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-九
 ,

.. -- ---~---- ~~~-~--~ ,- - ., Foreword

------ '. - -.:,;

In March 1977, the All Japan Kendo Federation published the Yoshonen Kendo Shido Yoryo ("Kendo
Guidebook for Instructing Children") to serve as an official teaching guidebook. The main points were
continually revised and supplemented to enrich its content as a comprehensive instructional manual. The book
you now have in your hands represents a total renewal of the original text, and is the result of several years of
work starting with the appointment of the "Revision Committee" in June, 2006. I congratulate the committee
members who worked so industriously to bring this fine edition to completion.

Although this book was designed to cover kendo as broadly as possible, there are still some aspects which have
not been included sufficiently. For example, there are few explanations regarding the nito method of kendo.
This is an area that will need to be expanded, or treated as a separate edition in the futute.

In recent years in Japan, the education system has undergone a number of changes, and it was decided that
budo (martial arts) education will be included in the junior high school curriculum as a "compulsory subject"
from 2012 . The potential of kendo as a lifelong pursuit of study is also gain ing attention in light of the "aging
population" problem we face now. Given these circumstances, it is my hope that this book will provide a
foundation for kendo instruction in the way it is meant to be taught.

As the content focuses mainly on the technical aspects, I would like to supplement this material by providing
some information on the origin s of kendo, a nd its value from the standpoint of Japanese culture.

THE CONCEPTION OF THE SHINAI AND BOGU IN THE EDO PERIOD The sword has featured as a
weapon in Eastern and Western cultures since ancient times. Kenjutsu is the Japanese term used to refer to the
age-old techniques of swordsmanship. In Japan, the Nihon-to, or· distinctive Japanese sword, appeared around
the tenth century. It was used on the battlefield, and carried. by warriors at all times. Specific schools (ryuha)
that specialized in sword use materialized, and the techniques became increasingly refined. However, with the
introduction of firearms into Japan, and the onset of peace during the regime of the Edo Bakufu, the sword
transformed from a weapon. of war into an object that symbolized the warrior's status and authority.

Around the eighteenth century, shinai (bamboo practice swords) and bogu (protective armour) were conceived.
These creations contributed ro the widespread popularity of swordsmanship. Fencing with protective
equipment was taught to children of bushi families, and full-contact fencing contests between adepts from
different schools became possible. This new style of kenjutsu emancipated swordsmanship from the traditional
mode of repetitious kata (set forms) training, and was an in

modernize. As the social situation settled, the benefits of studying traditional kenjutsu in the modern age were
reconsidered. Kenjutsu was subsequently saw a new lease of life, first by its introduction into police training, and
then through its adoption into the national school system.
DECLINE AND REVIVAL AFTER THE MEIJI PERIOD
- THE CHANGEOVER FROM KENJUTSU TO KENDO
After the mid-Meiji period, the usefulness of kenjutsu using shinai as a means to strengthen body and mind was
once again acknowledged, and a wave of enthusiasm to have it introduced in the school system gathered
momentum. At the end of the Meiji period, the Ministry of Education allowed kenjutsu in middle schools as an
optional subject. By 1931, budo was elevated to a compulsory subject in the national physical education
curriculum.
In recognition of its educational value, the common terms for fencing, "gekken" and «kenjutsu", were replaced
with «kendo" (the 'way' of the sword) during the Taisho era (1912-1926). T his change is significant for twO
reasons: firstly, use of the word "kendo" is comparatively recent, and secondly, it accentuates the art of
swordsmanship as a "Way" for personal development, both in the physical and spiritual sense. Accordingly, the
introduction of this particular appellation can be considered a momentous event, and as the starting point for the
social acceptance of modern kendo.
Kendo gradually amassed a large following, and the advent of many prestigious events in the 1920s and 1930s,
such as the Tenran-jiai held in front of the emperor, heralded a golden age for kendo. Around this time, however,
kendo was commandeered by the government. When war broke out it, was taught in schools to augment combat
preparedness, a lamentable turn of events which proved to be detrimental for the future of kendo.
THE POSTWAR DECLINE AND AN UNPRECEDENTED RECOVERY Mter losing the war, Japan was placed
under the jurisdiction of the Allied occupation. Because of its wartime association with militarism, occupation
policy dictated that kendo could not be taught or studied in schools, or even participated in as a club activity. All
administrators who were involved with budo organizations during the war were officially removed from their
governmental positions during "the purge".
Kendo enthusiasts were forced to bide their time until 1952, when the San Francisco Peace Treaty was
implemented, and Japan regained its sovereignty. Only then could the resurrection of kendo begin. Kendo
associations began to form around the country, culminating in the inauguration of the All Japan Kendo Federation
to promote kendo nationwide. Reflecting on the mistakes made during the war, it was declared that kendo was to be
revived as a "sport". The ban on kendo in schools was lifted, and kendo's social reinstatement commenced.
Compulsory education was extended to junior high school level where kendo could be studied as an elective
subject. Students' kendo in colleges also became vibrant. Kendo started to thrive throughout Japan, and the various
overseeing associations held numerous successful tournaments and events. The AJKF continued to strengthen the
founda
tions for kendo promotion by instigating a shogo and dan promotion system, formulating competition rules, and so
on.
With the revival of kendo as a sport, the rigorous prewar style of training was passed over in favour of adrenaline-
charged competition. Also, women's kendo took root, something that was almost unthin kable in the prewar period,
and the number of children taking up kendo saw an explosion in numbers. Even though great changes occurred in
this era, it is fortunate that kendo was able to retain
novation that paved the way for modern kendo.
Frequent improvements were made, and by the Bakumatsu era, in the beginning of the nineteenth century,
kenjutsu had become prevalent, even among members of society who were not of bushi status. After the Meiji
Restoration (1868), class distinctions were dissolved, and it was no longer permitted to wear swords in public.
This signified a period of decline for kenjutsu as Japan sought to
most of its intrinsic characteristics.
As "SpOrtS kendo" became progressively popular throughout the country, however, a tendency to focus on
competition, and speed or trickiness to win matches became commonplace. This trend Signified a perceived decline
in the traditional ideals of kendo, and in answer to the growing chorus to steer it back onto the right track, the
official "Concept of Ken do" was formulated in 1975.
"The concept of kendo is to discipline the human character through the application of the principles of the
katana {sword)."
This declaration states unequivocally that the ultimate objective for learning kendo is not just to train to win
matches, but that it should be studied as a lifelong pursuit for the purpose of character development.
AJKF ADMINISTRATIVE OBJECTIVES
Subsequently, the administrative basis for the AJKF's promotion of kendo was based on the tenets expressed in the
"Concept of Kendo" - namely, to nurture kendo people of high calibre and admi rable qualities. Such lofty ideals
take time to accomplish, and in 2007 another guiding document called "The Mind-set of Kendo Instruction" was
promulgated, with three articles corresponding to this goal:
''For the correct transmission and development of kendo, efforts should be made to teach the correct way of
handling the shinai in accordance with the prinCiples of the sword. "
"When instructing, emphasis should be placed on etiquette to encourage respect for parmers, and nurture
people with a dignified and humane character. "
"While providing instruction, students should be encouraged to apply the full measure of care to issues of safety
and health, and to devote themselves to the development of their character throughout their lives. "
The AJKF, local federations, dojo and school organizations have all made prodigious efforts to ensure that kendo is
taught correctly. The Ministry of Education's "Community Physical Education Instruc tor" system has helped to
nurture many competent teachers, and there is an abundance of material available for instructor training.
Particularly in the case of kendo, instruction received at the beginner level has far-reaching consequences. For this·
reason, it is imperative that kendo instruction in schools is of a high standard. The "National Curriculum
Guidelines" for junior high schools in Japan were revised recently, and budo education will be made a compulsory
subject for first and second year stu dents from April, 2012. In light of this opportunity, it is our responsibility to
ensure that the number and quality of qualified kendo instructors is enhanced across the board.
There are many ways in which kendo can be studied. It is a fact that much of the kendo practiced in school clubs is
concentrated primarily on winning competitions. Thus, it is crucial in such an environment that kendo instruction
focuses on kihon, the fundamentals. It is not wrong to have stages in one's kendo career in which the competitive
aspects take precedence. Rather than take a homogenous approach, the role of the kendo instructor is to harness this
enthusiasm, and use it to develop the traits of each individual student. Through thoughtful instruction, the
practitioner will be able to develop his or her character through the lifelong study of kendo, and thus contribute to
the betterment of society.
KENDO AS A MANIFESTATION OF JAPANESE CULTURE
From here, I would like to offer some observations on the characteristics of kendo from the purview of traditional
Japanese culture.
First, the shinai and bogu used in kendo were conceived as a safe way to train in swordsmanship using full-contact
strikes. The targets were predetermined so that matches could be conducted, and various conventions and rules for the
adjudication of bouts were decided. This represents the sporting side of kendo, but it also enabled the practitioners to
develop a high degree of skill in sword techniques. The equipment is designed to be functional, but its assembly would
not have been possible without the existence of accomplished craftsmen and their splendid skilfulness - an indication of
the high level of refinement reached in Japanese culture.
Through training, the p~actitione r pursues a mind-set of self-discipline and competitiveness, while also constructing moral
standards through an appreciation of the "spirit of rei". Skill level, instruc tional ability, and the extent of personal
maturity are all decisive factors in the awarding of shogo and
dan grades. These are vestiges of traditional Japanese attitudes that evolved in early-modern society - a period of
extended peace and cultural refinement. The culture of kendo could not have eventuated if the Nihon-to was thought of
simply as a weapon.
Keep in mind that the period in which kenjutsu developed as a competitive form of athletic culture is roughly the same
time th at Western sports, in the modern sense, were emerging. Although kenjutsu has its roots in combat using the
Nihon-to, with the passing of time, it gradually veered away from battle considerations to transform into a vehicle
through which practitioners could grow as human beings. The modern from of kendo transcended the esoteric teachings
reminiscent of the many exclusive schools of kenjutsu, and progressed into a comprehensive cultural legacy imbued
with spiritual and educational qualities. By the Bakumatsu period (early nineteenth century), the art was also studied
widely by other classes other than bushi. Nowadays, it is practiced by men and women of all ages to enhance their lives,
and by extension, for the benefit of society at large. The fact that there are so many enthusiastic practitioners outside
Japan is testament to the universal values intrinsic to kendo.
With regards to the relationship between the Nihon-to and the shinai, the latter was created for the purpose of studying
the principles and ideals for using the sword. This was possible, as I have already mentioned, through the combination of
the shinai and bogu used to facilitate full-contact training. After the Nihon-to's role as a battlefield weapon diminished, it
became a symbol of the warrior's authority, and for self-defence. Thus, with the social changes in the modern era, kendo
deviated somewhat from original Nihon-to usage, and forged a new denotation in society. Put another way, the method
in which we use the shinai in modern kendo represents a redirection of the Nihon-tO. If the two implements are
compared, the artistic value of the Nihon-to far exceeds that of the shinai; but the shinai plays a principal role within the
greater system of kendo. It is akin to "the student passing the master" in terms of its meaning in modern society. Although
it is probably not appropriate to compare the two, it is not necessary to suppose that we are using the shinai in place of the
Nihon-to in ken do, but it should be treated with the same respect, and in accordance with the same ideals.
In conclusion, it is the duty of instructors to understand the history and processes through which kendo evolved, and
appreciate its sublime cultural value. It is my hope that this book will aid in the continued advancement of kendo.
Takeyasu Yoshimitsu
All Japan Kendo Federation President
International Kendo Federation President
r __ T'-"" About this Publication
~ .... w... '" --.l -......
The Yoshonen Kendo Shido Yoryo ("Kendo Guide for Instructing Children"), first published on March 15, 1977, was
substantially revised and republished on November 1, 1985, based on input and opinions by numerous specialists. It was
reprinted several times after this, and by April 25, 2001, it had reached its tenth edition. Despite the title, this book has
been utilized for many years to instruct people of all levels and ages, not just children.
Twenty years have passed since the first revised edition was made available. To incorporate the sentiments of instructors,
and gain consistency with other publications produced by the AJKF, the federation (Presi dent Takeyasu Yoshimitsu, and
Managing Director Otani Masatoshi) organized a committee on June 27, 2006, to consider further modifications to the
original text. In total, forty-five meetings were convened in which the ideas of many instructors and experts were heard,
culminating in the publication of the Kendo Shido Yoryo (The Official Guide for Kendo Instruction) on July 1, 2008.
This publication is the English translation of that book.
This fully revised edition will provide kendoists all over the world with comprehensive information to learn and teach
kendo properly. Of course, the intention is not unify all teaching methods. Instead, the content is designed to provide
instructors with clues on how kendo should be taught, and as such, it is my hope that it is employed by teachers far and
wide.
I would like to express my appreciation to the many people who helped bring this book to completion.
REvISION OUTLINE:
1. The name was changed to Kendo Shido Yoryo (1he Official Guide for Kendo Instruction). 2.
Consistency was sought with other AJKF teaching materials and publications.
3. Corrections and additions were made to the original text, and new material was introduced. This includes sections on
the histoty of kendo, "The Mind-set of Ken do Instruction", yuko-datotsu, nito, and so on. 4. The content was adjusted
correspond more closely with the "Concept of Ken do". 5. There are sections ourlining the relationship between the
Nippon [(endo Kata and BokutO-ni-yoru Kendo Kihon-waza Keiko-ho (Training Method for Fundamental Kendo
Techniques with a Bokuto). 6. For the sake of comprehensibility, it was dec d~d that the terminology did not have to adhere
to officially prescribed MEXT terms used in physical education classes.
7. Some of the waza names were modified. For example "shikakete iku waza" and "ojite iku waza" were changed to
"shikake-waza" and "oji-waza" respectively. As lower and mid-level practitioners are assumed to be the recipients of
instruction, waza explanations were made more precise and fathomable, with clear examples included. Also, further
explanations were added for nito.
8. A glossary of terms was added.
9. The original Japanese text was made as logical as possible to facilitate easier translation into other languages. 10. The
book was increased to A4 size, photos and diagrams were replaced, and produced in full colour.
Fukumoto Shiiji
All Japan Kendo Federarion Managing Director
International Kendo Federation Director
-->
Chapter 1
A Short Historv ofKendo and its Evolution 剣道小史 剣道の流れ 1
Introduction はじめに 1. 1he‘Heart' of the Sword 剣のこころ
2. Whatis “Itt 凸勺 「一刀 とは 3. 1he Meaning of“Ippon" ["一本 の意味するもの 4.τhe
Development of “Ippon" ["一本」の展開 ConcIusion まとめ
Chapter 2
What is Kendo?剣道の在り方
 1he Concept ofKendo 剣 道 理 念
J

1he Purpose of Practicing Kendo 剣道修練の心構

づ
/

“1he Mindset of Kendo Instruction" and its E.planation 剣道指導の心構

巧
/

Chapter 3
Kendo Instruction 道指導の り方 9

Section 1 1he Instructor 指導者

9
1. Always strive for sel mprovement
2. Instruct in accordance with your principles
3. Teach with compassion and sincerity
4. Be happy to teach
.Learn together with your students
6. Strive to improve your own technicallevel
Section 2 1he Purpose ofInstruction のね旬、、
10
1. Conveying traditional Japanese kendo into the future
2 Teachingfundamentals and improving technical ability
3. Understanding the meaning of "rei" and teaching proper etiquette
4. Striving for personal development
Nurturingsocially acceptable attitudes
6. Kendo as an ongoing pursuit for a happy and ful llinglifestyle
7. Maintaining and improving health and vitality
8. Improving one's awareness of safety issues
Section 3 Instructional Development 指導の展開 11 1. Instruction that makes students to want to
train， and encourage them to recognize and solve problems for themselves
2. Instruction that brings the best out of each student
3. Instruction that takes into consideration the mental and physical development， age， and
gender of students
4. Instruction that takes into account the amount of t iningand process for mastery
.Devise rational and e/fective ways of teaching
6. Formulate content and method based on an instructional plan
7. Develop evaluation and refereeing skills
8. C ateways of expressing the instructional content in a way that is easy to comprehend
Section 4 Instructing for Technical Improvement and Keiko :1~J)jlfQ) flO* t *i.s-I =M -r ~ ~~;J . . ... 12 1. Always
fl
6. Implement adequate safery measures and emergency procedures
instruer with "fundamental movement" in mind
2. Encourage students to execute techniques properly Chapter 4
3. Prioritize shikake-waza (attacking techniques) Kendo-gi, Hakama, and Training Equipment Illt>t · ~t-;.J:UfflJi, 15
4. Ensure that the main objective of keiko is not shiai
5. Do not over-train students Section 1 Kendo-gi and Hakama ;i1J;Jt.t,,* ........ ......... ................. ........ ......... .. .. 15 1. Kendo-gi ;l11;Jt ~ 2. Hakama
6. Include "Kendo Kata" and "Training in Fundamental Kendo Techniques with a Bokuto" in keiko ~

sessions Section 2 Putting on the Kendo-gi and Hakama ;l11;Jt.t~Q)it!l~ *t 1iI;!;.i1, ................. 16 1. Kendo-gi ;Jt~ 2. Hakama ~ ;l1

Section 5 Matters to Keep in Mind ~~;JJ:.Q)IiI;t.i1, .. ........... ...... ........... ... .................... 13 1. Ensure that the training Section 3 Kendo-gu ;lIJ;Jt J\....... ........... .. 18 I. Kendo-gu ;I'I ;JtJ\.
environment and mood is favourable Section 4 Putting on Kendo-gu ;lIJ;JtJ\.Q).~,* t 1iI;!;.i1, ....... .................... .. ...... .... ...... 19 1. Tare ~ 2. Do l1l'i 3. Tenugui
2. Take care to balance school or work, and kendo *:J;\\' 4. Men ilii 5. Kote ,J' * Section 5 Removing Kendo-gu and Storage ;l11;Jt J\.Q) ~l:;Q *1;*,*tlil:t:.i1, .................... 23
.

