Training For The University Taikai
This is a part of the Training HowTo Guides
Run up to the Uni Taikai � Feb 2006
So here we are, shiai time again, but this time it�s a biggy, and one that we want the silverware for. As I mentioned in my post on this thread:
I�ve written this to more elaborate on the keiko we�ll all be doing in the run up to the competition. So lets get going shall we.
Kirikaeshi
Not any changes here, just reducing the amount we do so that we can make an attempt to fit everything else in! However, as always remember that it has to be done properly. Large correct cuts, correct footwork with your feet underneath you. Don�t treat it as a warm up (we do enough warming up already!) but try to use it as a good start to a productive keiko, you know what I mean! Don�t be lazy, make the most of each cut.
Kakarigeiko
Ok, so you�ve seen the post and read �at least 6 times�. Well, don�t panic. We�ll not be doing any longer than 10-15 seconds per set, as the intention here is most definitely not to knacker you out or make you vom. When you do your kakarigeiko, as always, I want to see you attacking as fast and as much as possible, with emphasis on fast footwork (particularly hikitsuke for your feet, the action of bring your back foot in, do this quickly!) and plenty of kiai. In addition, remember to complete each cut and pass your opponent before attacking again, unless you do hikiwaza immediately as you turn around. Remember that the key is fast effective footwork, and the aim here is to cultivate this.
When you are motodachi in kakrigeiko, the aim of the game is to be ready before the kakarite (the one attacking) is. I�m sure you can realise the importance of this in kendo in general, so make sure you apply it here. A good starting point is concise and tight footwork when turning around. As motodachi, pick a spot on the floor and do not stray more than a foot from it, moving only to let the kakarite past. In addition, also make sure that you are ready to receive a cut the moment you turn round. If there is no target for the kakarite when he has turned around the rhythm of the kakarigeiko is completely lost, and it will do nobody any good.
Ipponuchi Kihongeiko
Fairly straight forward stuff here. You are practising the basic cuts of kendo. You should however approach each cut seriously (and I mean each cut!), with the feeling of trying to score ippon in shiai. If you can honestly do this in each and every practise you do, it will become easier to pull out high quality attacks in tight situations. To supplement this, consider each part of your cut. The footwork, tenouchi, kikentai no ichi, your zanshin after the cut, passing your opponent, your kiai, and more. Remember that ippon is the result of everything coming together to make the point. Practise your kihon with this in mind.
Shikake Waza
Shikake waza are out and out attacks, no catch and return, no counter, just attack. But some of them rely on reaction as well. For instance katsugi waza. Motodachi�s role in this is to provide clear targets for the kakarite to practise on, so please make sure that react appropriately according to the technique you are practising.
Katsugi Waza � Shouldering the shinai immediately prior to attack. The footwork can be done in a variety of ways here (a simple sliding step, a stamp, nothing at all) and should be used in a way that will surprise your opponent enough to make them react with a block. Accordingly in this practise motodachi is required to block following kakarite�s initial movment. Katsugi waza should not be used if you suspect your opponent is going for debana waza, as the moment you move you will lose, as you open yourself up perfectly for both debana kote and debana men.
Harai Waza � Knocking the opponent�s shinai out of the way from the side to create an opening. Can be done Omote or Ura (standard or other side of opponents shinai). This attack is generally a very quick attack, and the point is scored usually before your opponent has realised what is going on. If your opponent can get their shinai back to the centre before your ippon then you have not done it properly. The key here is good tenouchi, and using your fingers and wrists to control the shinai whilst still getting adequate force to move your opponents. Additionally, whilst doing harai waza, you need to ensure that you have your feet underneath you to attack(as always) and that you are already moving forward when you use the harai.
Osae Waza � Holding or pushing your opponents shinai down and attacking what is open. For me personally, I find this a great attack as someone is stepping in, as it does a lot to destroy their forward momentum and if timed well catches people completely off guard. As with Harai waza, this can also be done Omote or Ura. A point to remember is that the split second that you finish the osae and commence your attack, you must have brought your back leg in under you again to push from. An effective use of osae waza is to disguise your forward movement before attacking.
Oji Waza
Oji waza are counter attacks, taking the opponents attack and doing something with it to turn it from their advantage to yours. I have also included debana waza in here, because whilst it is seen as a great many people as shikakewaza, it still involves your opponents attack (albeit beating them to it). So for purpose of allaying confusion its in here�.
Debana Waza � Giving your opponent a target (usually men) and moving before they do to take the opening they give as they attack. Preparedness, reading your opponent�s movements and setting them up are the key here. Its possible to wax lyrical on the hows whys and wherefores of debana waza for pages, but in a nutshell you have to first give them a reason to come forwards (as with all oji waza) and then the very moment that they attack pick them off. This is achieved through clever footwork and big balls. After all, if it goes wrong, you lose! Make sure that your debana waza always beats your opponents shikakewaza by making sure that you know when they are coming.
Kaeshi Waza � Catching your opponents attack then returning it on the targets they have opened. Typically kote kaeshi men or men kaeshi do, though there are other variants that ar not commonly used (eg men kaeshi kote, kote kaeshi kote, etc.) The key here is having the distance needed to correctly strike your opponent as they attempt to finish their attack. The best way I have found is to do the technique on the spot (including the stamp) then pass through as normal after you have struck them. Remember, distance distance distance!
