Bogyo defence
Bogyo is not really bothered with in Kendo other than as a means to create an opening for a counter-technique but certain methods do exist. Uke-dome defence stop is described later and is more or less the direct parry. There are other methods of deflection or blocking and all avoid direct clashing with the opponent's Shinai and normally attack the downcoming Tsuba-moto guard base which is moving relatively slowly. The easiest method of defence is Hiraku or 'turning open' in which, for example,...
Breath Control and Kiai
Breath-control has been described as being 'zen itself in its physiological aspect'. Even before schools of Zen existed the relation of breath-control to awareness was a major preoccupation of Indian 'yoga' and chinese 'taoism'. One's rhythm of breathing is, after all, affected by either the physical or mental state that one is in. When exhausted after training, one breathes heavily when excited, one breathes quickly when one laughs, the emphasis is on the outbreath when one cries, or is...
Dress of Aikido
The Aikido dress varies according to whether one is a Dan or Kyu grade. All Kyu grades wear trousers, jacket and belt of the Kimono style. These clothes are suitable for the art because of the freedom of movement and the strength of material. Dan grades wear Hakamas. This dress has been kept from the old days in Japan when the Samurai used to wear them. The dress has the other advantage that it teaches the student to move properly by keeping the feet closer to the mat. Cleanliness is very...
Nikkyo second principle th form attack
Your partner catches your wrist with his right hand. Step back to your right corner with your left foot. Your right hand attacks his face. Follow through with the back of your hand brushing down his arm. Your left hand catches your jacket above his hand and with your right hand take hold under his hand. Now turn it over until his little finger is uppermost, making sure that you keep it tight to your body. With your left elbow, bend his elbow and bear pressure on his wrist until he submits by...
Ukedome defence stop
This is the straight 'parry and riposte', plates 136 and 137. The attacking blade is caught and held in the Hidari-men-uke-dome left mask parry position and the counter attack stroke made before he can react. In this action the blade is canted forward and across the body, whilst being snapped backwards so that strength enters the blade by the linear motion applied along its length. The point of the defending blade remains along the centre-line to aid in delivering the counter-blow and strikes...
Tentchinage heaven and earth throw rd form attack
As soon as your partner's right hand catches your shoulder, turn to your right giving him no chance to punch you with his right hand. Try to keep contact with his arm across your back. Now with this movement, he should be moving on the outside of you. Change your direction by stepping back with your left foot. Your left arm comes over the top of your partner's right, with a cutting action towards the mat. Your right foot makes a zig-zag step towards his rear and your right arm pushes across his...
Defence and counter to Ogoshi
The thrower in this and other throws depends upon breaking your balance to the right front corner. It is his left hand pulling on your right sleeve which achieves this. To successfully stop these forward hip throws snatch your right arm and should back with a considerable jerk causing him to lose his grip. To counter this throw and its variations sweep away his supporting left leg once the attacker is in position with an action something like ko-soto-gari. This is not a very 'clean' counter,...
Seoinage shoulder throw
This throw is traditionally the favourite of the little man. However, in these days of weight divisions men of any size can use it. The advantage of this throw for a smaller man is that once he is in position even though outweighed by two or three stone it is still possible to carry it through against resistance. Many throws fail if the initial impetus is halted but not the shoulder throw. There are two ways to do it, both of which are equally effective. I'll describe the double arm should...
Kaeshi reversing
As in plates 144, 145 and 146 the defending blade thrusts forward into the attack, then suddenly reverses so that the opposing blade slides away and from there is swung up into the Jodan high posture position to strike. Great suppleness is necessary and the twisting off action should be smooth. This can be very easily performed against Tsuki and can be performed to either side. It is normally necessary to step further out to the side with Kaeshi-waza, so as to allow more room for the reply.
Judo Syd Hoare Judo History
Judo as a martial art came into existence in 1882 being derived from the much older techniques of attack and defence called ju-jitsu. Before the advent of judo or more properly Kodokan Judo there existed some twenty independent ju-jitsu schools. A young Japanese man Jigoro Kano, wanting to be able to handle some bigger bullying companions, decided to join one of the ju-jitsu schools. He studied the techniques of various schools for several years. Finally in 1882 he established his own which he...
Shibori
Shibori wringing is another most important action on striking. The effect of the hands being in different positions will be to drag the Shinai off centre and the Shibori action of squeezing the hands into the centre negate their effect by opposition. Shibori steadies the blade and gives definition and control to the stroke and it must be timed to co-ordinate exactly with the moment of impact. The actual physical effect of the blow is more via kinetic energy than actual downward force....
Counter techniques nd form Nikkyo second form into Sankyo third form
With counter-techniques you must completely follow your partner. At no time resist his technique, otherwise you will find that you cannot counter him. This is a very good exercise for harmony and relaxation. Make sure that you first try to 'give' yourself to your partner. Do not practise these techniques too fast until you have learnt to completely relax. First I will describe 2nd form Nikkyo. Your partner grasps your left wrist with his right hand. Step back with your left foot towards your...