3. Balance training with rest 1. Removing Kendo-gu ;l11;JtJ\.Q)?~ l:Q 2. Storage *1;*,*
4. Be sure to warm-up and cool-down Section 6 Folding the Kendo-gi and Hakama 11;Jt. t~Q)tdo.,l,.:Q ....... ......... ............... 24 1. Folding the Kendo-gi
;l

~IJ;JtitQ)tdo.,l,.:Q 2. Folding the Hakama ffQ)tdo.,l,.:Q Section 7 Shinai tt 7J ............ ............ .. .... ............. ..... ................ ...
5. Manage the safery and hygiene of training equipment
 ............ .. 26 1. The Structure and Various Parts of the Shinai tt7JQ)i1i:~t1l--cg~Q);g~ 3. Uchi-kata and Tsuki-kata (Striking and thrusting methods) tr 1;:q . JR: ~:Q I. Men-uchi iliitr1; 2. Kote-
2. Shinai Dimensions tt7JQ)£J~ 3. Shinai Standards tt7JQ)~ffi uchi ,J,*=lT1; 3. Do-uchi mtr1; 4. Tsuki ~~ 4. ReceivingAttacks tTto-tt:Q' 'iRn'-tt:Q
4. Measuring the Diameter and Length of the Sakigawa and Sakishin 5. BlockingAttacks :\tlt:Q
tt7JQ)~:1fi~~ms:IRt7Jitqf1& Ut5l\'I:;Q'*'i i, (f1:~:1fi . ~~ 1. Blocking Shomen Strikes 2. Blocking Sayu-men Strikes 3. Blocking Kote 4. Blocking Do 5.
5. Shinai SaferyTips tt7Jq)'ti:"Ntm Blocking Tsuki
Section 8 Nihon-to and Bokuto 8 *7J . *7J ................................. .. ............................ 28 1. Nihon-to 8 *7J 2. Section 9 Tai-atari #~t, I) ...... .... .... .. .. .......... .. .... ........ .... .. ............... 67 I. Tai-atari 2. Receiving Tai-atari
Bokuto *7J Section 10 Tsuba-zeriai ~-If')-@-\ , ............................ .. ..... .. ... .. ......................................... 68 Section 11 Kirikaeshi -1;7] I)
Section 9 Carrying and Placing Shinai, Kote and Men, and Tenugui J!i, l .. .. .. ...................................... .... ............ 68 I. Kirikaeshi 2. Receiving Kirikaeshi
tt77 .,J,*. iliiQ)#1;:QUi~:Q *:J;\Q)ii'~:Q ......................... .. .. ............... .. 29 1. Carrying #1;:Q 2. Placing :i~:Q 3.
, Section 12 Zanshin ~ ,I,; . ... ............................ .... . ... ....... ... .......... .... . ...... ...................... 73
Placing the Tenugui *:J;\\'Q):i~:Q Chapter 7

Chapter 5 Applied Movements (Techniques) Iitffltl.1fF (MJ...B9:tHJg) 75

Rei (Etiquette) :fL 31
Section 1 What is 'Rei'? :iLQ)~:t:Q ....... .. ................... ........................................ 31 Section 2 Reiho (Reigi-saho)
:iL,* (:iLfl1'1''*) .................................................................. 31 1. Ritsurei .tLlL 2. Zarei .!f:iL 3. Seiza iE.!f 4.
Section 1 Progressing from basic movements to practical movements (individual skills) **lIJfF~,.,!tJll llJft (MA.B9 :!H~) ,,-O)mt
.. . ...... ... ... ... .... ............... 75 Section 2 Engagement (seme-a l) r:r:xn -@- \'J 1:-:>\ '< .. ........ ... .. ........ ..............
... .. ....... 76 Section 3 Initiating attacks (shikake-waz a) L~ It =Ii .... .. .. . .. ........ .. .. .... ....... 76
'

Sitting and Standing .!f I):Q . .tL 1:,:Q 1. Ippon-uchi-waza

Chapter 6 (I-step techniques in response to changes in the opponent's kensen through semel -*tr t, 0) =Ii ..... 78 (1) Seme ---+
men (2) Seme ---+ kote (3) Seme ---+ migi-do (4) Seme ---+ tsuki (omote, ural 2. Renzoku-waza (2 or 3-step
Kihon-Dosa (Basic Movements) £*li.J1t
37 techniques -Continuous attackin) i!ilt=li .. ...... .... .... .. 84
(1) Kate ---+ men (2) Kate ---+ do (3) Men ---+ men (4) Men ---+ tai-atari ---+ hiki-men (5) Men ---+ taiatari-
Section 1 Posture l1J: ~ ...................... .. .... ......... .................................... 37 Section 2 Kamae and Metsuke .:t t EI hiki-kote (6) Men ---+ do (7) Men ---+ tai-atari ---+ hiki-do (8) Tsuki ---+ kote (9) Tsuki ---+ men (10) Kote ---+
ft I t ..................... 38 1. Kamae .:t men ---+ do
I. Chiidan-no-kamae <filtQ).:t 2. Jodan-no-kamae J:.iltQ).:t (11) Kote ---+ men ---+ tai-atari ---+ hiki-do (12) Other Examples of Renzoku-waza 3. Harai-waza ~Z-\ ' =Ii
3. Gedan-no-Kamae l'iltQ):!It:t 4. Hasso-no-Kamae ,\.;/'Jj Q):!It:t .......... ...... .. ...... ...... ................... .. .. .. ................................ ..... 99 (1) Omote (left) harai-men (2) Ura
5. Wakigamae Ilil:llH 6. Nita-no-Kamae :::'7JQ).:t (right) harai-men (3) Haraiotoshi-men (4) Harai-kote (5) Harai-do (6) Harai-tsuki (Omote) (7) Harai-tsuki
. ...... .... ........ .... .. 105
2. Metsuke EI ftlt (Ura) 4. Maki-waza =I!~=Ii ................ .. ................. .. (I) Makiage-kote (2) Makiotoshi-men
I. Enzan-no-Metsuke (Looking at a faraway mountain; or "kiiyii-no-TfU!tsuke", the gaze of changing leaves) ....... .. .. .. ........ . ................ .. ..... 108
5. Debana-waza :jW''".·=Ii ........ .. .................. . (1) Debana-men (2) Debana-
ltJiQ)Elftlt (~J:~Q)Elftlt)
kote
2. Futatsu-no-Metsuke (The two gazes) :::'-:>Q) Elftlt
.. .... .............. .. ............ 1
\0
3. Waki-Metsuke (Side gaze) (Obi-no-Kane) iJaElf11t (~Q) ~) 6. Hiki-waza ~=Ii ........................ .. ....................... .. (I) Hiki-men (2) Hiki-kote (3)
4. Kanken-no-Metsuke (Seeing the surface and essence of things) U)tQ)EI{tlt Section 3 Kamae-kata and Hiki-do
Osame-kata .:t:Q t*R"":Q ............ ........ .......... ....... ........... 43 1. Kamae-kata (Drawing the shinai) i1i::t:Q 7. Katsugi-waza ~,-:>~ =Ii ...... .. ............. ........................ .. .. ............ .. .... .. .. ....... ... 115
2. Osame-kata (Putting the shinai away) *R"":Q (1) Katsugi-men (2) Katsugi-kote
3. Sonkyo (Crouching)"!Ii 4, Gorei (Commands) -t'* 8. Katate-waza J1~=Ii ..... .... .................... ......... .......... .... .... .. ...... ..... ......... ........ .... 117
Chapter 8
5. The Reigi (Etiquette) Performed in Keiko and Shiai
I. The Start 2. The End Training Methodology (Keiko-ho) ~ t!1 5! 159
Section 4 Ashi-sabaki (Footwork) ~:< If~ .. ............ .. .............. .... ........... .... ... ............. .. 47 I. Ayumi-ashi ~.,l,.~ 2. Okuri-
ashi ili I) l~ Section 1 The Meaning of Keiko >Ii -t' 0) ~. .. ........ .. .. _.. .. .. .. .. .. .. .. .. .. .. .. .... .. .. .. .. .. .. ...... .. .. 159 Section 2 Kihon-Keiko
~**i -t' .. .. .. .. ...... .. ...... ..... ... .. .... ........................................... 159 1. KiIikaeshi Vi I) ~ L 2. Yakusoku-geiko *9;IU~-t'
3. Hiraki-ashi /IIl~~ 4. Tsugi-ashi m~~
Section 5 Suburi (Striking practice) :#::jJR I) ............................. . .. ........................... . ...... 48 I.jOge-buri J:.l':jJRI) 3. Uchikomi-geiko trt,;z,,l,.>Ii-t' 4. Kakari-geiko JI+')tl!-t'
2. Naname-buri tf "":jJR I) Section 3 Gokaku-geiko .Ei::t%*i-t' .... .. ............. ...... .... ...... .... .. ...... 162 Section4 Hikitate-keiko ;I .ft <fi -t'
3. Kukan-datotsu (Training without an opponent) ~lIIItrJR: .................... ....... ................ .. .......... 162 Section 5 Shiai-geiko -@- fi-t' .... .... .... .... ..... ............... .............. .. .. . ... ....
.. ..

4. Choyaku-suburi (Haya-suburi) 1MII*,:jJR I) (.!f-:#::jJR I)) 162 Section 6 Other Types and Methods ofKeiko H·'"~· tl! -t'O)f ::Q'I"%~.................. 163
:li .. .

Section 6 Kakegoe (Vocalization) #flt~ (§/>;JI') .................... ... ... .. ......... .... ..... .. .. .. .... .. 53 Section 7 Maai 1. Hitori-geiko Uti) fi-t' 2. Mitori-geiko JtJfX.I) ~-t' 3. Tachikiri-geiko .ft t,VJi) tl!;5' 4. De-geiko, Musha-
(Interval) l1li -@- . .......... ........ ...... ........ ....... .... ..... ............. ............... ... 53 I. Issoku-itto-no-maai -~-7JQ)IIII-@- 2. Toi-maai shugyo t!:tl!-t' . ;J!t.:'filHf 5. Gasshuku -@- ~
(To-ma) :it\ '/IIl-@-\' (ltllll) 3. Chikai-maai (Chika-ma) l{[\ '1111-@- (l{[IIII) Section 7 Traditional Methods of Keiko fitMtB9'"~ -t' * ............ ............ .. ..... ...... .. ... 164 1. Kan-geiko *~-t' 2. Shochii-
Section 8 Making and Receiving Strikes tr~Q)f±:Q :/Tt,-tt:Qt>J: tf:\t lt:Q .............. .... .. 54 1. Valid Points (Yiiko-
'
geiko ~.p~-t'
datotsu) ifJi»=IT'iR
2. Datotsu-bui (Target Areas) tr~~tt Chapter 9
Shiai ~ ~ 165
 Section 1 Shiai-hoho ~-@-::Q* ................ ...... .................................... 165 1. Official Matches ~;t;.0)~-@- 2. Kohaku-shiai ff,I8~-@- Section 2 Attitude and Training for Shiai ~-@-0)'-:":1~ t fi-t' * .. .... ...... ... .. .... .. .. .. ....... 166 1. Shiai Attitude ~-@-O)'-:":i~
3. Kihon-shiai **~-@- 4. No-jiai Jf~-@- 2. Training Before a Shiai (Points to take heed of in Keiko) ~-@-!trO)>Ii-t'* Chapter 10

(1) Katate-migi-men (2) Katate-tsuki (6) Kote-nuki-kote (7) Men-nuki-kote (8) Kote-nuki-katate-migi-men 2. Suriage-waza - Appendix
9. jodan-waza J:.tJt=li ...... .. .... .... ........ .... .......... .. ... .. .. .............. .. .. . ...... .. ... .... ...... t')J:.lf=li ..................... .. .. ..................... · .. ······ ....................... ........ 131 (1) Men-

.. 119 10. Waza from Nito-no-kama =-7.JO):tt;;t~'''O)=Ii .... ............... .......... 121
suriage-men (Omote side) (2) Men-suriage-men (Ura side)
Warming-up, Cooling-down and Strengthening Exercises ~1l . ~IHllUiJ t
167
(1) Men from jodan (2) Kote from jodan .:fill 7i iItI.1

Section 4 Oji-waza (Counter-attacks) !t L: =Ii ...... ... .. ........ ......... ... .. 121 1. Nuki-waza1. Warming-up and Cooling-down . 2. Strengthening Exercises
:!:!<. ~ =Ii......... ................ ........ .. .. ........ ............ .. . 123 (1) Men-nuki-men (moving

back) (2) Men-nuki-men (moving ro the side) (3) Men-nuki-migi-do (4) Men-nuki-hidari- 169 185
Chapter 11
do (5) Kote-nuki-men
Glossary 3:. fJ.·~IJ~ffl~

(3) Men-suriage-kote (4) Men-suriage-migi-do (5) M en-suriage-hidari-do (6) Kate-sllriage-men (7) .. .... ... ...... .. ....... ...... .. ... ...... ....... 153
4. Uchiotoshi-waza trt,il:t L~ .............. .. (I) Men-uchiotoshi-men (2) Do-
Kote-suriage-kote (8) Tsuki-suriage-men (Omote) (9) Tsllki-suriage-men (Ura) uchiotoshi-men
3. Kaeshi-waza ~l=li ............................... .. ..... ...... .. ......... ...................... . .. ... 141 (I) Men-kaeshi-migi-men (2) Men- (3) Kote-uchiotoshi-men (4) Tsuki-uchiotoshi-men
kaeshi-hidari-men (3) Men-kaeshi-migi-do (4) Men-kaeshi-hidari-do (5) Men-kaeshi-kote (6) Kate-kaeshi-men (7) 1. Yiiko Datotsu (Valid Point) - Kikentai-no-itchi 2. Tying the sakigawa and tsurn 3. Tying the tsuru to the
Kote-kaeshi-kote (8) Do-kaeshi-men tsukagawa 4. Tying the nakayui 5. Stretching

INTRODUCTION はじめに

The origins of kendo* can be traced to the creation of the ]apanese sword (Nihon-to). ]apanese
swordsmanship evolved over many centuries. Refined as a sysrem of combat during the Sengoku
period (1467-1568) ， swordsmanship became increasingly artistic during the peaceful Edo period
(16001868) and then took on a more competitive sporting form in the early nineteenth century.
Kendo's values changed over the course its evolution ， and today it is highly esteemed as the
cultural heritage ofJ apan. eighteenthcentury was a particularly important period in kendo's history
with the employment of protective equipment and bamboo swords (shinai)τhe introduction and
gradual improvement of these pieces of equipment allowed full-contact training (shinai-uchikomi-keiko)
and
participation in competitive matches， as well as facilitating its transition into a means for personal
education - a traditional aspect that is still emphasized today.

Kendo is an activiry in which two protagonisrs attempt to score validpoints (ψ>pon or yiiko-datotsu) on
each other. To comprehend the meaning and essence of “ippon" in kendo， it is important to exam
ine the historical contexts that lie in the backdrop of its development.

*τhe term“企 endo"will be treated hereafter as an anglicized word without the use of italics or macrons.
An exception is made for the glossary section which 1S taken from the japan -EnglishDictionary 0/
Kendo
H ko-da 印 刷 isthe 0 cialterm usedor“validstrikes and thrusts" io shiai and keiko. Jppon， means “ point"

lese terms are used interchangeably throughout the text， and "valid strike" also indudes thrusts，
depending on context.)

