shimpan must exercise this right judiciously and carry out their duty faithfully. Given that the decision of the shimpan is absolute, the shimpan must perform duties in such a manner that the label "absolute" is appropriate. In other words the shimpan should work hard and continue to study to be truly qualified as a shimpanin.

5) Things that the shimpan should be aware of to maintain dignity.

a) Clothing should be kept neat b) Attitude should be dignified c) Judgement should be resolute d) The reihoh (etiquette) of the shimpanin should be dignified and be an example to others

Question eight: Mitsu-no-sen (The three "sen")

Answer eight:

Sen refers to taking the initiative to put one's self in an advantageous position, and this concept is very important in kendo. There are three situations where this applies, sen-sen-no-sen, sen and go-no-sen.

1) Sen-sen-no-sen

Be quick to perceive the opponent's intention to hit and attack straight away, thus seizing the initiative and placing yourself in a position of advantage. This sen involves taking the initiative of your opponent's initiative and hitting immediately even before your opponent has begun to move. Your own attack takes form after the attack of the opponent has been perceived, before the opponent's attack has been given shape or voice. Because of this, this sen is also called "kakari 懸かり no-sen".

2) Sen

This is winning by stealing the opponent's initiative after they have seen an opening and have begun to attack. You take the initiative and win by immediately doing suri-age, ohji, or by moving your body out of the way. In this case you are winning in opposition to the attacking opponent, so this sen is also called "tai 対 (opposing) -no-sen" as well as "sen-zen-no-zen"

3) Go-no-sen

Recognise the opponent's opening, endure the opponent's attack and hit strongly at the point where the opponent's momentum has been spent. Therefore this "sen" is also called ( 待の先 - I'm not sure whether this should be "tai-no-sen" or "machi-no-sen"; I think probably the former) or "Sen-go-no-sen".

Question Nine: San-sappoh (the three kills)

Answer Nine:

In kendo you must kill the shinai (katana), waza (technique) and ki of your opponent. This is known as San-sappoh 三殺法 which means "the three kills" (or Mitsu-no-kujiki 三つの挫き which means "the three defeats").

1) Killing the shinai means pressuring your opponent's shinai to the left or right, or using maki-harai etc to kill the free movement of their shinai, namely to kill the kensen.

2) To kill the waza means to take the initiative ("sen") and pressure the opponent without giving any opening, giving the opponent no opportunity to attack thus preventing them from using waza.

3) Killing ki means continually pressuring your opponent with your whole body and keeping your spirit full to overflowing, taking the initiative with your spirit and suppressing the okori-gashira (the origin of movement) of your opponent. Suppress your opponent's ki or deflect their ki using effective ma-ai (distancing). As soon as your opponent gives in by moving back maintain your advantage and put further pressure on them. This will come about in parallel with the action of killing your opponent's shinai and waza.

Question ten: Kogi-shin (Doubting heart)

Answer ten:

The idiom "kogi-shin ( 狐疑心 )" breaks down to "ko ( 狐 )" - fox, "gi ( 疑 )" -doubt and "shin ( 心 )" - heart, soul or spirit. Together these characters give a meaning like "to be deeply doubting and unable to make up one's mind" or "the fox is by nature very untrusting". If you have this type of doubting heart in kendo, for example if your opponent attacks with a men strike and you suspect that they might be going to strike kote, then you will be unable to have full concentration and other suki (openings) will occur for your opponent to strike. Therefore only when you have discarded kogi-shin will your kendo become nimble and beautiful.

Question eleven: Regarding Suki

Answer eleven:

It is said that kendo is hitting suki (openings). It is also said that suki is to leave an unprepared opening, so suki is also referred to as "kyo ( 虚 )" or "unpreparedness/uncertainty".

During a shiai you should be always watching for certainty and uncertainty in your opponent, and you should be making sure that your opponent is unable to discern any real openings in your own movements. Avoid the certainty of your opponents movements and hit uncertainty in your opponent's movements. There are three types of suki, "kokoro-no-suki (suki of the mind/spirit)", "kamae-no-suki (suki of the kamae)" and "dohsa-no-suki (suki of movement)".

1. Kokoro-no-suki ( 心の隙 ) - suki of the mind/spirit (shikai ( 四戒 ), kogi-shin ( 狐疑心 ), shi-shin (? 止心 )

The mind/spirit is the origin of movement. The state of there being something missing somewhere in the mind/spirit is known as "kokoro-no-suki". You should always train so that your spirit/mind fills your whole body and you do not allow any uncertainty to occur.

2. Kamae-no-suki ( 構えの隙 ) - suki of the kamae

You should think of "kamae" as a fortress. A complete kamae should be like an impenetrable fortress. You should always be in a position of advantage over your opponent, hold a correct kamae, completely protect all targets, be able to deal with any waza and be able to strike at any chance given by the opponent. You should never allow even the slightest suki to occur in your kamae.

3. Dosa-no-suki ( 動作の隙 ) - suki of movement

It is said that suki are born of movement and are extinguished by movement. All examples given of chances where you should strike are situations where suki are born of movement. Just as is the case for kokoro-no-suki and kamae-no-suki, in order to avoid suki in your movement it is extremely important to hold the initiative (sen) and maintain zanshin. To not allow suki in your own kendo, and to search for suki and to entice suki from your opponent is essential to the methodology of kendo.