The Basic Principles of Aikido
The basic techniques of Aikido are very important to learn thoroughly. In this book I cannot give you all of them as they are too numerous. But I have tried to give you a good overall guide. It is difficult to learn true Aikido from a book and the best way is to practise in a club under a good teacher. But use this book in conjunction with your training. This book, I hope, will help you to understand the real meaning of Aikido. If you can imagine that you are like a spinning top and if someone...
The Fundamentals of Kendo
Ability and progress in Kendo is said to consist of some eighty per cent posture and only twenty per cent technique. In Kendo we are not merely attempting to hit the opponent, but to deliver a correct technique in a specified manner. From this viewpoint Kendo has much in common with shooting, since both posture and breathing are of importance. But the situation is more complex in Kendo both attacker and target are very likely to be in motion. Aiming has little to do with Kendo and we do not...
The Aikido Techniques Shinonage four direction throw st form
This technique is the four direction projection as used in Japanese fencing. It involves turning on the left and right foot and cutting in four directions. Your opponent grasps your right wrist with his right hand. By making a spiral movement with your right hand, you then catch his wrist. At the same time catch the back of his right hand with your left hand, breaking his balance to his front. Do not lean backwards but keep your body slightly forward. Step through with your left leg, keeping...
Kaitennage spiral throw st form
This technique is a spiral throw and involves a circular movement. All techniques of Aikido are circular and not angular. This is important to remember. When the opponent attacks you for 1st form, step slightly back with your left leg. Your right hand follows your body, taking his arm over his head as you escape backwards under his arm. Keep your hand in the same position, push forward thus making an arc. At the same time you should catch his right wrist with your left hand. With your right...
Judannokamae high posture
Jodan is the only important variation used today and is favoured in contests. Jodan has a very strong character since it is very aggressive. 'Jodan' is universally taken to mean Migi-jodan-no-kamae with right foot advanced unless otherwise specified. But the more common or comfortable form is the Hidari Jodan left foot advanced this makes single handed cuts very convenient as explained later. The angle shown is fairly conservative about forty-five degrees but this can vary a good deal from...
Reishiki Ceremonial Form
Reishiki is important for self-discipline and safety during the practice, since it reminds the students that they are there to study seriously. The details of laying out equipment and the precise form Reishiki takes will vary from Dojo to Dojo but that given here is fairly typical. The student when visiting merely follows the particular form of that school. A training session without Reishiki will be casual and lacking in form, which prevents the development of united spirit among students and...
Hassokamae figure of eight posture
Hasso-kamae is not illustrated but the Shinai is carried almost vertically at either shoulder, so that in combination the two complimentary sides are likened to the Japanese figure eight, or Hachi. These are sometimes referred to as Yo-no-kamae and Inno-kamae, Yo-in being the positive negative principle Yinyang in Chinese . Hasso has variations in the Jodan and Chudan positions, the former high above the head and the latter low at the hip and canted backwards. As a minor point Waki-gamae takes...
Taiotoshi body drop
This is a very popular throw and forms part of the repertoire of most judomen. One reason for it's popularity is that it is almost impossible to counter. It is also possible to do it when the opponent is standing still, moving forward, sideways or backwards. It is most used as a forward throw which I will describe here. Stand in the right natural posture with your right foot about midway between your partner's two feet. Swing your left foot round and out about half in front of your partner's...
The Principles of Cutting
The essence of Kendo consists in Kiri-otoshi, or 'striking downwards' and each technique is virtually the same. If we can master a single technique of delivery this may be applied with equal facility in any direction or angle. For clarity we are forced to separate various actions into sections but the student is advised to regard all techniques as simple variations of the basic fundamental action. Two directions of cut are included, with the blade moving forward Oshigiri, or backward,...
Kotogaeshi small hand twist st form
This technique is called the small hand twist. As your opponent catches your right wrist with his right hand, grab the top of it with your left hand and at the same time turn ninety degrees to your right. Keep your head looking in the same direction as you are going and your partner will come round in a semi-circle. Now change your direction, going back with your leg. Your right hand should push on the back of his right hand, throwing him. At all times try to keep this a smooth action and use...
Tommy Otani The Introduction
This section on Kendo is more a manual for students thana Teach Yourself attempt. It has been taken for granted that the reader is either a student already or considering starting. True Kendo, in common with older Martial Arts, will lack clarity unless it is practised. The writer studied Kendo under Master Kenshiro Abbe Sensei during the period 1955 to 1964 and wishes to thank him for all his help. He is well known as one of the leading Martial Arts teachers - he was the youngest-ever All Japan...
The Power of Ki and Kokyu
When listening to people talk about Aikido, you will hear about the power of Ki Spirit and Kokyu Breath control . Both are things that cannot easily be explained as they are spiritual feelings. I am still trying to acquire these powers fully. I have found that these powers in Aikido are only possible when one is fully relaxed. So if one loses one s temper one will never find this power. This is why I feel sure that it is important to practise not only the technical side of Aikido but also to...