CHAPTER 1: A Short History ofKendo and its Evolution
swordsmiths appea dthroughout ]apan. 官 官 swordis an exceptional weapon fashioned through strict
adherence to a puritanical process steeped in religious ritual.百 1ebushi of the Muromachi period came to
realize thar rhe sword was more than jusr an implement of dearh and desrrucrion ， and rhar rhey could
temper rheir bodies and minds ， and also learn how ro transcend concerns for life and dearh through
practicing irs rechniques
2. WHATIS “ITTO"? 一刀」 「一本」 の意味する
もの
1eSengoku period saw the rise of the three influential martial art schools: the Nen-ryii¥ Shinto-ryii2， and
rhe Kage-ry 3] apan entered an extended period of stability after this tumultuous era of incessant vilwar
ended， and with the onset 0[， a plethora of new schools materialized in which techniques of
swordsmanship were systematized as expr sionsof the bushi“spm'.Two of the prominent ryuha in this period
were the Shinkage-ryii 4 and the Itto-ryii.'
1eprogenitor of the Shinkage-ryii was Kamiizumi Nobutsuna6 (1508177).He regarded the batrle eld aplace
to perfcthis art， and sought to erase the “iIlnesses of the mind" (kokoro-no-yamai) i.e.， “兵 yo ゐ 守 i-
waku"(surprise， fear， doubt， hesi ion)and to cultivate his ability to sense the enemy's intentions and
motivational power (わ).He viewed the cultivation of such psychological insights as nece 田 町 yamibut forall
warriors. Later in the peaceful era， swordsmanship became considered an artistic “Way" of ascetic
training which bushi engaged in to strengthen body and mind.
Around the beginning of the Edo period， in the mid-seventeenth century， various uhaestablished
pedagogical curricula centered on the practice of μta (prescribed forms). As the old poem goes，“1he
l.THE “HEART" OF THE SWORD 剣の こころ
To grasp the significance of“ippon" scored with the shinai， one must rstunderstand the meaning and
historical processes surrounding the emergence of the Nihon-to.
Wirh the rise of professional warriors towards the end of the Heian period (latter half of the tenth cen
rury)， ways were sought to improve the functionality of swords in batt!e. The resulting sword design
was single-edged with shinogi (ridges on the side of the blade)， and soto-zori (curvature). Swords
forged with this distinctive blade shape became known as Nihon-to (literally“Japanese sword")
Tamahagane (iron-sand) was heated to remove all impuri 目白， and then tempered by heating and fold
ing repeatedly.古田 weaponwas not only practical， but was considered to be sacred， and symbolic
of authority. As stated in the A]KF's publication Kendo no Rekishi (“百四 Historyof Kendo")，“As well as
being considered a religious implement symbolizing the deities that link heaven and earth， the sword
was also used for exorcising evil." In other words， the Nihon-to retained the dual purpose of
subduing enemies， and cleansing the self of iniquity.
Production methods improved drastical1y during the Kamakura period (118 うー 1333) and many
剣道小史 剣道の流れ
about gaining technical proficiency， but was also a mani stationof his spiritual nature and humanity. 官官
connectionbetween mind and technique were pousedin many treatises on the martial arts. Among them，
Takuan Sh'sFudo-chi Shinmyo-roku'， Yagyii Munenori's Heiho f{， iensholO， Miya moro Musashi's Gorin-
no-Sholl， and still exert significant philosophical influence in modern kendo
とは
3. THE MEANING OF “!PPON"
mind must not be c1ouded; the mind's mind must not be permitted to stray."百 1e ghtingspirit of ]apan's
professional warriors， which defined their culture since the Kamakura period， was continually honed.
lewarrior quiredindomitable mental strength and finely tuned sensibilities to seize any op portunity to act. He
also needed to develop an attitude and manner that was elegant， but also robust. Tralning the mind in this
way was a key concern for martial art schools.
Some ryuha of swordsmanship held the teaching of “itto"7 (one-sword， or one-cut) in the highest
regard.τhe founder of the Shinkage-ryu defined esecret of the r:tmo gachi"(gasshi) technique as ittoτhe
notorious“kiri-otoshi" technique of rhe Itt ryuwas also based on the ideal of itto. 1he outwardly simple
concept of winning with one cut was lauded in many sword traditions as the ulti mate technique that defeats
all others. Warriors trained until they were able to eectivelyemploy itto to overcome 叩.ytechnique their
opponent cared to execute τhrough participating acomprehensive regime of tatraining， the swordsman
honed his ability to see into the mind of his opponent 百四 purpose of kata training was to engage the partner
with absolute resolve， to temper one's 1 force(わ)， and strengthen the mind.
 1erole of the teach 百 四 d estudenr was distinct， and the concptof rel (respect and courte was requisite
as practitioners recognized the gravity of confronting lif anddeath in the course of tralning Faced with the
reality of his mortaliry， the student of swordsmanship learned that itto was not onl.y
To complement tatraining， swordsmen such as Naganuma Shirozaemon12 of the ]ikishin Kage ryii13， and
Nakanishi Chii Ts uake14of rhe 1 凶 匂 flcreated pmectmgear in the middle ofihe Edo period 1isrevolutionary
training equipment consisted of the men (mask)， kote (gaunrlets)， do (body protector)，白河 (lower-
bodyprotector)， and shinai (bamboo practice sword). This catalysed a new mode of training referred to as
“shinai uchikomi keiko-ho"， which involved full-contact striking of target areas without fear of iurymaking it
possible to compete in bouts. Many luhasubsequenrly adopted the method as a way of enhancing rheir
rralning content. 1he notion of" itto" made the tran sition from kata into fencing， and morphed into the new
idea of the“ippon"or“one-poinr". l1Srose above the philosophical and technical boundaries of di"erent haand
inter-school marches C 印刷ー
jiai) became possible as a result. Such interaction was not possible when tatraining was rhe primary means
of study. 1ecompetitive adaptation of swordsmanship matured into what became known as gekken， and
was the precursor to the development of modern kendo
It is worthy of note that bushi were not the only ardent supporters ， but also 10wer-c1ass provincial
warriors and wealthy farmers also took up fencing ， and thus broad social participation made the
widespread dissemination of modern kendo possible later on
1 8
2 13 宜心影流
3 14 西忠蔵子武 15 北辰一刀流 16 玄武館
4 2
5 念流
6 陰流
神道流 F 書流 一刀流
7
CHAPTER 1: A Short History ofKendo and Evolution 剣道小史 剣道の流れ
In 186 the Bakufu established a military academy (Kbusho)in which warriors only engaged in match-
oriented kenjutsu. The head instructor ， Odani Seiichir 凸 ， regulated the length of shinai to 3-shaku 8
un(approx. 11cm).As competitive kenjutsu became in easinglyfashionable in this period，
principles of two-manfenciI
in matches and eZko 1eteaching of (ji) and the mind ofJlrZ-ztc.hi (σ“11u1 江凹 m 凶五 caιtionof technique
and theorηy")was emphaSIzedto 口印 cultlvaVIε a strong bodyandmind
leexpansion of kendo in the modern era started in the Meiji period (1868-1912). Kenjutsu entered a tlme
of temporary decline Interest was stmulated with bkakibara kcI1K1CM's gdhen-hdud(publlc martial arts
shows)and was fully revived by the police (ke1sh1ct16)following the Satsuma Rebel110 (1877)百四 Dai-
NipponButokukai23 (Greater ]apan 50ciety for Martial Virtue) was established in
189 topromote and preservehpanhmamal arts-In 191Ithe MIrustry ofEducat10n agreed Io allow
gdhm(bpquI514)to be taught as a regular school sub)ecE aher many years ot pCHuonmg by educators
and bujutsu experts le“Dai-Nipp TeikokuKendrJ Kata" (now referred to as“'Nippon KendrJ Kata") was
created m 19122s common forms for muonal dusemmatIon-In 196TaKano Sasabur wrote
his famous book titled KendrJ， in which he took Chiba 5husaku's“sixty-eight" techniques and “ippon"
principles， and modifIed theminto fIfty waza， which remain as the basis for kendo instruction today
4. THE DEVELOPMENT OF “IpPON" r 一本」の展開
Foreign ships visiting ] apan's shores towards the end of the Edo period evoked a sense of urgency in the
feudal domains (han) ， and lords became aware of the need to forti theirdefences and maintain military
preparedness. Martial arts were studied with more enthusiasm than ever ， and domain schools (hanko)
employed kenjutsu instructors based on their ability rherthan c1ass background. Moreover，
after the Bakufu completely removed restrictions on inter-school matches， students from various uha
challenged each other in contests， bringing abour a boom in swordsmanship， and the prolifrationof
schools rhat specialized in this modern s.tyle of competitive fncmg
Large urban dojo or fencing lonsmaterialized to ful1the demand for instruction. Of particular no tonety were
“the great d'oof Edo": okushinItto-rytt's'5 GembukanI6， Shindo Munen-ryii's17 Rem peikan"， and
KyshinMeichi-ryii'sI9 Shigakukan.20 1hese famous halls of swordsmanship were led respectively by Chiba
Shiisaku， who was famous for his technical skill， Sait Yaku めら rhis strength，
and Momonoi Shunz forhis e1egant style of fencing. Chiba Shiisaku is often credited with being one of the
founders of modern kendo. He defined striking targets (.ゐ印刷-bui)and judging criteria， and also
systemized“sixty-eight techniques" to be per rmedwi 出“'shin-ki o -ztcbzdl(unison of mmd， ki dtechnique) to
constitute an“押 on".
9 不動智神妙録 uanslatedas“百五 cUnfcncred Mind
IO 兵法家伝書
II 五輪害 translatcdas “1he Book of Five Rings"
12 畏沼田郎左衛門
よ泉信網 一刀 3
17 道無念流 18 練兵館
19 鏡新明智流 20 士学館
21 心気力一致
Kendo enjoyed popularity in the Taish andearly 5hwaperiods (1920s and 30s) among university and
co11ege srudents who enjoyed the competitive aspects. As the sporting side began to take prece
dence， Nishikubo Hiromichi of the Butokukai instigated a name change in 1919 by replacing the suf fIx
"-jutsu" (術)with “ーが， (道).His reasoning was “the original objective of budrJ was to forge the body，
and expand the mind to its entirety." In other words， this can be seen as a measure to safeguard
against the overt“sportifIcation" of the art. With the change，“kenjutsu" (or "ge en")became known
commo as"ken-do" from this time. Tbe Ministry of Education fo11owed tin 1926， and 0 cia11y referred
ro fencing in physical education classes in schools as “kendrJ"
"Ippon" in matches were decided subjectively by the shinpan (referee). In 1927， the Butokukai estab
lished three 0 節 目 alcriteria for judging valid points in the “Kendo Match Refereeing Regulations 百四
clauserelated to ippon stated，“To be counted as valid， stril sor thrusts must be made in fu11 spirit
with accurate h， uji(blade direction) and correct postu 民"百 uscriteria subsequently became the
standard for kendo competitions
At the three “Tenran" tournaments conducted in front of the emperor during the Showa period (1926-
1989)， three shimpan were used to adjudicate each match. In 1931， kendo became a compul sory
subject for boys in ddleschools， and the “Principle Items for Kendo Instruction" (Kendd oJu
~okuj24 for teaching in schools was published in which content for each year group was outlined.
1enumber of kendo practitioners escalated dramatically during this period. As the war intensied the War
0 cedictatdthat kendo become more combative and violent to prepare youth for war. But as the tide of
the war worsened for ]apan om 1944， there was very little leeway for people to train at a11
 22 事理一致
23 大日本武徳会
24 剣道教授要目
4
After ]apan was defeated in 1945， GHQ prohibited budd in schools， and participation by the
police later on in 1949. Kendo's revival was initiated with the establishment of the A11 ]apan
2 the blade is guratively“directedat th" self" also， the study of kendo can be function as a vehicle for
5hinai-kygl Federation. Shinai-kydgiwas a hybrid sporting version of kendo which was introduced in
schools as a“modern sport て刀 leA11 ]apan Kendo Federation was inaugurated in 1952， and both
federations were amalgamated in 194. leA]KF was recognized by the ]apan 5ports Association in 195 う，
and made its debut appear ceas an official event at the lO'h National 5ports Meet. Tbis signifIed the fu11
reinstatement of kendo in the postwar peod.With amendments made to the “J nnior High 5chool
Curriculum Guidelines" in 198 budd was included under the designation“kakugi" (combat sports). Tbis
term was officia11y changed to “budo" in further mod cationsmade to the guidelines in 1989.
耳目 numberof enthusiasts increased rapidly after kendo was reinstated， with successful propagation
among children， women， and also internationa11y. The International Kendo Federation (FIK) was
established in 1970， and the 1" World Kendo Championships were held in Tokyo and Osaka im
mediately after， thus indicating worldwide recognition of kendo as a representative form of ]apanese
traditional culture
Kendo continued its development as a sport， and competition rules have constantly undergone chang 白
可 Vithescalating focus on competition and winning matches at a11 costs， the A]KF decided to create
the “Concept of Kendo"26 in 197 inan effort to steer kendo back in a more desirable direction. Tbe 。伍
cialReg tions0/ Kendo Sh dSh 押 印 werealso modifIed， and the criteria for ippon was defIned as “an
accurate strike or thrust made onto the da 却 訂 u-bui(target area) of the opponent's equip ment with the
shinai at its datotsu-bu (proper part of the shinai) with pre sehasuji (blade direction) in high spirits and
correct posture， being fo11owed by zanshin." (Article 12).
C ONCLUSION まとめ
1eway in which the concept of “ittrJ" was integrated into the ideal "ippon" is a vital theme in the
modernization of kendo， and is related to the central idea of scoring the rstclean point (shodachi
ippon). Although the shinai is used ro attack the opponent， as long as there is acknowledgement that
purifying and strengthening the body and mind， and helps the individual mature and interact we11 with
other people and the surrounding environment.
Kendo is enjoyed as an exciting sport and as a way of maintaining one's health， and also provides“di
rection for people throughout their lives". As such kendo is an a11-encompassing means of education，
and expectations rit as a representative form of traditional ] apanese culture are gteat
τhe "clash of minds" in 中 田 tto score a valid point 抑止 rJ-ゐ印刷 witha unison of ki， sword and body (ki-
ken-tai-ihi)is what makes kendo so fascinating. Tbroughout history， with the transforma tion from live
blades (Nihon-trJ) to wooden swords (bokutrJ)， and then bamboo swords (shinai)， kendo has remained
a “Way" in which people are able "discipline the human character through the applica tion of the principles
of the sword." latis why kendo must be taught correctly with respect afforded to the shinai， protocols of
etiquette maintained， and with an understanding of kendo as a lifelong course of study in accordance with
the principles outlined in the“Mindset of Kendo Instruction".
2 う全日本接競技連盟
26 剣道の理念
5
I
THE CONCEPT OF KENDO
~IJ it <J) J! ~
The concept of kendo is to discipline the human character
through the application of the principles of the katana (sword).
THE PURPOSE OF PRACTICING KENDO
~IJ it iIH~<J) ,~~;t
 The purpose 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 ken do,
To hold in esteem human courtesy and honour,
To associate with others with sincerity,
And to forever pursue the cultivation of oneself.
This will make one be able:
To love his/her country and society,
To contribute to the development of culture,
And to promote peace and prosperity among all peoples.
(Established on March 20, 1975)

"THE MINDSET OF KENDO INSTRUCTION" AND ITS EXPLANATION ~IJ

it:t~ ~ <J),~ ~;t

The Significance of the Shinai

For the correct transmission and development of kendo, efforts should be made to teach
the correct way of handling the shinai in accordance with the principles of the sword.

7
CHAPTER 2: W hat is Kendo? 剣道の在り方 chiai (the desire to achieve mutual understanding and betterment of humanity through kendo).

Kendo is way where the individual culti esone's mind (the self) by aim ing for shin-kiJ'oku-itchi Lifelong Kendo
(unification of mind， spirit and technique) utilizing the shinai. The "shinai-sword" should be While providing instruction ， students should be encouraged to apply the full measure of care
not only directed at one's opponent but also at the self. Thus， the primary imof instruction is to to issues of safety and health， and to devote themselves to the development of their character
encourage the unification of mind， body and shinai through training in this discipline. throughout their lives.

Kendo is a“way of life" that successive generations can learn together. lepnme objective of
Reiho Etiquette instructing kendo is to encourage the practitioner to discover and define their w yin life through

When instructing， emphasis should be placed on etiquette to encourage respect for training in the techniques of kendo. 1hus， the practitioner will be able to develop a rich outlook

partners， and nurture people with a dignified and humane character. on life and be able to put the culture of kendo into use， thereby benefitting from its vluein their
daily lives through increased social vigour.