Question twelve: Regarding kan ( 勘 - intuition)

Answer twelve:

To discern certainty and uncertainty in one's opponent and to then strike is extremely difficult. In a shiai with little transience it is too late to hit after thinking that now is the time to strike. In many cases the suki has already vanished once you have acknowledged it. You have to be attacking while still in the instant of recognising the suki. In other words you need to attack opportunities as if your movements are reflections of the opportunities in a mirror. There is no other way of achieving this than kan/intuition ( 勘 ). Kan is the most acute of senses and is learnt through the training by repeating the same waza over and over. Through hard keiko what you had perceived with your five senses only will progress and you will enter the mysterious state where you perceive sounds that have no resonance and images that have no form. From this you will understand just how important keiko is. Even people who have developed kan through experience will have times where their kokoro (heart/mind) will become confused and they lose that acute readiness. This is why it is important to always maintain a state of "munen-muso 無念無想 (mindlessness)" and "meikyoh-shisui 明鏡止水 (perfect tranquillity)".

The following Buddhist Hymn sums up this meaning.

"The moon reflects in the water of Sarusawa pond without thought of reflecting or thought of the water"

Question thirteen: Kyo-jitsu ( 虚実 ) - Uncertainty and certainty, Fiction and fact

Answer thirteen:

"Jitsu ( 実 )" is the state of having a full spirit, always prepared and always aware. "Kyo ( 虚 )" is the opposite of "jitsu", that is a state of having "suki" in your mind or body. For example a strong guard (of your opponent) is "jitsu" and not having this is "kyo". Therefore to attack your opponent's "jitsu" is to attack in vain, the result being ai-uchi and possible injury to both you and your opponent. To attack your opponent's "jitsu" if you are in a position of "kyo" will end in your own defeat. Because of this it is important to be able to accurately read "kyo-jitsu" in your opponent and hide "kyo-jitsu" in yourself. You need to avoid the "jitsu" of your opponent and attack their "kyo". You need to attain victory from your opponent just as water takes its form from the lie of the land.

For example, at the okori-gashira, when your opponent is about to start to move in an attack, moving towards the intention of attacking is "jitsu", and this gives rise to other "kyo", so this is the point where we attack. There is an expression along the lines of "kakari-guchi-no-kyo-ni-jou-zuru (to ride kyo at the beginning of the attack)", but this is more or less the same as what I have just described.

Also, when "Kogishin" (see above) occurs and your opponent is at a loss as to what attack to use then this is a moment of "kyo" so you should attack. Other examples of "kyo" are when your opponent's movements stagnate, when their movements dissipate etc, and it is at these moments that you should attack with your open "jitsu". To summarise, "jitsu" is said to be the "body" or "substance" and is thus a correct cut, while "kyo" is "void", for example colour (Note: probably in the sense that Musashi referred to) or temptation.

Question fifteen: Giheki ( 技癖 ) - Habits in waza

It is said that "everyone has at least seven habits (nakute-nanakuse - 無くて七癖 )", that is, everyone has habits. In kendo too everyone has bad habits in their technique, and these are called "Giheki ( "gi 技 " = "waza" = "technique" + "heki 癖 " = "kuse " = "habit/idiosyncrasy" ). Even when shown correct technique by your instructor you "giheki" will arise in the form of bad habits, and this is because you have not correctly understood the technique.

"Giheki" are a major hurdle to advancement of technique and if your "giheki" are pointed out to you and you are shown the correct way of doing the technique then you must seize the opportunity to work to correct that "giheki".

To pass 4 Dan, the following is what I think: 1. Solid Kamae is a must. Solid kamae to me is that your left hand in the right spot with live kensen. Plus you need to remain calm with your kamae until you strike. Do not often lose your kamae by the pressure/movement of your aite. If you sway back to avoid getting hit, you will fail. 2. Need to know what you are doing. Aim, create the opportunity, and execute. Lucky strike does not count. Excessive blocking is very bad as judges see you passive and reactive. Excessive hitting is also NG as it is like shiai. Focus on good strikes. Avoid hiki waza (if you execute, you need a very good one. I always avoid hikiwaza in a promotion test as I would like to show my forward striking, which judges want to see). Kaeshi do is tough to execute properly as many of us tile or bend forward or side. You may want to avoid this waza. 2 dan waza, like ai kote men, is a good technique to show you know what you are doing to judges. Play in the middle so that Judge can see you well. Maintain "en" with your aite, always engaging in a good mawai (if some distance to your aite, you need to close in in order to maintain en. Debana waza is good. Get back to keiko soon after you show enough zanshi as time is limited and excessive zanshin gives bad impression (we kendoist strive with the spirit of "hit and reflect, get hit and be thankful).

"En" is connection, ties and relation. Maintain en is to keep being engaged in with your aite. Some Kendoists cut en in gokaku keiko too often by turning back after hitting, or missing hits. Tubazeri and wakare, you off-guard your shinai so that you can take a break: you are not maintaining en with your aite.

In a promotion test, maintaining en is very important as it does not matter hitting and getting hit so much. If you get hit, witout showing disappointment (usually when you are disappointed, you become off-engaged). We need to move on (or even acknowledge your aite's good strike) and keep on doing keiko. If you have a good strike, you need to get back to keiko right after enough zanshin (it is not shiai).

When we do keiko with great sensei's like Nishiyama-sensei, it is hard, isn't it? Why are we getting exhausted more easily and quickly even though we are younger? It is because sensei's do not cut en at all, constantly giving you pressure, making us nervous, mentally tired, urged to hit (hikidasareru) which exhaust us physically, and on and on...

Back to Questions main page.