Beginning

Kendo
Compiled by Dave Christman

From notes & publications by

George K. lzui sensei, Chicago Kendo Dojo
Ron Fox, Michigan State University
G. Warner, & J. Sasamori, H. Ozawa, & J. J. Donahue
Authors

Parts originally published by Ken Strawn at

The San Jose State University Kendo Club

This re-print is intended for use by members of the

Toyoda Center Kendo Club only and never for distribution
or Publication.

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 THE TEN PRECEPTS
Devised by Dr. Benjamin Hazard

Hitotsu, Reigi Courtesy — Etiquette

Hitotsu, Yuki Courage
Hitotsu, Chishiki Knowledge
Hitotsu, Wa-i Harmony
Hitotsu, Danketsu Unity
Hitotsu, Kigan Opportunity
Hitotsu, Ki-ai Spirit
Hitotsu, Shisei Posture
Hitotsu, Token Sword — Correct Cuts
Hitotsu, Zanshin Remaining Spirit

KENDO MOTTO
From the All Japan Kendo Federation

The concept of kendo is to discipline the human character

through the application of the principals of the sword.
The principal of practicing kendo is:
To mold the mind and body,
To cultivate a vigorous spirit,
And through correct and rigid training,
To strive for improvement in the art of kendo;
To hold in esteem human courtesy and honor,
To associate with others with sincerity,
And to forever pursue the cultivation of oneself.

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Thus one will be able to love his country and society, to contribute to the development of
culture, and to promote peace and prosperity among all people.

What is Kendo?
Simply put, it is fencing, Japanese style. It is based on the legacy of classical Japanese
swordsmanship, that is as old as Japan herself. "Bushi" or "samurai" used the sword to
establish and maintain order from the 9th to the 19th centuries. These men and women
followed an unwritten code called "Bushido". Bravery, honesty, and integrity were at its
core. Today, the kendo student has the unique opportunity to study an art that has been
handed down through the centuries, its theory and methods slowly evolving through
generations of great swordsman. Although modern kendo only faintly resembles its
feudal origins, it still retains its bushido concepts of dedication, hard work, calm
mindedness, patience, and seizing the moment.

Over the years, like most other martial arts of Japan, the emphasis has changed from
killing ones enemy to training for self-discipline, and mental / physical fitness. Kendo
can help develop posture, poise, grace under pressure, agility, quickness, clarity of
thought, and the power of concentration.

Kendoists' use a lightweight split bamboo sword, and a set of protective armor that
consists of a helmet, gloves, chest protector, and a waist flap-groin protector. The armor
is not needed for the beginners, for they will practice the basic swings of the attacking
motions with their "shinai" (bamboo sword). They learn the correct footwork and then
combine it with their swinging strike, together with the "ki-ai" (shout). Then time is
spent attacking and practicing on their seniors. After weeks or months they are finally
allowed to wear "bogu" (armor), and freely practice with others. Finally they can now
freely practice the full delivery of their attacks without injury to certain target areas on
their opponents body. Later one can enter tournaments and participate in matches, with
judges trained to recognize points, or blows that would have killed, if one had a real
sword.

Ranking in kendo is similar to other martial ways, with six levels below black belt and
ten levels above. In contrast though, there is no colored belts, or outward sign of rank.
Certification is under the All U.S. Kendo Federation, and registered in the International
Kendo Federation. Also in contrast, the art doesn't have to compete with many schools
and traditions for the "self-defense dollar" the average person is looking to spend.
Instructors in this country rarely profit from their activity, usually giving up their own
time, merely for the love of kendo. Kendo is not recommended for those who are looking
for a flashy or even a practical style of self-defense.

Kendo, like its ancient ancestor, benefits the practitioner forever with the ideals of the
formidable warriors of the past. It builds character, adds strength, tones bodies, relieves
stress, and teaches one to shoulder responsibility for ones actions. It is for those who
desire to become strong in spirit, quick in action, gentle in preserving life, but above all,
kendo is from the heart.

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Definition and Brief History

Kendo is a combination of two Japanese words — ken meaning "sword" and michi or do
meaning "road" or "way" the result being "sword's way" or "the way of the sword."

Kendo was derived from one of the oldest of the martial arts – kenjutsu (swordsmanship,
or the technique of the sword) of which written records date back to the seventh century.

The dojo for kenjutsu were established during the Muromachi Period (1336—1573)
when a good swordsman was literally "worth his weight in gold" because of the many
battles being fought among the feudal lords of that day.

Kenjutsu was born during the early Tokugawa Period (1603—1867) when Tokugawa
Ieyasu ruled as the shogun, and pressed the other provincial lords to cease hostility
among themselves. There was a special need for the samurai of that day — something
other than just the practice of swordsmanship. This is when kenjutsu made its
beginning.

Buddhism and Shinto played a major role in the mental and physical discipline utilized
in the development of kenjutsu.

Subsequently, kenjutsu has undergone various refinements, such as the introduction

of protective equipment, a substitute weapon for the sword, techniques, etc. Kendo as we
now know it emerged in the late 19th century.

Although kendo is regarded today as physical sport, the mental development portion
must still be considered an important function.