Even in competitive matches ， importance is placed on upholding etiquette in kendo. The

primary emphasis should thus be placed on instruction in the spirit and forms of reiho (etiquette)
so th 紅 白 epractitioner can develop a modest attitude to life ， and realize the ideal of koken-
March 14， 2007
 All Japan Kendo Federation
8 instructor to conscien tiously p cticethe fundamentals ofkendo， and constantly seek to improve
CHAPTER 3:
Whether or not students receive appropri einstruction in kendo has a profound effect on
elevel in which he or she is able to improve technically ， and also is how their character
develops. lefollowing section outlines the main points for teaching kendo with these issu
回 目 mind
E
1he Instructor
For the most part， students learn kendo through physical interaction with their instructor. This
means that the instructor's skills and personality play a crucial role in the student's continued indi
vidual growth. The instructor must always be aware of the immense sway he or she has on
students in this respect
1. Always strive for selιimprovement
Students are constantly paying attention to their teacher's words and deportment， and are
influenced by what they observeInstructorsare looked up to and trusted by their students for
theit moral outlook and personality， and are obligated to live up to the responsibilities of being
a role model to them. For this reason， it is important that instructors do not neglect their duty to
continue seeking self-improvement.
2. Instruct in accordance with your principles
Instructors must understand the educational role kendo plays in character development， and
teach in a principled manner
3. Teach with ωmpassion and sincerity
The instructor should not judge students solely on the basis of technical ability， but always
show compassion to each individual， treating them fairly and with sincerity
4. Be happy to teach
耳目 instructorshould feel joy in helping students acquire new knowledge as they develop their tech
nical skills. Such satisfaction is not related to personal gain， but gleaned through the act of
making a genuine contribution to the student's edicatlon
5. Learn together with your students
The essence of traditional instruction in kendo is based on the techniques and spirit passed om
teacher to student through practicing together. Students improve through direct ， sincere
interaction with their teacher ， and this relationship is a decisive factor in-the technical and
personal advancement of the student
6. Strive to improve your own technicallevel
In J apan， it is oftel1 said that “education startS with imitation"， and “students come to
resemble the teacher". Students look at their teachers as a source ofinspiration. It behoves the
one's own technique.
9
Kendo Instruction 剣道指導の在り方
E 盟理 E1h e Purpose of Instruction 指導のねら L
耳目 premisefor kendo instruction is outlined in the “Concept of Kendo" and the "Purpose of Prac ticing
Kendo"， and should be carried out in accordance with the“Mindset of Kendo Instruction Teaching
objectives dif rfrom person to person， and depend on many variables such as individual outlook and skill
level， instructional experience and ability， and also the difringmotivations of the students. However，
the overall purpose of kendo instruction， especially when teaching young children and youth， is for
students to mature into “wholesome， polite and sttong" individuals
1. Conveying traditional ]apanese kendo into the future
Instructors should be familiar with the history of kendo， its characteristics， and the content of the
“Concept"，“Purpose"， and “Mindset of Kendo Instruction Basedon a thorough understanding of these
mattersinstructorsare responsible for ensuring the transmission kendo to furure generations
2. Teaching fundamentals and improving technical ability
Instructors are tasked with imparting fundamental techniques to serve as the foundation for develop ing
rational technical skills.
3. Understanding the meaning of“rei" and teaching proper etiquette
Instructors must teach their students the feelings of respect and courtesy that underlie the concept of
"rei"， and the correct forms of etiquette (reih6). Students should personify the true spirit of rei， not only
in the d ιbutalso in their daily deportment
4. Striving for personal development
Through training in kendo， students should cultivate virtues such as willpower， discipline， concentra
tion， fortitude， powers of judgement and decisivenessτhey should be resilient enough not to yield in
times of hardship， and be accountable for their actions， which must always be conducted with
sincerity.τhey should realize the weight of being a dependable human being
5. Nurturing socially acceptable attitudes
Etiquette， loyalty， humility， courage， sincerity， responsibility， cooperation， respect， and
 consideration are all qualities that can be cultivated in kendo in order to build bonds of trust， and to be of
as sistance to other people in the communF
6. Kendo as an ongoing pursuit for a happy and fullilIing Iifestyle
Age and gender are of little consequence in kendo as practitioners can participate for many years
Students should be made aware that kendo is something they can study throughour their lives， and it
can enhance their way oflifm manyways
7. Maintaining and improving health and vitality
Taking into consideration factors such as age， gender， physical condition and lifistylekendo training
should enable the practitioner to maintain and improve his or her health and wellbeing
8. Improving one's awareness of safety issues
Instructors should take measures to prevent irurymake sure that established rules and protocols are
observed， and that the sa tyof equipment and the training environment is maintained
10
Eection 3 Instructional Development 展開
An important point when instructing kendo is to devise suitable training methods， and ways of gaug ing
students' progress. This ongoing process is directly linked to the improvement of students.
1. Instruction that makes students to want to train， and encourage them to recognize and solve
problems for themselves
Although it isimportant rthe traditions of kendo to be passed on properly ， it is also essential that
students are taught in a way that makes them want to continue ， and that they are encouraged to
confront various problems and solve them independently.
2. Instruction that brings the best out of each student
Avoid making the teaching content uniform for all students. Try to devise ways to bring out the best in
each student， helping them develop their individual traits
3. Instruction that takes into consideration the mental and physical development ， age， and gender of
students
In order to offer instruction that is suitable and effective， instructors have an obligation to know the level
of mental and physical development their students have reached， and be aware of the various needs
dictated by gender and age.
4. Instruction that takes into account the amount of training and proc sfor mastery As the maxim
“hyakurenjitoku"(practicing one-hundred times leads to sel acquisition)suggests， kendo training involves
considerable repetition to facilitate the mastery of techniques. This process embodies the following stages:
Intellectual comprehension Practicalcomprehension (learning while actually practicing the technique)
Abilityto execute the technique Proficiency.Instructors must be attentive to progressive development.
5. Devise rational and eectiveways of teaching
1einstructor should continue developing teaching methods using auxiliary equipment and exten sion
training routines to make practices rational and beneficial to students.
6. Formulate content and method based on an instructional plan
Instructors should formulate a tangible teaching plan that leads the student through progressirely
advanced exercises and skills
7. Develop evaluation and refereeing skills
Introducing ways to assess the students' level of understanding of what they have been taught is im
portant for effective instruction， and progression to the next phase in their study. Refining evaluative
measures to assess students， as well as re reeing(shinpan) ability is essential.
8. Create ways of expressing the instructional content in a way that is easy to comprehend Instructors
should strive to create simple terms and explanations to make the teaching content easily understood by
all students
11
CHAPTER 3: Kendo Instruction 剣道指導の在り
Instructing for Technical Improvement and Keiko
技術の修練 稽古に対す 指導
Kendo training revolves around developing technical skill ， and how to applyτhe techniques one
has learned. As the nerpoints of each waza will be explained in later chapters ， this section wil
outline the basic direction for teaching the corpus of kendo waza.
1. Always instruct with “funda entalmovement" in mind
Fundamental movements (kihon-dosa) refer to rational and natural motor skills. It is di cultto draw the
line berween kihon chniquesand applied or more advanced techniques. Kihon techniques are an
important parr of anyone's training， irr pectiveof level. Kihon-dosa， or fundamental movements，
must always be aordedthe highest priority when instructing.
2. Encourage students to execute techniques properly
M esure that students are aware of the “factors" and “conditions" that must be met for a valid point
(yuko-da 向お机 anden 組 問 thatthey execute all hn esadequately.
3. Prioritize shikake-waza (attacking techniques)
lemaxim “always take the initiative (sen)" has long been a key concept in kendo training. In other
words， it is imperative that the practitioner learns to attack unreservedly of his or her own volition
By instilling this idea in students， they will be able to develop strong willpower and spontaneity，
 and excel in the various techniques.
4. Ensure that the main objective of keiko is not shiai
lf the student is taught that winning is more imporcant than anything else， they will be unable to
learn proper technique ， and their character development may be hampered ， leading to che
possibility of an unbalanced out!ook. Instructors must emphasize the acquisition of fundamental
and applied techniques， and improving these skills through training
It is important to train diligently， but remember that the student will not improve if he or she is too
fatigued. Ensure a balance between training time and coveryis maintained.
4. Be sure to warm-up and cool-down
Warming-up improves motor-function ， rouses the spirit ， and decreases the Iikelihood of injury
Cooling-down exercises relieve physical and psychological tension， and speed up recovery time
Warming-up and cooling-down should be included as an integral part of training.

5. Do not over-train students
Hard training is nec 町 田 ryto develop abilityHoweverthis should noc be confused with excessive
physical mistreatment， overtly aggressive tai-atari (body clash)， or violent grappling. Furthermore，
the act of stopping an attack by thrusting at the throat area (mukae-zuki) usesfear in the student，
and may impede progress. Strict instruction should be administered wi theutmost care and
consideration.
5. Manage the safety and hygiene of training equipment
As kendo involves rigorous physical exercise in which two protagonists wear protective equipment
and proceed to exchange blows with bamboo swords， safety issues need to be given due attention.
All training gear and shinai must comply with es blishedsafety criteria to avoid potential accidents.
Furthermore， kendo-gu (armour)， kendo-gi (training-top) and hakama should be kept clean and tidy，
and conside tiongiven to safety in the oat all times

6.lnc1ude “Kendo Kata" d“Trainingin Fundamental Kendo Techniques with a Bokuto" in keiko 6. Implement adequate safety measures and emergency procedures
sessions lnstructors have a responsibility to ensure that adequate measures are taken to preclude dangerous
It is important to teach the "principles of the sword"，“principles of attack and defence"， and the conditions such as heatstroke etc. Instructors should know how to perform CPR and basic first-aid.
“conventions of etiquette". The instrucrot should help the student's understanding of basic elements
of kendo such as etiquet 民， how to handle the bokuto， kamae (stances)， meuke(gaze)， maai
(interval)， datotsu (striking and thrusting)， ashi-sabaki (footwork)， hassei (vocalization)， and
zanshin (continued physical and mental alertness). This can be facilitated by teaching the“Nippon
Kendo Kata" and “Training in Fundamental Kendo Techniques with a Bokut 凸".lnstructional booklets
are available for purchase from the All ]apan Kendo Federation.

12

E盟国 Matters to Keep in Mind 指導上の留

13

百四 pom out!inedin this section should be remembered in order to elevate the level of instruction，
and achieve all of the set objectives.

1. Ensure that the training environment and mood is favourable

Create an environment and mood in which students enjoy training， and develop a desire to
continue practicing kendo

2. Take care to balance school or work， and kendo

Consider the length of training time so that students can fulfil their school or work
obligations. Avoid making training times unnecessarily long.

3. Balance training with rest

 τhe way in which a practitioner wears his or her kendo-gi， hakama， and training equipmenr is an indication of his or her attitude to kendo τhus， it is important for rhe kendo student to know how to put on their equipment neatly. 1he outward
appearance and colour of training wear should be acceptable ftom both a traditional and a functional sense

EE 盟国 Kend 河 川 Hakama
1. KENDO-GI 剣道着

Sode-guchi

2. HAKAMA
FrontView
 Aibiki

ーー-ーーーーーーー--- --_.
J(maw4shi Ushiro-如 何

15
C HAPTER 4: Kendo-gi， Hakama， and Training Equipment 剣道着 袴および用具 .uw n
σ
b
o

Putting on the Kend giand Hakama

剣道着と袴の着装法と留意点

1he collar of the kendo-gi should be connected ro the neck τhe hakama has a koshi-ita board that sits firmly in the lower-
back 1eupper-body should be straightened with the cords of the hakama wrapped tightly around the lower abdominal area
so that tension and power is felt in the seika tanden. 1he way in which the kendgiand hakama are worn affcctsthe quality of
one's training

1. KENDO-GI 剣道着
Method
In 日 目 yourarms mrough the 16
sleeves， cross the left lapel 0 rthe
right， and then fasten ti .

Take the plastic spatula inside the koshi-ita of the hakama dinsert it in the bow at the
2. HAKAMA back， between the hakama cords and me kendo-gi.

-:・Method 百四是 oshi-itashould sit in the middle of the lower-back area.τhe back cords are then
Insert the left foot in first (take
brought to the front， and crossed with the left himo threaded over the top of the
the hakama off from the right onthimo.
foot)， and then adjust the ont
of the hakama so that it comes Both himo are fastened in a knot
inro contact with the lower
abdominal area 官官 remammg rdlength is then tucked into the s 込町 between the onthimo and the
kendo-gi.
Take the two longer cords
(himo) from the front， and
wrap them around to the back
-:・TeachingPoints
Cross them over at the front 1)τhe chest section of the kendo-gi should be adjusted to overlap tidily
2) Insert your hands in either side of the hakama and adjust by pulling the bottom of
the kendo-gi down to the left and right to remove wrinkles. Do the same for the
④ m mTh amn us ndI tr oe tu 11 back， and ensure that it is perf とは lyflat by lifting the bow at the back while pulling
the hem of the kendo-gi down.
l ρL4d LUFH 1 dm d'h 3) Ensure that the ken'o-gistays in contact with the neck， and that the koshi-ita sits
I u
firmly in the small of the back wimout becoming separated
4)古田 hemof the hakama should just cover the ankles う)官官 backhem of the hakama should not be lower than me front
6) All of the pleats should be straight and aligned.

Side Front Back

17

CHAPTER 4: Kendo-gi， Hakama， and Training Equipment 剣道着・袴および用具

Kendo-gu
1. KENDO-GU 剣道具
(1) Men
Ten Men buton

(be[ween che

竺到
EE 冨冨 Putting on Kend ，る-gu 剣道具の着装法と留意点

For reasons of safety. kendi5-gu must be fastened correctly to ensure that it does not come loose dur ing the rigours of training. K 初必-guis put on in the order of tare. di5. tenugui. men. and kote while sitting in the formal kneeling position
(seiza).

1. TARE
-:・Method
Wrap the left and right tare-himo around to the back and cross them firmly. Then bring them around
to the front. keeping the cords tight.
②
Tie the cords in a bow underneath the i5dare. making sure that they are over the koda:re. ~
v
Tsuki-dare o Do-mum: Do-dai

-
Do

aa

TeachingPoints
(1)百 leta himoshould p sover the stitching
司司哩哩胆 connecting the hakama and koshi-ita at the back
(2) Pull your stornach in as you fasten the tare-
Kote-gashira himo tightly at the front.
sixch and sevemh
bar from che 回付 (4) Tare

2. Do
(3) Kote
-:・Method
Tsutsu Kera Fasten εupperdi5-himo to the leather mune-
(2) D Mune-chichigawa
Fas ningthe tare- chich waloops at the ofthe . Fasten the lower
himo di5-hirt na bow at the back.
Kote-himo Tenouchi One method of tying the upper
-himo rhcdo

18 19
CHAPTER4 Kenda-giHakama， and Training Equipment 剣道着 袴および用具

-:・TeachingPoints
(1) 1he bottom edge of the do should be positioned approximately half way down
the maeobi of the tare.

也]
①

-"'j . ち@九 Ii.' ..

③ ④ 母、
(2) Both of the upper do-himo should be tied at the same length so that the do is level.
(3) Tie the lower do-himo in a bow. ①

3. TENUGUI 手拭

・:・Method
~\ ~董+鳶 {.，...
VERSION 1 .:. Teaching Points (Version 1 & 2)
Hold the tenugui in fronr. If there are characters written on the tenugui d ign they should be facing the way it is (1) 1etenugui will unravel during training if it is not firmly attached to the back of the head. It is imporranr the
read tenugui covers the head securely.
Holding the tenugui at the top edge， keep your hands in the same position and slide the middle of the tenugui (2) Make sure that the tenugui is not dangling out the back of the men. Be sure to tuck any length of remaining
over to the back of your head so that the bottom edge comes up to your forehead. Keeping the tenugui taur material back inside， especially in the case ofVersion 1
and attached to the back of your head， bring each hand around to the side， above your ears， and to the
onrwhile pulling tighrly.
Crossover at the fronr.
Use one hand to hold down the crossover poinr， and use the other hand to grip the length of tenugui dangling 4.お 1EN
in fronr of your face， and then lift overhead.
.:. Method
T uck the superfluous length of material at the back inside so that it is not left dangling Adjust so 1here are two merhods for attaching men-himo to the men.
that it is com rrableand tidy.
 ~

1iJZ 2ijj

VERSION2 Holding the top edge of the uguisecure the middle section of the lower edge in your fthbar (yokogane) from the bottom
Hold the tenugui in onr.If there are characters written on the tenugui design， they mouth，
should be facing the way they are read Men-himo artached ar the founh or .:. Before putting on the men
Men-himo attached at the top of the center bar (.臼 tegane)

and drape it over your face 20

Keeping the tenug tautmove your hands around to the back of the head， and then wrap the tenugui 1. When the men-himo are attached to the fourrh of fthbar from the bottom: Cross the left and right
above the ears as you bring each side around to the back sides at the back of the men， and then pass the himo up and through the space above the top bar
Both edges are firmly crossed at the back of the head， and the remaining length of material in each
hand is brought around to the onr. 2. When the men-himo are attached to the tat neat the top of the men:
Hold the crossed edges at the fronr with one hand， and use the other hand to take hold of the Divide the left and right men-himo beforehand
section secured in the mouth.
⑥Lift overhead.
Adjust so that it is comforrable and tidy.