Nuki Waza � To remove your opponents target as they attempt to strike it and attack what they have opened. Usually Kote nuki men and men nuki dou, though as with kaeshi waza other variants exist (such as men nuki men). The key here is much the same as debana waza: setting up your opponent and reading their movements, and this is another one where if you get it wrong you will more than likely lose ippon, so excellent timing is of the essence to score a good nuki waza.
Oikomi Geiko
One that we practise week in and week out at UCL, so it doesn�t need too much explanation (I hope). Sufficed to say, after motodachi steps back after your first missed attack, you need to make sure that your feet are sufficiently prepared (ie your back leg is swiftly drawn in again) to attack again immediately. With out this, your opponent will see the attack and block it, or worse still take ippon from you. Additionally, this is not a nidan waza, like kote-men, but two separate attacks designed to take advantage of an opponent who steps back and breaks centre a lot.
Motodachi here should aim to take a large enough step back during kakarite�s first attack so that it misses completely, weather it be kote, men or tsuki. Additionally, they should endeavour to show a clear target for the second attack from kakarite. Motodachi in General
When ever you are a motodachi you should try to act as you would wish someone to do for you. If you are motodachi to men kaeshi dou, and do a lazy men or in such a way as they can�t practise the technique, then it benefits no-one. Do what is expected of you, not pull out a bag of tricks, that is not what kihon geiko is all about. Remember that it is your practise too!
Additionally, always be ready, don�t leave kakarite waiting for you, that is not good for either of you. Be ready to move out of the way, and where possible, use your being motodachi as practise for things like footwork and posture.
Shiai Stuff
This is mostly how to deal with blockers, and how to use your place on the shiaijo.
Yokomen � here kakarite takes a quick step and feints the initiation of a straight men, to which motodachi responds by blocking to either their left or right. According to motodachi�s block, (which will be specified by the sempai/sensei taking the class) kakarite strikes either migi or hidari men (left or right men). Points to remember here are again a quick hikitsuke of the back leg to enable a swift attack and to strech to your target. Motodachi should concentrate on doing the correct block as required. Attention should additionally be paid by kakarite to their zanshin, which should be much the same as any other men uchi they might do.
Men�kote / gyaku dou � The men here is not an actual attack but a feint to men to get the opponent to block. It is usually accompanied by a stamp to cement the impression for motodachi that you are coming to men. Once they block, its simple! Just slap their kote or bang in a gyaku dou! But don�t forget your zanshin, and above all don�t use it too often or make it obvious what you are doing, otherwise the other side will see through it easily. The fasted you can move your feet between attacks here the better. As always, motodachi needs to aim to receive the attack correctly, which is block men as quick as you can!
Shiaijo position � We will also go over what to do when either you or your opponent are close to a shiaijo edge line. It is permissible to use taiatari (a body check) to bump them out, but only accompanied with a prior technique first. You should be careful though as any kendoka worth their salt in the shiaijo will know their position and attempt to dodge, so we will also cover changing directions with your taiatari to catch them out.
On the flip side of this coin is when you yourself are trapped. You may well find yourself in a position when you are stuck by a line, so we will go through the foot work involved to get out of the way completely, but also ways that you can use it to your advantage to put your opponent out with a well placed cheeky push.
There are plenty of lines all over the floor at Astor, so we will have an easy opportunity to practise this. Also, this will not be so regimented a part of the lesson, and will be a little more free form, to allow you to take your time when practise this. Ippon Shoubu in Jigeiko
This is all up to you. But you should concentrate on using what you know (not what you want to practise, that�s what normal jigeiko is for) to take a point from your partner. Use what ever you can, after all, as part of a team your team mates will be expecting nothing less than a 2-0 win from any of you! You should be honest with each other when you score, but don�t be quick to give away any old crap as ippon, be reasonable and realistic, and above all concentrate on taking the first point! Tactics
The last part here is all about tactics. Particularly in the description of debana waza I mentioned setting up your opponent. This is where your tactics come in. A simple example is throw a couple of men your opponents way, they get used to it so think they can catch you a neat little debana kote, you start off for men, expecting the resulting kote, and turn it into a kote kaeshi men. Hey presto! Ippon ari! You all can do basic things like this, and it�s the start of learning how to truly use all the weapons in your arsenal to your advantage.
There are other examples though of tactics where you don�t necessarily need to attack. For instance in tsubazeriai, see if you can angle you opponent with a little bit of shifty feet to the closest edge of the shiaijo, and edge closer and closer to it while you do, pretend to chuck in a couple of quick attempts at something while not really trying, to disguise what you are doing. As they get closer to the edge they become more reluctant to try hikiwaza as if it doesn�t score the likelihood that they will go out is obviously increased, so they become more focused on getting out of tsubazeriai, making it a little safer for you as long as you keep up the concentration levels.
There are also a million and one ways to use feints besides men-kote, so we will try and use these as well, but at least remember this: good tactics involve setting up your opponent for the last thing they expect. Honda Sensei wrote 3 great articles about tactics:
Please also read these!
Well that�s pretty much it. As always, a parting nugget to leave you with, and one relelvant here. I cannot make your kendo better for you, no-one can. All a teacher or senior can do is show you ways that you can improve or change your kendo. It is 100% completely up to you to use what you are given, and to take responsibility for your own kendo.
Now go forth, conquer, and bring me back some dam silverware!