Objectives of Kendo

Physical Development
a. Agility and quickness
b. Posture and poise

Mental Development
a. Power of concentration
b. Ability to make a decision
c. Determination to carry out the decision
d. Self-reliance and self-confidence
e. Shoulder responsibility for action

Etiquette
a. Respect for elders, teachers and fellow students

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Attitudes Regarding Safety for Oneself and Others
a. Develops alertness
b. Develops good reflex (instant judgement in face of danger)
c. Develops common sense
d. Develops a sense of responsibility

Kendo Etiquette

A kendoist should
1. Bow respectfully when entering or leaving the dojo.
2. Greet his instructor (sensei) and fellow students. Ohayo-gozaimasu (good
morning), kon-nichi-wa (good afternoon), konban-wa (good evening). When
leaving, sayo-nara (good-bye) or oyasumi-nasai (good night).
3. Address instructor as: Tagawa sensei, or Matsumoto sensei. (an example)
4. Assist in cleaning the dojo before and after practice.
5. Upon changing to keiko gi and hakama, take his place on the floor, put on
tare and doh, arrange the men over his pair of kote to his right, and place his
shinai to his left.
6. Not step over or kick a shinai or any part of bogu (armor) placed on the floor.
7. Not lean on his shinai, using it as a cane.
8. Move with promptness, not slowly and slovenly.
9. When necessary to walk in front of anyone, extend his right hand to his front,
pointing toward the floor, and bow as he passes.
10. Not converse unnecessarily during practice hours.
11. Be attentive during the practice hours.
12. Ask permission from sensei or any officer of the dojo, if necessary to be
excused before the regular time. A zarei (bow from sitting position) is
performed if the sensei is in seiza position. Ritsu-rei (standing bow) if sensei is
standing.
13. Keep himself clean, as well as his equipment. Toenails should be clipped for
neatness and safety sake.
14. Say - "onegai shimasu" or "onegai itashimasu" to each instructor before
engaging him for practice, after which — "arigato gozai-mashita"
should be said, lo ud and clear.
15. Understand that RESPECT is the keyword to any martial way or art;
RESPECT for the dojo, RESPECT for the sensei, RESPECT for elders,
RESPECT for fellow kendoists, RESPECT for your equipment, then - self
respect will be attained.
16. Know that each martial way or art has a place in this world. Thus one does
not say unkind words or compare unfavorably one martial art to another.
17. Not do harm to anyone or anything.

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Apparel and Equipment

Keiko gi is a jacket made of light material. The keiko gi should be loose- fitting, so that it
offers no confinement about the shoulder area. Sleeves should cover the elbows.

Hakama is a divided skirt, which allows leg freedom. It also aids in concealing ones foot
movements from his opponent. Upon first wearing the keiko gi, the student then steps left
leg first into the hakama, holding the front section (the part without the stiff board, koshi-
ita ) and wraps the two long tapes back, front and secure snugly in the back. Bringing the
back section with koshi-ita pressed to the small of the back, it is tied in the front. The
length should be so that it will not drag on the floor, causing one to trip.

Bogu (armor). These should be put on while in seiza position.

Tare is the first piece to be put on. A thigh protector, it is wrapped around the waist, and
the himo (cords) are tied securely in front under the large center flap.

Doh or the chest protector is held over the chest, and the long right cord is brought over
the left shoulder. The left cord crosses over to the right with slipknots, which can be
pulled loose.

Tenugui is a cotton towel to wipe away perspiration. When used as a hachimaki

(headband), one purpose is to keep perspiration and hair off the brow, and the other is
to signify that the wearer is ready for action. The tenugui is tied about the head, over
which the face mask ( men ) is worn.

Men is a face mask, worn over the head with chin and forehead resting on respective
padded rests. The men is secured as shown in the illustration with a pair of himo
(cords).

Kote is a pair of padded gloves similar to those worn by hockey players. Left glove is
put on first, pulling at the sleeve area. When reomoving, push off by the same area when
taking off. To tug at the hand portion will weaken that portion.

Bokuto sometimes referred to as bokken, is a hardwood replica of a sword. Today it is

used only in performing kata or to practice various strokes. Centuries ago the bokuto
was actually used in practice sessions, sometimes crippling the loser with a broken arm
or fractured skull. A bamboo sword was later devised, making it safer.

Shinai first appeared as a three- foot piece of bamboo, of which the front half was split
into many lengths and wrapped in a leather bag. Known as fukuro-jinai, it was used
extensively by the Yagyu school. The length varied up to about six feet, until the
shogunate government set the regulation length to be 3 feet 8 inches, and the
maximum to be 3 feet 9 Inches. Today the ideal size for the average fifth or sixth grader
is about 3 feet 5 inches. Today’s shinai consists of four lengths of polished bamboo
which fit together. These strips are held together with a leather cover, which serves as

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the point, and a tubular leather bag which is the hilt. These two leather articles are
connected with a heavy nylon or silk cord which is secured around the fore third of the
shinai by a length of leather strip. In as much as the shinai represents a sword, which
was often referred to as the "soul" or "spirit" of a bushi (samur ai), it should be treated
with respect. One must never leave it where others must step over it, or lean on it as
one would a cane. When placing shinai on one's left side (in seiza ) it should be with
tsuba in line with the knees, the blade portion pointing to the rear, and the tsuru on the
outside, thus placing the "cutting edge" toward oneself.