21
CHAPTER 4: Kendo-gi， Haka aandTJiningEq pment 剣道着 袴および用具 Open up each side of the men-buton iFt ヨ~<

@@ Ensure that students take hold of the chin area of the

men
Method ① at the uchiwa (howa) and insert the face inside the men so that
a clear view is possible from between the sixth and seventh
bars omthe top (monomi). Fasten when the face and head is
snugly resting inside the men.

Tie the men-himo in the following order:

1. When men-himo are attached to the fourrh of fifth bar from
the bottom: -:・Method
Pulling on the himo at the bottom of the left and right sides Put theleft kotEOn m
of the men， cross them over at the back， and keep the
cords ②
taur as you tie in a firm bow， and adjust the remaining
length of cord at the back
2. When the m -himoare attached to the tategane at the top
Take the already separated himo at the top of the men
around to the back of the head and cross them over. len
PUtthe right kote on next.
②
TeachingPoints
(1) The kote-himo should be tied securely， but not too tight.
ラ.KOTE 小手 (2)Take care that excessive lengths of remaining kote himo do not dangle
untidily.

bring both sides around so head and cross them over

that they cross over again in
chin and fasren the men when
front of the tategane (bottom). the face and head are wholJy inside 111e m miis situated between rhe
Keeping cords tpull them
around to the back of the
Removing Kend guand Storage
once again. Taking them back Open up the men-buton on therside to relieve pressure on 剣道具の外し方、結束法と留意点

|
up to the top of the men，
thread through the space
above the top bar from either
side Bringing both himo 1. REMOVING KENDO-GU 剣道具の外し方
i~rh and seven~ bars from the top
around to the back again， tie
in a firm bow， and adjust the remaining length of cord

the ears. al ision should not be impeded

Front thro v -:・Method
tLgh

t -:・TeachingPoints
he (1) Kote should be placed to diagonally to the frout of the right knee， with the
kote-himo underneath， and the kote-gashira pointing away. The men should
be placed on top of the kote with the men gane facing downwards. (See page
30).
(2) 1edo should be placed in the upright position.
monomi

W hen taking kendo-gu off， sit down in seiza and remove the kote， men，
tenugui， do and tare respectively
τhe right kote should be removed first， followed by the left.

The position of the bow after the men has bnfastened

.:. Teaching Points (う)Make sure that the himo are tied in a rmbow to prevent it coming untied during craining. 22

2.STORAGE 結束法
following photographs illustrate
one method of s 即 日 ge
The method for storing kendo-gu depends on whether it will be kept on a shelf， or hung up. The
(1)Ensure mIMlIWIS pomblefrom between Ehe SIXth and seventh barsbom the mp(monomQ
① ② Remove creases from the
(2)百四 lengthof himo from the knot should be no longer than 40cm. tare-himo and wrap them
(3) 1ehimo should be arranged neatly at the side of the men. around the ta
(4)Be sure to open the men buron on either Side of the head to relieve pre ureon the ears and avoid
damaging the eardrums
23
CHAPTER4 Kend giHakama， and Training Equipm 目 立 剣道着・袴および用具 Fold the other arm inside ④ Fold the same arm back in half so that the crease 2. FOLDING THE HAKAMA 袴のたたみ方
is in line with the outside edge

T urn the tare so that its front

is placed on the do， withe the
top of the ta alignedwith the
bot tom of the do.
Fasten the tare to the do by Fold up one third from the bottom.
taking the longerιhimo and crossing them at the front Tie the remaining length Fold again and adjust.
of do-himo in a bow inside the do. Also， take the short do-himo (bottom) and
use them to wrap the do and ta togetherat both edges. ⑤ @
⑥⑦ Place the men and kote inside the do.

.:.・TeachingPoints
(1) As you tie it together， take the opportunity to appreciate your set of kendgu

Take hold of the hakama from the top with the himo aligned. Move the crotch on the ins~de of the hakama ro
the right， and carefully place the hakama aton the floor with the back facing upwards. Arrange the two
Idsneatly， and make sure that both outer seams are sqarelyon the outside.
Take hold of the top of the hakama ， then turn it over carefully so that th~ f~ont .sid~ is faci~g upwards.
Straighten and arrange the veplea neatlyso that they are parallel with the outside seams.
Fold the outside edges in.
Taking care not to disturb the pl 自 民 foldinto thirds from the bottom
Turn che hakama around and then arrange the himo
Flatten out the creases in the front himo and fold each one into quarters.
Cross the folded left and right himo diagonally in the middle of the hakarrza
Take each back himo shor~ and thread-over and then under the crossed front himo 川面 Passeach back
himo over and then under the front himo， each side of the crossover point @Take 町 民 malll1 l thof each
back himo and tuck into the loops on the opposite deat the bottom of the rossover.
Adjust to make tidy.

(2) Be sure to flatten the tare-himo

Method of securing
kendo-gu so that it can
①
(3) Attach the front-side of the tare to the do and ensure that the top of the ta andthe bottom of the do come together.
be hung up for storage
(4) The men and kote should be placed inside the do in a way that facilitates easy drying.
⑤⑨

⑥ ⑬

-r -t
:!
- - C
3E ②

nO Folding the Kendo-gi dHakama 剣道着 のたたみ方

1. FOLDING THE KENDO-GI たみ方

⑦
Lie the kendo-gi flat on the
圃圃圃・・・・・ -ーーニー ③
⑪ floor with the seams of the left and right sides on the
outside.
Fold the arm inside
Fold the same arm back in
half so that the sleeve is in
line with the outside edge ④ ③ ⑫

25
24
CHAPTER4: K do-giHaka aand Training Equipment 剣道着 袴および用
 3. SHINAI STANDARDS 竹 刀の規格
Shinai 竹 刀
(1) Shinai must be made from bamboo or synthetic materials authorized by the All ]apan Kendo
Federation
Kendo evolved from combat techniques using the Nihon-to (Japanese sword).丁目 ditionaltraining methodology (2) 1he shinai is made up of four slats， and contains no foreign objects other than the sakishin in the
used bokuto (wooden swords) in kata training. 官官 shinai(bamboo practice sword) was developed enabling full- sakigawa， and the chigiri in the tsukagawa.
contact striking and matches.τhis was a turning point for modern kendo.
(3)百回 lengthis inclusive of the leather parts， but the weight does not include the truba.官官 diameter refers to
the smallest permissible dimension for the tip of the sakigawa
(4) 1etsuba should be round in shape， and made of hide or synthetic material. 1he diameter must be less than
1. THE STRUCTURE AND VARIOUS PARTS OF THE SHINAI 竹刀の構造と各部の名称、
9cm， and it should be secured to the shinai with a tsuba-dome

jinbu (opposice che tsuru) .t Tsukagashira SAKIGAWA AND SAKISHIN 竹刀の先革先端部最初直径値と

お「
Monouchi 計測方法ならびに先革・先芯
4. MEASURING THE DIAMETER AND LENGTH OF THE

Nakayui Tsuru Tsukagawa Measurements for the rakigawa should correspond Sak 伊 叫 lengthshould w thefollowing d 時 四 m: L 竺竺竺士
Measuring point (width)

Tsuba Tsuhadomt
Sakigawa
• Ch lrl
..
.. (1) The length of the sak washould be at least Appm' m1 Omm.

(2) If the diameter of the shinai tip and the

，

sakigawa is not compatible， there is a chance

h

that it may come loose， which is exceedingly

dangerous.
1fW4vh
2. SHINAI DIMENSIONS 竹刀の基準
(1) Itto Kendo (One-sword)
F Over 400g Over 420g solid， and prefrably not hollow on the inside
Ov
Gender Junior High School Senior High School University and Adults
(or corresponding Diameter M Over25mm Over26mm Over
age)
F Over25mm Over 25mm Ov
Length M&F Under !l4cm Under !l7cm Un ラ.SHINAI SAFETY TIPS 竹刀の安全確認
Veight M Over 440g Over 480g Over eo--λ
(3) 1esakishin sH.ould not be made of rubber that is too soft， but be relatively
AH
A
f AV

In the case of smal children， shinai that are suited to each child's maturity and physique should be used. Itis Gender University and Adults
not necessary to abide by the standards in the 0 cialmatch regulations
D 副 凶 (Long) Shot(Short)

Length M&F Under !l4cm Under 62cm

(2) Nit Kendo(Two-swords)
 Weight M Over 440g 280300g (2) Shinai that have been eaten by insects， or have nicks in the bamboo.
。)“CarbonShinai" in which the black carbon is exposed， or there are splits in the slats. (4) Shinai
F Over 400g 250280g
with damaged rak 忽胤岨
Diameter M Over 25mm Over24mm (う)Shinai with a nakayui that is loose or worn through.
(6) Shinai in which the 叫んの uiis not secured approximately one quarter of the rhinai's totallength omthe tip.
F Over 24mm Over24mm
(7) Shinai with loose uru.
(8) Shinai with defective chigiri (metal plate in the grip).
(9) Shinai that have been mended with tape
1erhinai should be constantly checked before and during training ， and only used after its safety has been (10) Shin whichcontain foreign objects other than the 叫ん irhinand chigiri.
conrmed.Using rhinai that are broken or sawed can result in serious injury 1efollowing shinai should not be (11) Shinai with incorrect sakishin. Be sure to use the proper sakishin for“Carbon Shinai". (12) Shinai
used in any circumstances: in which the ubais not secured properly
(1) Shin withbroken or splimered bamboo

26 27
CHAPTER 4: Kendo-gi， Hakama， and Training Equip ent 剣道着 袴および用具

木刀 Nihon-to and Bokuto

2. BOKUTO 日本刀 木刀
Tsukagashira Bokut Dimensions Tsuka Length
1. NIHON-TO 日本刀 Mineormune Shinogi

Tachi Tsuba Tsubadome ~

Kodachi

Total Length

Tachi 3-5haku 3-5 仰 う-bu(approx. 102cm) I-5haku 8 un(appr 55n) 4-5un 5-bu (approx. 14cm)
Kodachi 8-5 (appr 24c

s Z
日本刀の構造 .Sbuetul'e fthe Nihn-t
5?? ."" 。骨。川、 ょこて(
‘ 繍

はさき(刃先 Tacru == Daito， and Kodachi == Shoto

) ~~

hw 帽子(きっさきのやきぱ【焼刃】
q )
 同
宮古め君む 』」
Carrying and Pladng Shinai， Kote and Men， and
wi| 昌弘//
，
j
i Tenugui
EEL52Z l
ll
~昨 て. .一一一一一 一一一 f" 一万の寸法 竹刀 小手 面の持ち方と置き方、 手拭の置き方
R
R
立かごじり(茎尻
) 『島・与吉 刀身(打刀 SF EE
「 ) h E
う
ち
が
た
@
一

ドしのぎ(鏑
)
p ~互棟 iEg
みね(畢 む担(棟 he 司 (小錨 PE kendo-gu， however， rhe following way is the
(
R
・、ヨ
-尚昆話
γ 。 ) } a 、 4 ) E
柄、
? ) standard
，w
昆区e 包 ra hereare various ways of carrying and placing method
A
M
信明
" s

割つ
E き吉争傘 B h (栗形 6E
) W ATE i 1. CARRYING 持ち方

E3-縁量全 -き量
句+柄 a

鍔と書〈 (鐸また εp
55 雪塑
『
句 ) は a

まきどめ( かがしら(柄頭 down and the t5uki-dare pointing to the

巻T } :司 sF2 玄古つ量め 舘= 刀か. 苧， ， " ~
front. The men should be held under the
.j 如 h 防も弘
FF t
i
言~

)
right arm， and the shinai held with the
(1) Place the kote sts-firstinside the men.
.d Carry the men with the men-gane facing
さや(鞘)Saya

EP 鍬{はぱき 九円町、由。
ぬ 耳目
Z } {
ah とどめ
に書電( ~，:; 皮柄釘 をき ) ぬ争
" p ) )
切羽(せっ 事 F
ぱ hFEk
wr 、
E
弊(こうがい)KoJ{ai.E
T 一一~ーー
j、万 (こカさたな)Kogaana

r 、丸
崎(.1.づか J
Ie uka
left hand

Nihon-to Componems 29
CHAPTER 4: Kendo-gi， Hal 岨 皿 aand T raining Equip ent 剣道着 ・袴およ び用具
28
 十雪 ET!
2. PLACING 置き方

(1) 1he shinai is generally placed to the left with the ubalevel with the left knee， and parallel with the
body.
(2)耳目 koteare placed to the diagonalrontof the right knee with the himo on the floor， and the fists
pointing away from the body.
(3) 1emen is placed on top of the kote with the men-gane facing down.

Whatis ‘Rei'? 礼の考え方

Generally speaking， 問'irefers to conduct for maintaining socia! order such as interacting with others
politely， or greeting people youmeet them. It denotes correct deportment in attitude and form， and
acting in accordance with established modes of decorum.
~~
3. PLACING THE TENUGUI 手拭、、の置き方 Kendo is often said to begin and end with rei， and protocols of etiquette are fastidiously adhered to. As
kendo is a form of combat in which two opponents actively attempt to strike and thrusr at each other， it
1ereare two ways of placing the tenugui is important to !ine this with feelings of respect. Practitioners cooperate by engaging in rigorous training
together to strengthen th rbodies ， develop their chnicalability ， and cultivate their minds. 1here must
always be genuine sentiments of gratitude and esteem for opponents ， and these sentiments are
demonstrated through strict observance of protocols of courtesy (reigi-saho). In this way， practitioners
learn empathy and how to interact with other people through their experienc
in kendo.

Furthermore ， as kendo involves aggressively attacking each other ， it is possible to get carried away
and lose control df one's emotions. By observing correct etiquette in training， the practitioner learns to
subdue any antagonistic thoughts.

1he d ois not a place for play or entertainment， but for study in the qu forselιcultivation. It is a clean

も之
and pure environment where the practitioner must demonstrate a dignified manner and exemplary
attitude， always acting with restraint， and looking after all equipment 1eself-control and discipline
expected in the dojo helps the practitioner achieve coalescence in body and mind， and learn to curb
selshdesires. 1his is why the nαptof rei is so important in kendo.

1he tenugui is spread out the fight way up over 30
thc top of the men The tenugui is folded inco four， and placed Ilcacly inside the men.
Reih (Reigi-saho) 礼法(礼儀作法) As rei is
necessary for maintaining cordial inter-personal relationships and social
harmony， as well as being an integral component for self-cultivation， all
outward expr sionsof rei (reiho) must be made with the utmost of sincerity.
As profssionalwarriors， b hiwere required to have an impeccable sense of
propriety at all times， without ever letting their guard down. Kendo inherited
its concepts of propriety and patterns of behaviour directly from warrior
society.
Kendo utilizes both ritsuI (srandingbow) and zarei (seated bow). 1emethod for
performing bows is described in the following section
31
CHAPTER 5: REr (ETlQI 凹 廿 E)

③
1. RITSUREI 立 礼 VI
L mu H U L
③ n l L Ea' l UJt l-' !i d
WU pi
w H h i
ρL H n
f N -t M L
R e

由。
t n O i
、 且- h L

m
U
K
M
Bowing while standing is called "ritsurei". Traditionally， there were three angles at which the ritsur
h
E
o
u
1
K
r
b
'ι
. ‘
内

K
HApa
u e
r
u
m
S
U
A
was performed depending on the situation. A bow to the shinzen or alrar was 45 degrees， 30 degr S
M
N
ι
H
b
'
h
a
P
e
y
-
U M c a
n e p -

F
a
H
one'sinstructor， and 15 degrees to one's peers. Now， all bows to the shinzen (or shomenμmtza，

&
t
g
 o
n
z
o
joseki) and instructors are 30 degrees， and mutual bows to peers are 1 degrees

R
D E d ① then retutn to the upright posture
.“・ u
s e r v c t th 3t s t r a pb
The student should remain in that posi calmly.
-。
a n ju o
0円 、 mu L Lu t
d tion for the duration of one breath， and
4
h
F P m m

(1) Make sure that the student leans return to the upright seiza posture while observing
forward without protruding the neck the opponent
out， or bending at the knees.
(2) Ensure that the hands hang down 〈・ TeachingPoints
naturaly， keeping contact with the side of the body.

2. ZAREI 座礼
Bowing omthe seated position (seiza) is called zarei
②

-:・Method
Ob vethe opponent while sitting in seiza.
Keeping the back straight， lean forward from the hips，
and simultaneously slide both hands down to the Aoor
When bowing to the shinzen (shomen， joseki)， the back
Bend the elbows as the head is lowered. Remain in that
should be kept straight and the upper-body bent at the
position for the duration of one breath， and then calmly
hips to an angle of 30 degrees.

Side view
Front view

-:・TeachingPoints
(1) When the body is prostrated， the back should be per fectly straight. T ake care not to show your
neck or stick your backside out. (2)τhe hands should rouch the oor and be withdrawn at together
• Place che palms of the hands in the same way as the ilustration • When performing rhc bow， the tip of the nose should end up above the asterIsk position

①②③

33
32
CHAPTER 5: REI (ETIQUE E)
4. SITTING AND STANDING 座り方・立ち方
1enormal way of sitting and standing in kendo is to sit down from eIeft foot， and srand up from the
3. SEIZA 正座 right (saza-uki) .

Sitting in Ihe formal kneeling posiuon WIth uprigh posture and the ttet tidlly tucked under the backside is
referred to as seiza [Sitting]

• :. Merhod
-:・Method
T 刊】hemOIu 吋 tI 出 hsl d be cl edwhilef(恥 OC 山山 ulS Look straight ahead with straighr posture when preparing to sit down.
(守 gJBothhands are rested naturaIIy 0 吋 町 highs. First， draw the Ieft foot back a halιstep， and then place the left knee on rhe ground while keeping
the toes upright
空空 othknees should be a edone or two fi widthap Next， puII the right foot back half a step in the same way， and place the right knee next to the left
(生)(0Both fetshould be in line， or wirh the big toe of the right foot placed over the Ieft 1ebut tocks keeping the toes upright.
should rest on the heels Both feet should be level， or with the big right toe placed over rhe left as the top of rhe et e placed
on elIoor.耳目 kneesare fu11y bent as the buttocks come to rest on rhe heels of both f .

①
円引 ①③④

(lower abdominal region below the navel).

-:・TeachingPoints (2) Ensure that the srudent has a straight back.
(1) Have the feeling of pushing the hips forward slighrly， and keep the tension in the seika-tand (3) 1he shoulders should be relaxed， the chin pulled in， and the neck kept straight
 (4) Breathe quietl ④

-:・
TeachingPoints

34

-:・TeachingPoints
(1) Make sure that the srudent does not touch the lIoor with their hands while sitting down. (2)
Sitting down in one smooth motion， puII the shoulders back slighrly to maintain a straight upper
body posture
(3) Do not place the tops of the feet on the lIoor immediately.τhe toes of both feet are kept together
in the upright position， the knees should be fully folded as the tops of the feet come into contact 官官 basic movemems of kendo (kihon-dosa) are crucial for learning natural and rarional
with the oor srriking rechnique.τhey are rhe fundamemal building blocks of kendo， and combine rhe
(4) Ensure that the ankles are exposed from under the hem of the hakama as this will prevent the skills needed to face an opponent such as semιstriking， thtusting and counterattacking.
feet getting tangled when standing up. Due to the importance of kihon-dosa ， purposeful and repetitive practice is needed to
learn correct technique， and to contrnue lmprovrng.

1einsrructor musr be aware of rhe magnitude of basi inkendo， and reach fundamentals
correctly as rhe suresr way for studems to make progress

[Kihon-dosa Content]
1eelements nec saryto masrer kendo rechniques and skills include: 1) Shisei
(posture); 2) kamae (stance) and metsuke (eye comacr); 3) kamae-kata (rhe way of
drawing rhe shinai) and osame-kata (rhe way of shearhing the shinai); 4) ashi-sabaki
(foorwork) ， う )suburi (swinging the shinai) ， 6) kake-goe (vocalization); 7) maai (spatial distance); 8)
35
CHAPTER 5: REr (ETIQ πE) kihon-no-uchi-kata ， tsuki-kata ， and uke-kata (the basic ways of strik.ing ， thrusting ， and receiving
strikes); 9) kirikahi (cominuous srriking of cemer， right
(1) Make sure that the student does nor touch the floor wirh rhe hands while sranding up. (2)When themes
arc uprightra1Se the upper-body up while keeping the back SEralght (3)Sitting down in one smooth
[Standing]
motionpull the shoulders back slightly to mainuin a SEra1gh uppeF body posture.
left men); 10) tai-atari (colliding with the opponent); 11) tsuba-zeriai (tussle with the ubajoined together); and
.:. Method
12);nshin(maimaining alertness wirh correct posture after srriking)
Stand the toes up keeping both knees on the floor.
Lift the hips up keeping the 町 田 ofbothfetin the upghrposition. Srep
Furthermore， suburi (joge-buri and naname-bu げ)，初 kegoemaai， tai-atari， tsuba-zeriai， .kirikahiand
forward half a srep ftom the right foor.
zanshin are all important rmastering kihon-dosa.
Cominue to srand up by tak.ing a half s'pforward with rhe left foor. ① ②

③
 Posture
Shizentai (natural posture) 自然体
Shizentai is the kendo posture which rmsthe
basis for the fighring stances (kamae). From
shizentai， one can respond to an opponem's
moves quickly and freely. Shizentai corresponds
to what is considered“good posrure"

.:. Method and Important Points

(1) Keep rhe neck straight dpull the chin in
(2) Keep the shoulders down and the back
srraight
(3) Align the hips and direcr tension imo rhe
lower-abdominal area
(4)百四 heelsshould touch the gtound lightly
(ラ)The back of both knees should be lighrly

36

姿勢

Shizentai ~ fronc view Shizent4i -side view 37

CHAPTER 6: KIHON-DoSA (BASIC MOVEMENTS) 基本動作

構えと附|
stretched， with the center of gravity focused slightly fotward. (6) Observe the
opponent's whole body.

[Kamae-kata]

Kamae and Metsuke

1. KAMAE 構え
From shizentai， step out slightly with the right foot. The left hand is positioned the left thumb should be at navel height， and the rest of left fist below the stance with a margin of freedom in the arms， without too much rigidity. The
approximately one fist's distance away from the lower abdomen The joint of navel. Avoid over-arching， extending or forcing the elbows， and hold the kensen should extend towards the oppo
Kan e(stance) can be separated into the two general categories of mi-gamae (physical)， and ki-gamae (mental). Generally speaking， 本企 amaeusually refers to mi-gamae， although both are inseparably linked and are of equal
importance.

官官 fivebasic kamae in kendo include chudan， jodan， gedan， hasso and wakigamae， each with its own ch 訂 正 teristicsstrengths and weaknesses. In modern kendo， the most commonly utilized kamae are that of chudan and jodan.
The following is an explanation of each kamae used in kendo: (* Please note that when maeused as suffix， the first‘k' is sometimes pronounced as‘g'.)

1. Chudan-nokamae 中段の構え
Chudan-no-kamae forms the basis for all other kamae， and is most effective for responding to the various changes in the offensive and defensive movements of the opponent. This is the predominant maeused in modern kendo.

ぐ~ Method
[Holding bokuta or shinat1
①The correct way to hold a bokuto or shinai is to fi gripthe bottom of the tsuka-gashira firmly from the top with the little finger of the left hand. The little and ring ngersshould grasp the tsu securelythe middle ngerlighdy， and the index
finger and thumb wrapped gendy around， lightly coming into contact
Similar to the left hand， place the right hand on the tsuka with the litde and ring fingers gripping securely， the middle finger handle lighdy， and the index finger and thumb gendy touching. 1e right hand should be slighdy separated from
the tsuba
③ 百 1e“V"between the index finger and thumb should be
aligned with the cord (tsuru) that runs up the length of
the shinai
τhe ideal length for the 抑止 acan be gauged by holding
the shinai with the right hand below the tsubιThe
tsukag.hirashould tinside the e1bow joint， or just out
to the side if the right arm is bent at a right angle
How to hold {he shinai (side view)
司ー・・

nent's face between the eyes， or at the left eye

When in the chudan stance， the left side of
one's shinai is referred to as omote， and the right
side as ura. Posirioning of thc left hand
 . ・.・
.. ・ー ..'
ー.・

Chudan-no-kamae (front view) Ex 即 時旧 日 of the ke 町 四 from oku 'a-no-maat

[Positioning of the feet]

(1)τhe toes of both feet should be pointed forwards with a
space of approximately one Stbetween each foot
(2)τhe toes of the left foot should be positioned in line with
the back of the right heel. The heel of the left foot is slightly
raised， and body weight balanced evenly over both feet
(3) 1eright foot is in front， and the left foot at the back is
ready to make the next step， just like regular walking
(4) Ensure atthe knees are neither bent， nor overly
extended.
From view
-:・ TeachingPoints
(1) Sometimes there is a tendency to grip the shinai strongly
with the right hand， and move the left hand around freely
Students must be taught to avoid this action.
(2) When the kensen is too high， it is often an indication
that
the left hand is positioned too low.
(3) It is common for the to ofthe left otto turn outwards
Rotate the left hip slightly to the right to prevent this
Thc left grip Posirioning of the righc hand
Jridan-no-kamae is an aggressive stance, like "flames of a fire".
There are various ways to assume this stance, but the usual
38 method is morote-hidari-jridan in which the shinai is held
How to hold che shinai (viewed from above) overhead with both hands, and the left foot is positioned at the
Side view front.

39 • :. Method for Morote-hidari-jodan

CHAPTER 6: K IHON-D oSA (BASIC MOVEMENTS)
2. Jodan-no-kamae _U!tV');jf;t
£:i<t!llt CD From chitdan-no-kamae, step forwards with the left
foot raising both hands overhead into left shizentai.
@ Position the left hand approximately one fist away from
the forehead, slightly on the left side. The kensen should
be pointing to the rear on approximately a 45 degree
angle, with a slight tilt to the right.
® Have a sense of looking down on the opponent as the
shinai is lifted back slowly and cauriously, with wrists
'turned gently inwards.
proximately 3- 6cm below the opponent's knees. Gedan-no-kamae
(front view)
.:. Teaching Points 4. Hasso-no-Kamae }\.illV');jf;t
Ensure that the student always maintains eye con Considered to be a variation of morote-hidari-jodan, this posture requires vigilance. It is
tact, and observes the opponent's every movement. not used for immediately launching into an attack, but for observing the opponent's

.:. Method for Migi-morote-jodan

CD From chitdan-no-kamae, have a sense of peering down
on the opponent as the shinai is lifted above the head

3. Gedan-no-Kamae -ri.!tV');jf;t
With the kensen in the lowered position, gedan
no-kamae is su itable for defence, but is also
effective for taking advantage of any attacking
opportunities that arise .
Gedan-no-kamae

.:. Method
From chitdan-no-kamae, lower the kensen to ap
(side view)

carefully, and assume right-shizentai. Morote-migi- movements and responding accordingly. back and the right hand around to the rear, (Side view)
jiidan (side
@ Position the left hand approximately one view) passing it by the mouth. The body should be
fist away from the forehead, with the kensen .:. Method facing the right in hidari-hanmi (facing
pointing backwards at an angle of 45 degrees Step out with the left foot from chitdan-no- sideways to the opponent with the left foot
along the centerline. kamae with the same feeling as assuming forwards). The left hand is slightly down to
morote-hidari-jridan. The right hand is the diagonal right of the navel, apptoxi
.:. Teaching Points Morote-hidari-j6dan (side view) positioned around the right shoulder, with
(1) Rather than being concerned with self- the tsuba at mouth-height, separated by a
protection, encourage the student to hold an distance of approximately one fist. The left
imposing and un flinching posture, ready to hand should be posi
execute a committed attack at any given tioned near the center of the body, with the
moment. blade facing the opponent.
(2) Ensure the student is assertive, and ready
to strike im mediately at any openings that
manifest.

5. Wakigamae na;jf;t no-kamae

Hasso-

In wakigamae, the blade of the sword should

be concealed from the opponent in a position
Morote-hidari-jodan (front view)
that allows ready adaptation, and a strong
attacking response to the opponent's
M
movements .
Hasso-no-kamae (Front view)

• :. Method
orote-migi-jodan (side view)
From chitdan-no-kamae, move the right leg

mately one fist away ftom the body. T he blade is angled diagonally down to the right, and the kensen
Wakigamae (Front view)
positioned slightly lower than gedan level. former describes the idea of clearly seeing the movements of the opponent's mind or the“eye of the
mind"; while ken-no-me 町長 rsto only seeing the surface phenomena of the opponent. Musashi stated
40 that one must not fail to see the true nature and reasoning of a person's actions (kokoro-no-hataraki)，
therefore favouring kan-no-me over ken-no-me， and not becoming dis tracted by surface phenomena.
Wakigamae
(Side view) Kanen-nonetsukeis a vital concept in swordsmanship， and should be considered carefully by the
modern practitioner

41
CHAPTER 6: KIHON-DoSA (BASIC M OVEMENTS) 基本動作

6. Nito-noKamae ニ刀の
Nitr5-no-kamae is the method of utilizing both a long (daitr5) and a short shinai (shr5tr5) simultaneously in 42
training or shiai. The style of holding the daitr5 with the right hand and the shr5tr5 in the left hand IS 町長
rredto as sei-nito， and the reverse approach is known as gyaku-nito.

2. M ETSUKE 目付け E盟国 Kamae-kataand Osam ta

As the old adage suggests “the eyes are the window to the mind". The eyes clearly reveal one's inten
t10ns 1ephrase “ichi-gan ni-soku san-tan shi-riki" (五 rstthe functioning of the eyes; second， foot work;
third， a strong mind; and fourth， the power to execute techniques) describes the important role 1. KAMAE-KATA (DRAWING THE SHINAI) え方
the eyes play in kendo. Eye contact or metsuke， is essential to ascertain the opponent's intent and the
beginning of their movements. There are many teachings related to metsuke in ryhaof traditional Sageto-百四 posturefor holding the shinai， bokuto or katana in the left hand The shinai is held in
swordsmanship and recorded old scrolls that are still pertinent in modern kendo the left hand at the side. The tsuru should be facing down， and the thumb should not touch the tsuba

Method Taito -Raising the shinai to the hip

Observe the entire body while focusing on the opponent's face， particularly the eyes 1efollowing is an Taito is the position of holding the left
outline of some traditional teachings regarding metsuke. hand (and
shinai) at the hip. 1ekensen should be
at an angle of
1. Enzan-no-Metsuke (Looking at a faraway mountain; or “お iyo-no-metsuke thegaze of changing
approximately 45 degrees， and the
leaves) 遠山の目付け(紅葉の目付け)
thumb positioned
Although looking at the opponent's face， in particular the eyes， the gaze is not fixed on one point
on the tsuba (when wearing kote， it is
Rather， view the opponent's entire body as if focusing on a mountain in the distance. If only a single okay not to put
area of the opponent is concentrated on， then each change in their movements will require the focus to the thumb on the tsuba)
shift， which caus 目 白 stractionand confusion usis a similar teaching to that of koyo no metsuke，
where one should not focus on one leaf， but rather on the whole tree as it changes colour lil autumn ③④⑤ Use the right hand to grip the
tsu ね丘 om
2. Futatsu-no-Metsuke (The two gazes) ニつの目付け underneath the tsuba while moving the right foot
forward slight!y. Draw the shinai out to the diagonal
Scrutinizing the opponent's whole body while observing the face and eyes， attention should also be
left as if unsheathing an actual sword， grip the butt of
given to the opponent's ke 町 四 andhands
the tsuka with the left hand， and assume the chudan
3. l ki-Metsuke(Side gaze) (Obi-no-Kane) 脇目付け(帯の矩) position as both hands are brought down in front of
the body.
When fighting a more experienced opponent ， looking directly at their face and ey mayresult in one's
own intentions being known. An alternative is to focus on the opponent's obi (belt) and avoid making
③④⑤
eye contact altogether.

4. Kanken- -Metsuke(Seeing the surface and essence of things) 観見の目付け Miyamoto Musashi's
book Gorin- Sho(7he Book 01 fFive Rings) explains the notions of" kan-no-me" and "ken-no-me". The
 SONKYO (CROUCHING) 噂据

(4)The kensen shou1d not be used as a support if the practitioner becomes unba1anced by 1eaning
too far forward
(う)When two opponent's face-off in sonkyo， both squat down together keeping the kensen close，
but not touching

;
4. GOREI (COMMANDS) 号令
The com mands “'Kamae!)) or“'Kamae-to!" are most common1y used as the directive for students to
assume chudan; and "Osame!" or

43
CHAPTER 6: KIHON-DoSA (BASIC MOVE NTS) 基本動作
ラ.THE REIGI (ETIQUETTE) PERFORMED IN KEIKO AND SHIAI

2. OSAME-KATA (PUTTING THE SHINAI AWAY) 納め方 1.百 leStart

①②③ Release the 1eft hand from the 5hinaiinchud. n0μF ①② Ftom the tachiai distance of nine paces apart， both h01d the shinai in the sageto position and
g nse 目 問 nback diagonally to the 1eft ， and return the shinai to the 1eft hip ensuring that the tsuru is
目叩
perform a standing bow or ritsurei (approximately 1 degrees)
directed downwards. Pull the right foot back slightly and assume the taito position with the shinai held in
the 1eft hand.