Gorei
Words to recognize in the dojo, as they are shouted commands.

Beginning a session: Ending a session:

1. Junbi-taiso Warm Up Exercises 1. Seiretsu Line up
2. Seiretsu Line up 2. Seiza Sit
3. Seiza Sit 3. Ki wo tsuke Attention
4. Ki wo tsuke Attention 4. Mokuso Deep Meditation
5. Mokuso Deep Meditation 5. Yame Halt
6. Yame Halt 6. Shomen ni rei Bow to the top front
7. Shomen ni rei Bow to the top front 7. Sensei ni rei Bow to the sensei
8. Sensei ni rei Bow to the sensei 8. Otagai ni rei Bow for all others
9. Otagai ni rei Bow for all others
10. Men wo tsuke Wear the Men
11. Kiritsu (Tate) Stand Up
12. Nuke ...To Draw your Sword
During Practice:
1. Sonkyo Squat
2. Kamae te On guard
3. Hajimae Begin, or go

Seiza
Literally translated, this word means, "to sit properly." Substituting the first kanji its
meaning could be interpreted as "to sit quietly." To sit, move left foot back a half a step,
bending the left knee to the floor with the right leg following. The buttocks gently

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rests on the feet. The upper portion of your body should be erect, concentration being
focused to the area just below the navel (with abdomen somewhat tense). For men, the
knees should be about a fist apart, and for women the knees should be together. Hands
should be on the thighs and eyes are fixed straight ahead as though to gaze upon a distant
mountain. To stand, the right foot comes forward first. Thus, the left foot moves first to
sit and the right foot moves first to stand.

Seiza
Zarei

The bow while sitting is also called seiza-no-rei. It is execut ed as follows: Place both
hands on the floor in front of the knees to form a triangle like shape, index finger tips and
thumb tips touching. Bend body forward, taking care not to let your buttocks rise. The
head comes down to within 6 inches of the hands. Maintain that position for time enough
to take count to four, then gently rise to seiza position.

Zarei

Mokuso

Normally performed after warm ups but before putting on men, the class will meditate
together for a few moments. In seiza, at the command close your eyes not quite all the
way, and form the zazen hand sign in front of navel. Your hands palm up left hand on the
bottom, thumbs just barely touching. Form neither a mountain nor valley shape, but
rather like an oval. When finished, slowly allow your hands to go back to the top of your
thighs.

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Mokuso

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 Postures

Shizentai
A natural standing position. Stand relaxed, but straight, with feet spread slightly apart,
carrying the bodyweight equally. Both arms are hanging to the sides, the chest should
be held high as the stomach and buttocks are pulled in. Take care not to tense up
shoulders, neck, hips, and limbs. The "center of gravity" should be at a point just below
the navel. With chin pulled slightly, eyes should look straight ahead, again as if to gaze
upon a distant mountain.

Me no tsuke kata
This is about your eyes, or your gaze. When practicing you must look steadily into the
opponent's eyes, but be able to observe his whole stance, and attempt to absorb his every
move. Develop your seeing ability so that you will be able to observe even the area
surrounding your opponent.

Shinai no sage kata

(How to carry a shinai)
Teito: In a shizentai posture, hold shinai in left hand at arm length. The tsuka should be
pointing to the front and the "blade" pointing to the back, at a lower angle, with the
tsuru on the underside. The left thumb is relaxed. It is in this position one performs a
ritsu rei (standing bow) at 10 paces from the opponent. It is also an acceptable method to
move about the dojo carrying a shinai during practice.
Taito: After rei the hand is brought up to the waist. The left thumb is placed on the tsuba
and 3 large steps, right foot first you’ll step towards your opponent, draw your sword
(shinai) and with dignity and a straight back lower yourself into sonkyo posture.

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Sonkyo
Sonkyo is a squatting position you’ll take right as you draw your sword (shinai),
whenever you are to be with a partner for any reason. Sometimes the whole class will do
it together. It officially means we have “drawn our swords and are now in session”. This
is also the only acceptable way to start a match between two kenshi. When a match or
practice is over, the participants will meet in the center of the dojo, and lower to sonkyo
posture and re-sheath the sword (shinai).

. Sonkyo
Kamae

Go-gyoh no kamae
(The 5 stances)

1.Chudan no kamae 2a. Hidari jodan no kamae 2b. Migi jodan no kamae
3. Gedan no Kamae 4. Hasso no kamae 5. Waki no gamae.

1 2a 2b 3 4 5

Discussion on Kamae....

Kamae is the source of attack and defense. It is perhaps the most important thing for all
kendoka to study. Kamae, which literally means posture or attitude in Japanese, is used
in kendo to refer to foot positioning (we call this ashi kamae), body posture (we call Tai
kamae), and shinai positioning (Ken kamae). Our discussion will be limited to Chudan no
kamae (middle-stance), as this is the most popular of the kamae currently in use in

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modern kendo. Kamae serves a two-fold purpose in kendo. In addition to providing a
solid defensive position, which makes it difficult for the opponent to attack, it also serves
as a stable base from which the kendoka can launch attacks of his or her own. Kamae
consists of three elements all working together in harmony.

Chudan no kamae (3 views)

1. Foot position: Good kamae foot position provides the kendoka with a base from which
movement in any direction (hiraki ashi) is easy. With bad foot position, movement to one
or more of the directions may be cumbersome or even impossible. Good foot
position also leaves the feet always in position to launch the body into attack.

2. Body posture: Good kamae body posture makes it possible to remain relaxed
physically, while watching the opponent alertly. Bad body posture can induce discomfort,
which will eventually distract your attention from your opponent's momentary
weaknesses (suki). Good body posture also makes it easy to move the shinai into
attacking and defensive motions. Bad body posture such as hunched or raised shoulders
can restrict or slow shinai movements. Good body posture can also extend the distance
from which you can attack.

3. Shinai position: Good shinai positioning is a combination of handgrip and placement

of the hands to control the position of the shinai. In a strong chudan no kamae, the shinai
tip, or kensen, is constantly threatening the opponents' throat. A well-centered kamae is
also the key to good attacking motions with the shinai. In kendo all cuts begin from the
center of your body, and the left hand remains in the center of your body. Therefore to
hold a kamae out of center inhibits and slows your attacks because you will only have to
first return to the center before attacking.

4. The feet: In kendo footwork is at least as important and in some circumstances perhaps
even more important than arm or sword work. Good footwork allows the kendoka to
move easily and gracefully from point to point, threaten the opponent, and to attack. It
should not be surprising, therefore, that in order to move easily, first the feet must be
placed properly.

For chudan no kamae, the beginner can easily achieve proper foot positioning.
1. Stand with feet together, both heels and toes touching. Knees should be straight but
not locked.
1. Pivot your left foot to towards the left touching your left heel on the ground. Now
your left and right feet make a backward letter “L”.

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3. Now pivot your left foot on your left toes so that it is again parallel with your right
foot. This brings feet into the proper distance relationships both front/back and side to
side.

1. 2. 3.

4. Move the weight to the balls of the feet keeping it evenly balanced. This should bring
both heels slightly off the ground. Remember “golf ball” under the left heel, “paper”
under the right heel.
5. Bend the left knee slightly so that the left heel comes a little more off the ground and
the right heel nearly touches the ground.
6. Keep the feet parallel.
7. Keep the right knee bent but not locked.
8. Make sure weight is forward on the balls of the feet. Make sure weight is evenly
balanced (50/50). A very common mistake is to put all the weight on either the front
(right) or the rear (left) foot.
9. Make sure that after each step you take, your feet are back in kamae position, looking
and feeling just as you did the step before.

This is proper foot position for chudan no kamae. Beginning kendoka should practice
holding this foot position until it is comfortable, and relaxed. Hint: it will take years!

The Body: The body in chudan no kamae is very important. Bad body posture can inhibit
movement, attack and defense. Body stance should be natural and relaxed keeping the
following points in mind:
1. The spine must be absolutely straight, perpendicular to the ground.
2. The body should be centered over the foot base.
3. Neck should be straight, eyes looking ahead, through the opponent "as at a distant
mountain." Keep the chin slightly tucked, when you wear bogu, this allows the throat
protection on the men to be most effective.
4. Shoulders should be level and relaxed. Neither shoulder should be higher than the
other should. Your neck muscles should be relaxed.
5. The body should squarely face your opponent.
6. Your “center” or hara should feel like the center of the universe, all power is derived
from here. You want to feel like you could play “belly-bump” with a Mack truck and
bounce it backwards.

The Shinai: The shinai grip and location are very important. If the shinai is misplaced, it
will be hard to bring it into play to attack, and hard to place it optimally to frustrate
attacks by the opponent. A strong placement of the shinai serves the dual purpose of
establishing a position from which attacks can be easily launched and discouraging
attacks on the part of the opponent. The following procedure should establish a good
shinai grip.

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1. Establish the right hand position by placing the tsuka-gawa (very tip of the hilt of the
shinai) on the inside of the right elbow, and turning the right wrist so that the right hand
can grasp the shinai. Make a note of this position; this is the optimal locatio n for most
people's right hand.

2. Te no Kamae (The position of the hands)

The left hand should firmly grip the very end of the tsuka. Remember, the smaller the
finger, the tighter the grip. When you look down at your hands, you should not see any
fingernails. The V-between your thumb and index finger should lined up with your body
center. The right hand holds the tsuka just behind the tsuba lightly to insure
maneuverability. Both thumbs should be pointing down. Do not grip the shinai like a
policeman grabs a criminal. It’s more like a brush and you’re an artist.
Maintaining the grip you have achieved by the procedure above, you should now adjust
the direction of the tip of the shinai by moving your left wrist, and following as needed
with the right hand, so that the sakigawa is pointed in the center of your body directly at
throat height. In this position, the shinai will be easy to swing, and the kensen (tip of the
sword) will threaten an opponent with impalement should she/he decide to attack.
Important points to keep in mind are:

1. Relax your shoulders throughout this procedure.

2. Keep your left hand centered.
3. Elbows should be relaxed and somewhat bent on both arms.
4. Only grip strongly with the little and ring fingers of the left hand. All other fingers
should hold the shinai but be relaxed.
5. Kensen should be centered and at the height of your opponent's throat.
6. Arms may be somewhat away from the body. Once source says: "Your left arm should
be as holding an egg in your armpit, your right arm should be as if holding a grapefruit in
your armpit."