① ② ③ 3.

Sonkyo is the squatting pos reassumed before and after keiko and shiai -:・
Method

Moving the right foot s1ightly forwards， lift the heels up and turn the body
marginally to the right into migi-shizentai 1eknees shou1d be opened to an ang1e
of approximately 90 degrees while crouching down
Rest the buttocks on the heels to maintain ba1ance and stabilize the center of
gravity.
Sonkyo step
④

step

2nd
step
I[

③④ Bringing the shinai into the taito position， both advance two paces from the
l
right foot with ayumi-ashi
Side view 3TeachingPoints
lepositioning of the feet (turned om at approxi mately 90 degrees)

(1) Ensure that the knees are opened sufciently.

(2) Relax the shou1ders with the buttocks balanced securely on the heels， and the upper-body com
p1etely straight
(3) Make sure that the kensen does not touch the floor.

45
44
C P R6: KIHONDOSA(BASIC MOVEMENTS) 基本動作 2.1heEnd
Both assume chudan-no maeafl ret tingto the s 凶 凶 19position (or the starting line in shiai).
Crouch down into sonkyo， and return the shinai to the left hip
@:@ The shinai are drawn
while taking the third step. ①②
Keeping the kensen close but
not crossing over， both
crouch down together into
sonkyo as the left leg up is
brought up behind the right.
(In the case of shiai， both
should advance to the start
line marked on the court.)

⑤⑥

⑤⑥ Perform a standing bow from the sageto position.

In the case of nito， sheathe the shinai held in the right hand rstthen transfer the shinai held in the left
hand to the right
* In some esitisPOs

白釦叫必剥 SIi ゐ削 b1 引 叩 eItoabb 凶加陀町削 viaEethit 山山 ismovlementa

-:・TeachingPoints
(1) Make sure the spirit of both practitioners is reple andthe movements are synchronized. (2)
Inthe case of nitoι"use the righthand to draw the s.hinaiwielded with the left hand， and then trans Ensure the movements are done precisely and assertively.
rit to the left hand. Then， unsheathe the shinai wielded with the right hand (3) Each practitioner advances three paces with ayumi-ashi from the tachiai distance (nine paces)， and
 returns to the starting position with five small backward steps. However， it isalso accept able to Ashi-sabaki refers to the movement of the feet to strike the opponent or avoid attacks. Footwork provides
the basis for body movements. As the teaching“ichi-gan 削 イ okusan-tan shi-riki" (rstthe functioning of the
move back with three steps. In either case， the movement should be made with suri ashi (see
ey 目， second， footwork， third， a strong mind， and fourth， the power to execute techniques)
glossary)
suggests， footwork is considered to be extremely important in kendo. The plethora of kendo
techniques are impossible to execute without proper body movement (ゐ otwork).It is no exag geration ro
say that hi-sabakiis the Iifeline of kendo.

-:・Typesand Method
Ashi-sabaki (Foo ork) 足さば
1. Ayumi-ashi 歩み足
Ayumi-ashi is used to move long dis tances either backwards or forwards， and
for making attacks from toi maai. Ayumi-ashi is essentially nor mal walking -
moving backwards or forwards by alternating the right and left feet

2. Okuri-ashi 送りし足
Standing in the taito position， move back from the left foot with ayumi-ashi to
Okuri-ashi is used to move distances of one or two steps quickly in any
the starting posi tion (tachiai distance of nine paces apart)
direction， and for making attacks from issoku-itto-no-maai. !t is the most
common type of footwork utilized in kendo

Ayumi-dshi (1) ベ伊 umi-dshi(:司 Okuri-ashi (1) Okllri (2) Jlorwards-badζwards Righ[.1

f91f9BqO

Moving from the foot c10sest ro the direction one intends to manoeuvre， and then quickly following
with the other leg， this method of footwork alows the practitioner to move forwards and backwards，
left and right， diagonally forwards and backwards， and is used with many techniques.τheβ 仰 向 mz

46
47
CHAPTER 6: KIHON-DoSA (BASIC MOVEMENTS) 基本動作 ashi or stamp used when making a strike stems from okuri-ashi. (Refer to page 8for further
 explanations on m mi-ashi.) 1. Joge-buri 下振り
From the chudan position， lift the shinai overhead in a large movement without changing tenouchi
(inner-hand manipulation). Without stopping， step forward while swinging the shinai downwards，
stretching both arms out， and pulling the left hand towards the lower-abdomen. When swinging the
3. Hiraki-ashi 開き足 shinai downwards， turn the wrisrs of both hands slightly inwards， and stop
Hiraki-ashi is used to move the body when making an attack， or dodging an the kemen just below the knee at a similar position to gedan.
opponent's strike. Itis commonly employed when execut ing a technique
omchikai-maai (close distance). When moving to the right， step forward
diagonally to the right with the right foot， and bring the left foot in behind to
face the opponent front-on. When moving to the left， step forward diagonaly
to the left with the left foot， and bring the right foot in behind to face the
opponent.

4. Tsugi-ashi 継ぎ足

題、タヴ一、
-:・Method
P Hiraki-ashi

百 1Ismethod of footwork is mainly used to execute attacks Mid-downswing (front view) ，

Ending position (front view)
from toi-maai.官官 left foot (back foot) is moved forward
without surpassing the right foot， and followed
immediately by a large step out with the right foot. This
movement is performed with one breath. Lifting overhead
(side vw)
.:. Teaching Points
(1) To keep the kamae ombreaking， move from the hips (4) The heel of the back foot should not touch the gtound， -:・TeachingPoints End positn (side view)
so that the body travels parallel with the floor， without regardless of the direction of movement 百 1Isis a
bobbing up and down. particularly common occurrence when the practitioner
(2) The neck should be straight， and the body relaxed with moves backwards.
good posture to ensure that the upper-body and the shinai
do not waver while moving.
(3) Make sure that the foot providing the momentum (rear
foot) is snapped up quickly， and not left lagging behind.

ugi-ashi
Suburi (Striking practice) 素振り
Suburi is the act of swinging the shinai or bokuto up and
down， vertically or diagonally， and is a fundamental
exercise for acuiringthe sk.ills needed in kendo.
Micl-downswing
lefollowing are some reasons why suburi is important: (side view)
Lifting overhead
(from view)

(1) To learn how to control the shinai， especially with regards to the correct angle of the blade (hasuji)
(2) To learn the importance of the proper grip (tenouchi) for making strikes.
(3) To understand the relevance of footwork in relation to striking

官官ら llowingsection outlines the various typ andmethods of suburiand the respective teach Iflg pOlfltS.

48
(1) Make a large， smooth and straight motion on both the upswing and the downswing， ensuring that the grip does not change， and the little finger of the left hand isnot slackened. (2) An equivalent amount of power is used in each arm，
and the shinai does not waver to the side (3) Ensure that each hand and the kensen remain in the center of the body.
(4)As the student improves， introduce changes in speed and power， and guide it towards an ideal shomen-uchi strike.
(う)Make sure that the s dentis able to coordinate the footwork and the swing of the shinai 49

CHAPTER 6: KlHON-D oSA (BASIC MOVEMENTS) **~ t Immediately rerum to chiidan-no-kamae after the thrust is completed.

2. Naname-buri t4 <1'l :j,R I)

Lift the shinai overhead in a large motion from chiidan-no-kamae, and while stepping forward, bring it down to the
diagonal right on a 45 degree angle, stopping the just below the left knee at a similar height to gedan. Following the
same trajectory of the downswing, lift the hands back overhead and change the direction of the shinai bringing it down
to the left side on a 45 degree angle, stopping below the right knee. Continue repeating this sequence.

.:. Method Approximately 45 degrees

@ To strike hidari-men (or migi-men), lift the shinai overhead in the same fashion as the shomen strike. W hen the
hands are above the head, make a 45 degree strike to the right (or left), stretch ing the arms out to strike right (or
left) men.
® To strike kote, lift the shinai fully overhead and then strike migi-kote, stopping when the shinai is parallel with the
floor.
@ To strike migi-do (or hidari-do), take a large step out with the right foot while lifting the shinai overhead, and
switch the hasuji of the blade to the right (left). The do strike should be made with the left hand positioned at the
same height as the hips.
@) To thrust (tsuki), both wrists should be rurned in slightly while stepping out with the right fo ot. Both hands are
pushed out to the front with the hips centered to keep the body stable, and a thrust made to the tsuki-bu.
to the diagonal right Approximately 45 degrees to the diagonal lefc
The kensen stops just below the right knee

.:. Teaching Points

The kensen stops just below the left knee Sh6men Hidari men (left men) Migi men (right men)
(1) Similar to joge-buri, each upward and downwa rd swing is performed p recisely. and in a large m otion.
(2) Confirm that the trajecrory of the blade is kept at the same angle for both the left and tight swings (approximately 45 degrees).
(3) The grip (tenouchi) of each hand remains fixed on each swing.
(4) As the student improves, introduce changes in the speed and power. and guide it towards sayii men and sayii-do strikes.
(5) The left hand should not veer from the body's centerline on the downswing.
(6)Make sure the student can coordinate footwork and the swing of the shinai.
(7) It is effective to use a bokutO for teaching the intricacies of tenouchi and hasuji.

3. Kiikan-datotsu (Training without an opponent) ~r.Il rr~

Kiikan-datotsu is the practice of striking at an imaginary opponent's target zones of men, kote, do and tsuki. This exercise is useful for learning striking posture, footwork, blade trajectory (hasuji), grip (tenouchi), shinai manipulation, and body movement. Performing these
exercises in front. of a mirrot is also helpful.

• :. Method
CD To strike men, swing the shinai overhead keeping the center, and then cut the air in one smooth motion while moving the center of gravity forwards. Both arms should be stretched out in front of the body, with the right hand stopping at shoulder height, and the left hand
at the same level as the solar plexus.

50

Kote Hidari-dii (lefr do) Migi-do (righr do) Tsuki

.:. Teaching Points

(1) Posture, footwork, hasuji and tenouchi as if executing an actual strike.
(2) Make sure that thete is no excessive power in the hands, arms or shoulders when striking. (3) Excessive power in the thumbs and index fingers will result in the kensen becom ing too high, thereby making the strike ineffectual. Particular attention should be given to
instructing the cor rect grip and swinging method.

(4) Confirm that the left hand is in the correct position the instant the strike is completed . 51

CHAPTER 6: KIHON-DoSA (BASIC MOVE 5) 基本動作 Continue this motion of striking on the lunge forward and swinging the 沙問山 overheadon the retreat

4. Choyaku-suburi (Haya-suburi) 跳躍素振り(早素振リ)

Kuμn-datotsu executed by jumping backwards and forwards is generaIly referred to as choyaku
suburi. Pay attention to coordinating the swing with the jumping footwork. This exercise is useful for
acquiring ki-ken-tai-itchi (unison of sword and body)

-:・Method
Strike shom whilejumping backwards and forwards alternately.
Kick off strongly from the left (back) otand jump onto the right (front). Quickly bring the left foot up
while striking men
Kicking off with the right foot， move the left foot back one step to the original position as the shinai
is Jifted overhead
 (6)The feet should not be parallel at any point when al rnatingbackwards and forwards (7)A common (3) It pressurizes the opponent， and impedes their movement.
tendency is to bend the right knee， or to lurch forward at the waist on the forward jump making the (4) It discupts the opponent's intentions and concentration.
upper-body unstable. Make students aware of this problem (5) It confounds and agitates the opponent
(6)It entices the opponent into making a move.
(7) It is necessary to soJidify the decisiveness of an attack as an e1ement of ki-ken-tai-itchi

-:・Method
Kakegoe (Vocalization) 掛け声(炉~ Allow a naturaJ and powerfuJ vocalization to transpire while exhaling from the pit of the stomach.
Shout the target names “md;“kote"“do" or “tsuki" Joudly as the attack is made.
Kakegoe is a nacural vocalization which shows that one is spirited and on-guard. Kakegoe is important
for the following reasons:
(1) One becomes fonified and invigorated by emitting a strong ねん egoe -:・TeachingPoints
(2) It increases concentration and moraJe. (1) When instruding beginners， encourage them to make as loud a noise as possibJe. (2) Teach
scudents to be aware that breaths taken between each vocalization can leave them open for
Chudan-no-kamae. Lift the shinai overbead Strike men (4) Caution students to refrain from making exaggerated vocaJizations after the
attack for the purpose of showing off.
(う)Ensure that students do not use derogatory or offensive language

Maai (Interval)
Maai is the spatiaJ distance between one's self and the opponent. Variations
include isso -itto no maai (one-step， one-strike distance)， toi-maai
(distant interval) dchikai-maai (close interval).
Lift the shinai overhead
while stepping back
Suike men
attack. 1. Issoku-itto-no-maai 一足 刀の間合
.:. Teaching Points lefundamentaJ distan inkendo， issoku-itto-no
(3) The attack and vocalization must be made in unison.
(I)The m mzs withthe ghtfoot is big， but the foot
does not Iift too high off the lIoor (2)百日 leftfoot is
snapped up quickJy when moving forward.
(3) letoes of the right foot should be pointing
straight ahead on the forward step. (4)刀珂 leftfoot
shouJd not sweep past the right on the forward
movement
(5) Make sure the body does not bob up and down

excessively when skipping backwards and

forwards. 52

maai enabJes one to attack the opponent by taking

one step forward， or evade an opponenr's arrack by
ta king a step back.

Issoku-itto-no-maai

53
CHAP R6: KJHON-DOSA (BASIC MOVEMENTS) 基本動作 2. DATOTSU-BUI (TARGET AREAS) 打突部位 Mm Cemerline

2. 昂読而協 1i'-maai(1 昂亙
E
This distance1S further than is50 是わ u←-→lttiino maat ThisS1sa
distance OImwhichthe opponent'sstrike cannot reach
you.At the same time， your strike will not reach the
opponent
Chudan-no-kamae
Men-bu -the shomen and rhe right and left sides of the men
The fight and !eft sides of the men are positioned athetcmples
Kote -the fight and lefc kote.

3. Chikai-maai (Chika-ma) 近、、間合(近間) A slightly

closer distance than issoku-ittii-no-maai， this is an interval in
which both practitioners can easily reach the target areas of their
opponent.

Aigi-do Hidari-tt

CI 頂 点 n-no-kamat Morote-hidari-jadan-no-kamae
Y -maai(To-ma)

C hikai-ma
(Chika-
ma)
letarget area for kote againsr an opponent in the chudan lefr forearm against an opponent with the left aIm forward). Both jodan Do -migi-do and hidari-do Tsuki -the ts i-dare
position with the right hand forward is the fighr forearm (or the the fight and left kote can be sruck against nito-nokamae or

Making 打突の仕方・打たせ方および受け方
and 3. UCHI-KATA AND TSUKI-KATA (STRIKING AND THRUSTING METHODS) 打ち方 突き方 1. Men-uchi 面打ち
Receiving
Strikes

1.、弘 LIDPOINTS (YUKO-DATOTSU) 有効

Accord tothe Regu onsand Subsidiary Rules 0/ K doShiai and Sh an a valid po t(yukii da tsu)is defined as “an accurate strike or thrust made onto the dato -buiof the opponent's kendii gu with shinai at its datotsu-bu in high spirits， with proper hasuji， and
correct posture， being followed by zanshin." Also， it is often referred to as“a strike with ki-ken i-itchi.))

leability to a e yukii-datotsu(the criteria for >pon) is absolutely crucial for those in positions of instruction， and will ultimately determine the future direction of kendo. In order to ensure the development of kendo， the elements of a good quality， valid strike need
to be understood， and improvement to this end continually sought by the teacher

lt is necessary to master basic skills and movements (kihon-diisa) to ful1the criteria for a valid strike 54

(1) Shomen
Lift the shinai overhead so that the opponent's men can be seen， and step forward with the right foot (front foot) to strike with okuri-ashi

-:・Method
Both practitioners engage in chudan from toi-maai

Enter the issoku-ittii-no naaiinterval in chudan

①

55

CHAPTER6 KIHON-D oSA(BASIC M OVEMENTS) 基本動作

 (3) Striking men withβmikomi-ashi
The attacker on the right lifts the shina ③ ① overhead so that the opponent's men is Lift the shinai overhead in the same way as for visible. 且・h d
striking shomen. Using the left foot to
propel the body rwardstamp down with
the right
foot while striking shomen

body forward
- . --.司 Both

practitioners engage in chudan from

Moving forward with the right foot， the

attacker uses the left foot to propel the

可・
toz-maaz.