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7. Left forearm is in light contact with the body, but not resting on it.
8. If you look down, you should not see your fingernails.
9. Your left hand should be one fist width away from your belly.
10. The tsuru (string) of the shinai is always on top.

Ashi Sabaki (Foot work)

Okuri ashi Is used for covering close range or far or when attacking. The foot nearest
toward which you wish to move steps out first followed by the other foot. The right foot
moves first followed by the left when moving to the right side. The left foot moves first
followed by the right when moving to the left. The right (or left) oblique front may be
used for attacking men or nuki doh. This is the footwork of attack. This is the most often
used footwork, as you’ll have to constantly employ this movement against your
opponent.

Tsugi ashi Is used to cover distance forward when attacking from a chudan no kamae.
Issoku itto no maai is the normal distance between two contestants facing each other with
their shinai crossed, and one is able to hit his opponent by taking one step forward. When
that distance, (maai), is greater than the issoku itto no ma, tsugi ashi is employed. The left
foot is brought in line with the right foot, and without a pause, you leap forward with the
right foot followed by the left, as you attack. Practice this maneuver until it can be done
in one motion. To pause upon bringing the left foot to the right, would be telegraphing
your intention. This footwork is a bit rare.

Ayumi ashi Is a normal sliding step, more like a normal walk. You’re left and right step
alternately. This is used to cover larger distances, normally when you are under no danger
from the opponent. You will employ this footwork when you learn kata.

Hiraki ashi Is used to shift body position when parrying or attacking. This describes the
way to move quickly in any direction. Care must be taken to concentrate your centre of
gravity to a point two inches below your navel, so that you do no t waver or weave as you
execute these steps. Your body must face the opponent in the same direction as your feet
in order to ready yourself for the next move, should he counter attack. Right oblique front
step could be used for tsuki suri age men; and left oblique for dou ichi or kaeshi men.

Fumi komi Refers to the right foot action at the moment of an attack. Great force is
generated as the sole of the foot strikes the floor hard. It is important to perform fumi
komi at the exact instant you strike your opponent. If one isn’t careful, injury can easily
occur to the heel. It is considered bad to pad your heel if you’ve hurt it. The whole
bottom of the foot must land at once.

Important points to keep in mind:

1. Always keep your toes down, in any of the kendo footwork.
2. You must always be attempting to make your footwork “snappy”. Do not hesitate to
move your second foot, after moving the first foot.

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3. Always keep a straight back; even when performing big movements.
4. Avoid bobbing your head up and down.
5. Keep a low centre of gravity.

Okuri ashi Hiraki ashi

Tsugi ashi Ayumi ashi

Discussion on Maai....

Maai is the word for “combative distance” Ma in a broad sense also describes the idea of
“seizing the chance” or of timing. In kendo we have four description of this distance
between players.
Issoku itto no maai As mentioned earlier is the normal distance between two contestants
facing each other with their shinai crossed, and one is able to hit his opponent by taking
one large okuri ashi style step forward. One can also avoid being struck with a quick step
backward.
Toma This is a longer distance between players. One could not quite get to his opponent
within just one step. A player has to move back into issoku itto no maai enable to strike.
Chikama This is closer than issoku itto no maai. One doesn’t have to step at all to hit or
be hit, this is a danger zone, a time to be very alert, and do not linger in this zone.
Tsuba zeriai This is pretty much face to face. The shinai are crossed at very sharp angle.
Both players’ are trying to strategize a way of either striking their opponent, or getting
safely back to issoku itto no maai. To strike him you either have to break his posture by
pushing-then striking, or step back one step then hit. It is for this posture one must study
the application of hika waza, or “backward strikes”.

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 Issoku itto no maai Toma

Chikama
Tsuba zeriai
Suburi

Suburi is the action of swinging the shinai properly. There is a tendency to think of
suburi as only a warm up exercise. That is not correct. Before one can properly execute
a correct strike on an opponent, you must be able to correctly swing in suburi. There is a
question of when swinging the shinai, where does one stop the back swing? The general
rule is: a warm up type of suburi should be done as large as possible. Even choyaku
(jumping) suburi should be as large as possible. The waza type suburi or when you attack
a specific target then could be done up to a 45 degree angle. If you are trying to simulate
an attack, then slapping your buttocks with the shinai is not good training. When
swinging in kendo, you should have a light yet firm feeling. The wrists, which tend to roll
outward when you swing the shinai up, come back in as you strike forward and down,
almost as if you were wringing a towel. It is a slight twisting motion. It is important not
to "break" the wrists by bending them too much. Your arms are extended, and your fists
are in front of you at about shoulder height.
The hardest point for the novice (particularly the right-handed novice) to grasp in this
exercise is the fact that the left hand does most of the work in striking. There is a very
common tendency to try to mus cle the shinai down in an arc with the right hand. Yet, in
kendo, the factors that make a stroke effective are not muscular strength, but coordination
and speed. In swinging, the hands are raised up and down along the centerline of the body
in a relaxed manner. Tension and the overuse of muscles only slow the motion down and
tire out the arms. When practicing basic strokes, therefore, the beginner should
concentrate on keeping the arms (particularly the right arm) relaxed and swinging in an
easy motion. The tip of the shinai should describe a straight line as it rises and falls. If
you practice in front of a mirror, this will aid you in developing proper technique, Very
often too much tension in one hand or another is revealed in the fact that the shinai
wanders from one side to side as you try to strike. Think of your left hand pulling
down on a rope that rings a bell, the right hand merely rides along to guide it. You may
also think of it this way: It is like using a two handed fishing rod, and you want to cast a
large piece of bait way out in front of you. The right hand “throws” the shinai out and
forward, and the left provides the down ward pull, then together they “twist” the shinai to
a stop right where you want it. The student will learn several different drills, and most

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will include footwork in combination with the suburi. Some schools like you to step
forward with the right foot as you raise your shinai, and then snap your left foot up when
you bring it down. Other schools like you to move your right on the downward swing,
and follow immediately with the left. Both concepts are valid and will integrate nicely
into your all around kendo education. Also the concept of our shouting in kendo will be
introduced (see Kiai next). Suburi is one the few things that the kendoka can do alone at
home or anytime to improve, and stay sharp.

Important points to keep in mind:

1. Swing up always over the very center of your body
2. Left hand always stays centered.
3. “Twist” to stop the shinai where you want it to stop.
4. Keep your head still, and look outwards.
5. Don’t rise up your body with your feet muscles as you lift the shinai.
6. Keep your chin tucked in.
7. Time properly the swing with your step.

Shomen suburi done very big. Men!

Kiai

The quick translation of kiai is “spirit shout”. Ki is life force, ai is a coming together. In
the old days the kiai was employed by warriors to attack their enemy’s spirit in a negative
way. To try to show more vitality, to surprise and depress the enemy. In modern kendo
we’d rather think of it as a way to display our vitality, to show our spirit, in a positive
way. The shout is to show our total commitment. Also it is required you cry out the target
as you hit it on your opponents body. This demonstrates a consciousness of purpose and
precision that is highly valued in kendo. It proves you are not just flailing about
randomly. The word kake-goe is also used to describe this shout.

Kiri kaeshi

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This is a drill that is very, very important. So important you should learn it directly from
sensei at the dojo. It refers to continuously striking of the left and right men alternately.
It is never neglected even by the most advanced sensei, it is to be practiced all of your
days...it has all the basic concepts built in, and is a workout all in itself. I’ll describe it,
but I’ll include no diagrams. When carried out correctly, kiri kaeshi will foster physical
strength, spirit, and vigor. The benefits of kiri kaeshi are to provide the kendoka with
experience in judging timing and distance. To develop stamina, and improve posture. To
learn to breathe properly, and repeatedly re-enforcing the tenouchi (grip or twist) action.
You also learn to do taiatari (body checking) and all in all, it is an aerobic exercise.

From issoku itto no maai, give a loud shout and boldly strike shomen. After taiatari
(body check), swing the shinai up in a large movement and, beginning with left men,
strike alternate right and left men 4 times stepping forward, then without stopping strike 5
times stepping backward. Then move quickly from toma to issoku itto no maai and
boldly strike shomen immediately. This process should then be repeated. After the second
set of nine strikes, move quickly from toma and strike shomen and continue through and
past your partner, turning to face him quickly. Normally it will now be his turn to
perform the kiri kaeshi, and you will have to receive his attacks. Beginners are usually
encouraged to strike the seniors men directly as they practice their cuts. Later he will
receive with cuts with his shinai, “blocking” them so to speak, before they hit the men.
After all, you can’t take hundreds of blows a night on your head.

Important points to keep in mind:

1. Strike left and right men correctly, nonstop while shouting "men, men, men" in a loud
voice. Do not “bark” but “sing”.
2. Raise your shinai high over your head each time in a large and fully extended
movement, high enough to look under both fists.
3. It is best to strike continuously in the same breath.
4. This will be your first try at taiatari, wait until you are at least wearing the kote until
you bump hard.
5. Remember the tsuru (string) on your shinai, you must strike with the proper hasuji
(angle).
6. Move each time with nice sliding okuri ashi style footwork. Only the first, middle and
last shomen strike has the fumi komi footwork.
7. Watch and learn to improve the distancing between you and your partner.
8. Never strike at your opponents’ shinai, but at his men.
9. Keep in mind every strike should be thought of as a serious blow that would kill if
one had a real sword.
10. When receiving, the footwork you use is ayumi ashi.

Kihon Waza (Basic Strikes)

Basic Hits and Thrust
In kendo there are many parts of the body which are set target areas. One must
confidently strike any of these areas, accompanied with a shout naming the particular

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target. Each hit should end with the "wringing of the towel" motion and with the right
arm fully extended.

Men Uchi - Hitting the head - shomen – top center of the helmet. From a chudan no
kamae, using shoulders boldly, raise shinai above your head in a straight arc without
wavering. Your left hand should not hamper visibility. Stretch your arms, as the shinai
is swung down, taking care not to put strength in the shoulders as this might cause the
upper part of the body to lean forward. As you strike, the right foot steps (or leaps),
using the left foot to push and follow the right foot. Both up and down strokes should
be executed in one flowing motion without pausing in the middle. As the shinai is
about to touch the men, a whip like movement is created by the "wringing of the towel"
motion as stated earlier. That motion is done by rotating both hands inwardly with the
right hand fully extended.

Hidari Men left Men and Migi Men right Men - are executed by bringing the
shinai down at a 45° angle on respective sides. Try to strike above the eye, never go as
low as the ear.

Kote Uchi – Is the forearm strike. The migi kote, right wrist, is hit in the same manner
as the men, bringing the shinai lower. Then you must assume the chudan no kamae.
Hidari kote , left wrist, is struck when the opponent is about to raise his shinai above
his head and when he is in jodan no kamae, a stance when the shinai is held above the
head.

Doh Uchi – Is the hit to the side of the chest protector (torso). Raising the shinai over
your head, without a moment's loss, it is swung down diagonally to your left to strike
the opponent's migi doh, (right chest). You must pass on your opponent's left side.
Hidari doh, left doh, (also called giyaku doh) is a very advanced technique, and not
recommended to novice players. If executed properly it is O.K.

Tsuki – A thrust to the throat with arms extended, hands rotating in toward each other,
a thrust is made to the throat as the right foot lunges forward with the left foot
following. This technique is reserved to only 2nd dan and above. Omote tsuki is done
with your shinai passing the opponent's shinai from your right side, twistin g your
shinai counterclockwise. Ura tsuki is done with your shinai passing his from your left,
using the clockwise motion. Kata te tsuki is a left or right single hand execution. Any
form of tsuki must be done with your body backing up your extended arms. Upon
completion of your tsuki, you must come back to the chudan no kamae.

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 Zanshin

Zanshin is interpreted as: Alertness remaining form. It describes the ability to completely
finish an attack correctly, and then be alert to the opponents possible counter attack, and
be ready for that. It may be best described as “follow through...” but in this instance, it
means mentally following through, not just some motion with the shinai. Every moment
in a fight, a warrior must have this ability. Some say the samurai of feudal days cultivated
this to such a high degree, they were on guard and ready at all times, even while sleeping.
They could never be taken by surprise.

A Typical kendo practice

The format of a typical kendo practice anywhere in the world would be nice to know.
However there is no such thing. Every night, every session is going to be different. Sensei
will formulate the class to fit the level of the student’s experience. Especially here in the
U.S. the details of a practice may vary from dojo to dojo, but the general structure will be
the same.

1. Throughout the practice, it is important to keep in mind the following points: The
concept of rei (respect), show respect for your instructor, respect for your fellow
students and respect for your equipment.
2. Move quickly, don't hold up practice by not being ready to perform the requested
techniques, or by not being ready to receive for your partner. Try to make sure you are
always in position for the next practice.
2. Pay attention to the other students and to yourself. Watching the kendo of others is
called learning through the eyes. Watching your own kendo is how your correct your
faults.

Dojo layout...
Most dojo follow a standard physical layout. This physical layout determines your
orientation during practice. It is important, especially when entering strange dojo to
figure out the layout so that you will know how to practice. Typically, a dojo has a main
door. This is the door through which students initially enter the dojo. The wall to the left
of the main door is the low side of the dojo, while the wall to the right is the high side.
This concept of high and low side will reoccur throughout shinai kendo and the kata
practice as well. The more experienced kendoka will be on the high side, the least
experienced on the low side. The dojo will have a kamiza (deity seat) or maybe at least a
focus point to which the kendoka as a group will acknowledge with a collective rei
(bow). It is important to locate the kamiza, as it is how everything is situated from its
location. It normally is the wall farthest from the door.

Before practice formally starts:

1. At home check shinai for splinters, and sand off rough spots with a piece fine sand
paper. Make sure hakama and kendo gi are clean and neatly folded.

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2. Try to arrive at practice a bit early, so that you have time to change before practice is
scheduled to begin.
3. After changing, unpack your bogu. Put on the doh and tare immediately. If practicing
in a strange dojo, make sure you greet the sensei if practicing at your home dojo, be sure
to welcome new kendoka and guests. Greet sensei with kon ban wa (evening) Ohayo
gozaimasu (morning) or kon nichi wa (afternoon). Greet guests with Irasshaimase.

A Typical kendo practice

1. Taiso: This segment consists of warm up exercises. These include body stretches,
arms, wrist, knee, and ankle warm ups, etc. This section may be led by less than a black
belt student, or a lower ranking black belt. Traditionally all kendoka count toge ther
during the exercises to develop spirit and foster a group feeling.
2. Suburi: This is a chance to smoothly swing the shinai, warming up the arms and
shoulders. Typically you’ll do a very large swing to start, then some variations of men
suburi, then some suburi that practice attacking the point areas, finishing with a very fast
jumping style of suburi called choyaku suburi.
3. Opening rei: Just as taiso and suburi prepare the body for practice, the opening
formalities prepare the kenshi’s mind for kendo. The highest-ranking student gives the
commands to line up, and sit down. You must remember to set your shinai down on your
left side, “edge” inwards, and your body in exact line with all others, the tsuba should be
in line with your knees. If you have bogu, your doh and tare will already be on, so set
your kote down in front of you, place your men on top then slide it to a place 45 degrees
to your right, allowing you room to bow. The class will then mediate together. Here is
the time to calm down, clear your mind, forget about your daily life and problems, and
give yourself fully up to the directions from sensei. When this ends (20 – 50 secs.) you
will bow 3 times, once to the front, once to your teachers, and once in respect to all
present. Then the command to put on men is made. Once the men is tied on, kote then
goes on, left one first and you’ll pick up your shinai, then stand up (if your sempai stand
up before you).

4. Kendo keiko (practice): Sensei will now direct the practice. The practice usually begins
with kiri kaeshi. You’ll normally split into two lines so you will have a partner. Make
your swings big, kiai loudly, and receive your partner’s practice with a grateful and
cooperative attitude. Next will most likely be a series of practicing the basic attacks or
uchi kome. You may or may not be switching partners after every series of attacks. Be
alert to moving quickly when you are directed. Some techniques may be quite advanced,
so watch the others and try it yourself, slowly with large motions, if you are wrong
someone higher up will correct you. Sensei will most likely take a moment in between
changing partners to correct or further explain the proper movements and probably
demonstrate them also.

5. Kakari geiko: This is interpreted as “a ttacking practice”. It is a prelude to free

sparring. You’ll be asked to attack your partner continuously, as soon as you are set at the
right maai, you must attack any openings you see. Keep good form, just as you have been
taught. Try to move as swiftly as possible, the key to this is not to wait, you must yell
loudly and display your attacking spirit. It will remind you a little of a one sided free

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sparring match, but it takes great skill believe it or not, to be the receiver in this exercise,
if done properly.

6. Jiyu geiko: Here is the time where you are finally able to freely spar will your dojo
mates. You must follow all the rules taught you, keep good posture, attack correctly with
good technique, kiai loudly, and keep zanshin at all times.

Kata

Kendo kata are a link to the past generations of master swordsman who shaped and kendo
into what it is today. It is a series of ten formal exercises practiced by two kendoka
together. The kata have evolved through time: revisions and adaptations have taking
place in 1912, 1917, 1933, and 1981. The kata are intended to embody significant
insights into the practice of kendo. It must be admitted many trainees neglect kata
training. The allure of free sparring has a strong attraction, especially to the young. Please
do not fall into that trap, kata is an important part of your overall training.
Your sensei will teach you the kata as you need to know them. There is no picture,
description, or words that can properly convey this part of kendo training. I will not
include descriptions or drawings in this beginner’s handbook. Please consider this
another reason to attend the classes at the dojo. One must have a good grasp of the kata
and be able to demonstrate it in order to pass examinations of rank in kendo.

Iaido
What is iaido? Simply put, iaido is the art of drawing the traditional Japanese sword.
Techniques for drawing and cutting with the sword are studied and practiced in a serious,
but non-combative atmosphere. It is one of the important cultural heritages that is unique
to the Japanese culture. In Japan today people feel it is very important to remember and
preserve the old ways. In feudal Japan, the samurai used the sword to establish and
maintain order, from the 9th to the l9th centuries.
Many sword schools and styles of swordsmanship flourished, in order to keep up with
demand for trained warriors, ready for battle. This was (until l600) a time of many civil
wars. A good swordsman was worth his weight in gold. As early as 1400 a serious study
of delivering a killing blow directly from the scabbard, was taught in many sword
schools. This was called iai-jutsu, or batto-jutsu (sword drawing art). As the civil wars
subsided and peace came, the samurai's constant training to defeat and kill an opponent,
slowly evolved into training for self-discipline and self-perfection. The sword is now
looked upon as a spiritual instrument for controlling the "self". The only enemy one has,
is his ego. Iaido reflects this change of emphasis, even some of the techniques taught
today, have no real combat value, and a real warrior did not attack his enemy using these
methods.
Each time the sword is drawn, there is four stages the blade will pass through. First is
the draw, immediately followed by the cutting action, to one or more imaginary
opponents. Then a snapping or flicking action, to remove blood from the blade, (chiburi)
followed by a return (noto) of the sword to the scabbard. The iai exponent’s ideal is to

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perform these motions with no wasted action, smoothly blending the techniques into a
unbroken demonstration of determined superiority over the supposed opponent. Those
who lack sincerity or seriousness are advised that iaido is not for them. A true devotee
can develop a strong spirit, improved posture, muscle-flexibility, and a strong degree of
control over his emotions.
Today iaido is a martial art form studied separately from kendo, yet remains closely
linked. Many clubs will study both and many sensei will hold black belt ranks in both.

How to tie Knots on your Shinai

Sakigawa

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Nakayui

This is the one knot most fussed over, and has to be retied the most often. It is supposed
to be no more than at the top one third mark. Around where your shinai will get the most
wear and tear, or just down from it a bit.

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Tsukagawa

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 Additional Notes for Toyoda Center Students

To learn more about Kendo, please visit:

http://kendo.nscl.msu.edu/battlecreek/academics.html

Thank you and practice hard. See you in class.

Yutaro Matsuura

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