Stretching the arms out， the attacker snaps b

Enter the oku-itto-no-maaiinterval in

④

l
the left otup as the men target is struck ② chudan
k s I tH c 5 1
③ AT ka ⑤ 1 'h E l t
7Z n dz p

c 1 z
3 t On r -i σb t
i
a - - A
③
ρL
nL 1 l ρL
I

u L
ρ
L

y
U

Shomen-uchi
(2) Sayu-men-uchi
Lift the shinai overhead in the same way for striking shomen， and change the
direction of the hands above the head so that the blade tr ectoryis approximately 4
degrees.Strike the opponent's left or right temple while moving the right foot
forward with okuri-a げか

②
57
C HAPTER6 KIHON-DoSA(BASIC M OVEMENTS) 基本動作
(10) 1estriking movement should be initiated from the hips， with a straight back
(11) After the mikomistamp， it is common for the left foot to lag behind and cause
instability， nsequentlymaking the strike weak. Make sure that the left foot is
snapped up quick:ly as the strike is made
-:・TeachingPoints (12) When striking sayumen(left or right men)， make sure that there is no
(1) Initially instruct students to lift the shinai overhead slowly， and to strike in a excessive power in the right hand， and that the left hand remains in the center of
56 large relaxed motion with suri-ashi. Gradually encourage an increase in speed， the body.
The attacker kicks off with striking with the stamping footwork (jumikomi-ashi)
the left foot to (2) Teach students to strike with correct tenouchi
drive the body forward (3) Ensure the elbows are not over-extended when the shinai is raised overhead [Fumikomi-ashi]
(4) Make sure that both hands are aligned with the centerline of the body. Explain to students the importance of fomikomi-ashi (stamping) and mikiri-
(う) Caution students to release any unnecessary power in the shoulders in order ashi(kicking off) when striking. (See glossary.)
to perform a !luid swinging and striking motion.
(6) Conrmthat the left hand is in line with solar plexus at the end of the downward -:・
Method
swing (7) Check that the strike is made with the correct section of the shinai Wheenmoving fiOrwardin chu ぷゐ d.bn-no-μF
(monouchi) simultaneously with the striking motionof the uppefbodY 1eright fiOOtadvancesone
(8) Takecare that the right foot is not raised too high off the ground when striking
large ste
(9) 1eupper-body should not be over-extended or leaning forwards when making P and is stamped down， followed quick:ly by the left foot.
The attacker strikes men the strike
while stamping
ぐ~ Teaching Points
down onto the right foot.
(1) Kick off with the left foot， and drive forward with the power generated from the
lower-body， keeping a straight upper-body posture. Instruct students to maintain
2. Kote-uchi 打ち correct posture as they move into the attack omthe hips (center of gravity)， which
Kote strikes are generally aimed at the op ponent's right forearm (migi ote).Lifting are kept parallel with the !loor
the shinai overhead far enough to see the opponent's kote between the arms， (2) Ensure that the right knee is not lifted too high or bent excessively on impact.
step forward with the right foot to strike migi-kote. It is also possible to strike hida - Caution students about the dangers of heel and knee iuriesthrough exaggerated
kotein cases when the opponent assumes nitõ-no- mae~ or a stance other than chudan. use of the right foot. (3) The downswing of the shinai and the right foot's contact

Hidari (left) m Migi (right) men with the !loor should occur at approxi mately the same time.
-:・Method (4)The back foot (lefl【)is brought up quickly after stamping with the right foot，
④ Both practitioners engage in chudan om tOt-maaz enabling correct posture after the attack.
(ラ)Teach students not to drag the left foot (zuri- hi)through an insu cientkick-off，
not to !lick the left up (hane-ashi)， or having both feet in mid-air at the same time
(tobi-ashi)
(6) When lifting the shinai overhead and striking with mikomi-ashithe attack should
①
be made with okuri-ashi， not ayumi-ashi (left foot moving past the right)
⑤
(7)百 1etoes of both feet are pointed towards the opponent.
58 not veer off the centerline. Migi-kote srrike
(7) As the student improves， encourage sharper execution of the strike through 59
Enter the oku-ittd-no-maaiinterval in chudan appropriate manipulation of the hands (tenouchi)
The attacker lifts the shu overheadfar enough to see the opponent's migi-kote. (8) Other teaching points are the same as the men strike.
④The at kerstrikes m ぼ片山 S pmgout with the right foot

-:・TeachingPoints
(1) Initially insttuct students to lift the shinai overhead slowly， and strike in a large ③
relaxed motion with suri-ashi. Gradually encourage an increase in speed and strik
mgw 仙戸 m mz- hi
(2) Check that the student uses their whole body to strike， and not just the hands
(3) The left foot should be snapped up im mediately， and the hips thrust forward
as the strike is made.
(4) Teach students the subt!e diffcrenceIII spa tial interval between kote and men
strikes when striking from issoku-itto-no-maai
(う)耳目 attackershould sctutinize the opponent's whole body， and not look at the
hands (6) Ensure the hasuji is straight when striking， and that the kensen does
④
CHAPTER 6: KIHON-DOSA (BASIC MOVEMENTS) 基本動作 (3) Confirm that strikes are made with the correct trajectory of the blade， maki sure that the side of the shinai is not used to
hit the target (hira-uchi)
(4) Ensure that the body is not twisted， and the backside is not sticking out when striking
3. Do-uchi 胴打ち (ラ)Make sure students are stable at the waist， and keep the back and neck upright when the strike is made
Do strikes are usually execured on the right side of the opponent's
body (migi-do-uchi).

Method
Lift the shinai overhead in a large motion and switch the direction of the
hands above the head while stepping out with the right foot to strike
the opponent's migi-do. The strike should be executed as one
continuous move ment from start to nish.
60
Both practitioners engage in chudan from tot-maat ①
Enter the issoku-itto-no-maai interval in chudan
③ 百 1eattacker 1 正目 theshinai overhead as the opponent's hands
rise
④ 百 1eattacker turns the hands while moving forward to the diagonal
tight with the right foot， and brings the shinai down to strike.
The attacker strikes migi-do as the right foot touches the Boor

-:・TeachingPoints
(1) Initially instruct students to lift the shinai overhead slowly， and
strike in a large re
laxed motion with suri-ashi. Gradually in T urning the hands
crease the speed， and strike with nikomi
ashi while moving to the diagonal tight ②
(2) Primarily teach how to strike migi-do. (3)When st kingdo， ensure
the left hand is positioned below the right. It should be stopped at
waist height， and kept on the centerline of the body
 Migi (righr)-do

4. Tsuki 突き
The thrust to the tsuki-bu is execured with proper tenouchi by
extending the elbows and turning
the hands slightly inwards while stepping out with the right foot.
Executing a thrust from the left ⑤
side of the oppohent's shinai is called omote-tsuki， and ura-tsuki
omthe right side. Tsuki can be
execured with two hands (morote-tsuki)， or with one hand (katate-
tsuki). Before teaching this tech
nique， it is important that the student has acquired the other basic
skills of kendo first， and that age
and level of proficiency are given due consideration. At present， tsuki
is prohibited for persons under

16 years of age.

Methodfor Morote-tsuki
Both p titionersengage in chudan from
toz-maaz

Enter issoku-itto-no-剛 山 inchudan.

61
C 出町田 6KIHON-DoSA (BASIC MOVEMENTS) 基本動作 (2) 00 not allow students to do mukae-tsuki (thrust
ing just as the opponent
is coming forward to
attack) as it is dangerous.
As the opponent on the left drops the
(3) Encourage the attacker to move from the hips and to use their whole
kensen to the right， the attacker pushes
body， rather than just thrusting with the arms. (4) Ensure the left hand does
off from the left foot to propel the body
not rise up after impact.
forward.

Moving from the hips， both arms are

extended as the thrust to the tsuki-bu is
made with both hands gripping the shinai

TeachingPoints
(1) Start by instructing
students to rustslowly
with suri-ashi. Gradually
encourage an lncrease
in speed， and then
complete the thrust with Ktttate-tsuki
βmomz- hi
1eattacker moves from the hips to thrust
at the target with the whole body as the left arm is extended.

62

Morote-tsuki

-:・Methodfor Katate-tsuki
Both practitioners engage in chii.d.仰 台 om tOl-maaz
(5) Once the thrust is completed， the attacker should quickly return
to chi.dan and show zanshin
without leaving the shinai on the tsuki-bu.
Enter isso itto-no-maai in chi.dan. (6) 1eright hand should be placed on the right hip as the thrust is
made.

①
4. RECEIVING ATTACKS 打たせ方 突かせ方
It is important to know how to reveal openings and re (2) Revealing an opening for a kote strike
ceive thtusts and strikes properly for mutual improvement Raise the kensen slighdy with the intention of enticing the attacker to strike.
in the basic skills Once the strike is completed， immediately move back far enough for the
attacker to demonstrate proper zanshin

Method
(1) Revealing an opening for a men strike
Moving the kensen slighdy to the right， allow the
attacker
to see the opening and strike from an appropriate
distance
Receiving a kote srrike

Chudan-no-kamae Receiving a men strike 63

CHAPTER 6: KJHON-DOSA (BASJC MOVEMENTS) 基本動作

(3) Revealing an opening for a do strike

Lift the arms overhead with a elingof moving forward
to encourage the attacker to strike. It is not uncommon
for beginners to miss the target when practicing do， so
instruct receivers to twist to the side as the strike is made

Receivinga strike Receive rhe do strike by

turning rhe body slighdy

(4) Revealing an opening for tsuki

Lower the kensen slightly down to the right to reveal the uki-bu.Pull the chin
in， brace the nape of the neck， and receive the thrust ont-onwith a feeling
of
movmg mto lt

-:・TeachingPoints for Receiving Strikes and 1hrusts

le llowingare general tips for motodachi. For a more detailed explanation
of the method for receiving attacks as a motodachi please refer to Chapter
8，
Section 4 -Hikitate-keiko

(ωI)Mofod ゐ占 CbμzsIandsin correct postureι without breaking μ 加，

(ο2) Eeattacker should move 五企 romto-malntO I'ssoku←日-itt 言が d 岳一 ln0-F azto execute stnkes (3) Reveal striking opportunities (suki)， and encourage the attacker to make accurate strikes to the targets.
(4) Give due consideration to the physique and gender of the students， and keep the training environ ment safe.
(う)Make sure that attacks are not made randomly， but only after the two protagonists are fully engaged
ラ.BLOC NGATTACKS 受け方

Acquiring the skills to correctly receive the opponent's attack not only expands defensive skills， but also provides a platform r i-waza and improv competenceas an instructor. 1he method for receiving attacks depends on the following two
objectives
(1) Receiving as the basis for oji- za(nulli ingthe opponent's attack)
(2) To facilitate effective striking for beginners as a motodachi (making it easy for the attacker to

，
t

..
1. Blocking Shomen Strikes

-:・Method
Movi sl ゅの forwa thereceiver extends both arms with the hands lifted to the diagonal front ro block with the le orright side of the shin . It is also possible to shift body position slightly tO the right (or left) with hiraki-ashi to nullify the
attack
③ 1his method can be utilized to execute men 包刊印 s 且 即 z z/J'aza.Theref お口 r"e it isJmportanrnot to lirmlitthe movement jμustblocking， but to be physically and mentally prepared to counter-attack in an instant
F

2. Blocking Sayu-men Strikes

-:・Method
① 百 lereceiver draws the attack in， and receives the strike at the left (or right) shoulder with the shinai held vertically.
Block the strike as if knocking the opponent's shinai down (uchi-otoshi).

Further details are provided in Section 11 -Kirikaeshi about receiving continuous left and right men strikes

3. Blocking Kote

-:・Method
Moving forward slightly onto the right foot (ad justing distance depending on the movements of the opponent)， the receiver keeps the kensen on the opponent's c 四 回 rlineas the right wrist is turned slightly inwards and pushed out to the
right-front to block the attack.
②It is also possible to move back slighrly with the left foot to block the attack
lismethod can be utilized in kote-suriage-waza Therefore， it is important not to limit the move ment to the block， but be physically and mentally prepared to counter-attack in an instant.
When moving backwards with the left foot， extend both arms while lifting the hands slighrly， and block the attack from below， on the left side of the shinai.

Receiving shomen on the Receiving shomen on the lefc side (omote) right side (ura)

Receiving hidari-men Receiving migi-men Receiving kote On the left Receiving kote on eright

strike， but always being ready to make a counter-attack).

P

百 lIscan be used to execute ko 町長官'shi-waza.

side (omou) side (ura)

65
基本動作
CHAPTER 6: KIHON-DoSA (BA5IC MOVEMENTS)

4. Blocking Do
(14lil
-

-・:.Method
①1he strike is blocked w theb fa d nallyto the r ゆ， while
moving slightly backward5 with the left foot. 1his movement can be utl
t
lized in douchi-otoshi-waza50 it is important not to limit the movement

Tai-atari 1. Tai-atari
竺こ~

to the block， but be physically and mentally prepared to counter-attack in ~n lnstant.

② 云 1helef 仕 kfOOt1smovedforwardtoth 吋 喝 OnalμlleftwithhZrakhμt-az 訂抑 S body moves to the sideasthe right fiOOt15pulledbehindtheleft. At the

口一 tm1e ldthand 5hhouldbe lifted to fa h htwith the right hand po onedbelow to leftto rec ethe strike w theleft s ofthC5bzndz It is also possible to lift the left hand above the head W1th the ke 前 四 lowered 耳目 attackis received on the left (omote)

side of the shinai

.Blocking Tsuki

.!. Method
MoV 刊 1!略 I
rεceiverlifts the left (or right)side of the shinaidi
agon 凹叫 ally 五ゐ口 rwardsin a iagemovementIt is also
l
147I4
|
l
l
i

、
Receiving migi-do (1)

Tai-atari is the act of forcefully colliding with an opponent by using the momentum from an at tempted attack to unbalance the opponent， and create further striking opportuniti

-:・Method
Using the force generated from an attack， the attacker collid 白羽 ththe opponent while pushing up on their lower-abdominal area with both hands
② 百 leattacker then immediately follows up with another attack as soon as the opponent's posture， spirit and maebecomes unbalanced b
oossible to deflect the attacker's shinai upwards i nd d ive r t t th1 C 1 r k 如伽 g 目問 ng
mentally toimmediatelyexecuεacounlter-attack.
Tai-atari

-:・TeachingPoints
ルグ enstrike

MoV backwardsslightly from the left foot， the recelV guidesthe attacker's shinai d onally downwards to dmrE the hg

~. Teaching Points

Receiving t5uki on the left side (omote)

•
Receiving t.叫ん z
on the right side (ura)
(1) Make sure that power i5 centered in the hips to create a forceful collision with the whole body， not just the hands
(2) Instruct srudents not to lower their head on impact
(3) Maintain a stable posture in order to execute attacks on opponents who retreat， or conver5ely by utilising the opponent's pushing power to bounce back or turn to the side to strike. (4)百四 attackand the tai-atari should be completed in one
sequential movement. (う)Make 5U thatthe collision continues into another attack， 四 therthan just ending as a push.

2. Receiving Tai-atari

-:・Method
① 百 lereceiver lowers their hands and bols rsstability in the midriff area， bracing for the collision
with power concentrated in the lower-abdomen (seiμ-tanden)
② 百 lereceiver should move forwards with the feeling of returning the force of the tai-atari， rather
than simply absorbing the impact
③It is also possible to skirt the tai-atari by sidestepping to the right or left， and receive from an
angle rather than square on

.:. Teaching Points

(1) Make sure that the tai-atari is received with the whole body， centered in the hips， rather than just
with the hands

66
ο)Instructstud Sto block by mov forwardsor backwards depending on factors such as the
direction， speed and strength of the attacker' s technique

(2)T<叫 h :iccmtobC 二吋 to n at
Orweake 臼悶 n1ed
(3)E1e rccewer should always have a feeling of usCHIvenesseven when taK111E a step backwards
to block

67

CHAPTER 6: KIHON-DoSA (BASIC MOVEMENTS) 基本動作

(2) Instruct students not lowerthe head on impact

(3) 5tudents should make a committed strike first， and then perform tai-atari. (4)1ereceiver should not plant their left heel on the Boor during the collision

Tsuba-zeriai

鍔ぜり合 L
1
、|
4

‘ Ji111!bI
‘、
-
J 1
14lili-
-
4

44 iE
-:・Method
① 5trike shomen from issoku-itto-

no-maai， and then continue forwards striking

four sayu-men (left， right， left， right)，
followed by a further five sayu-men while
retreating (left， right， le right， left). After
the nalstrike， move back to a suitable
distance， and strike shomen from chudan，
This constitutes one cycle which can be
repeated any number of times depending on the level of the students.
Tsuba-zeriai is the position in which both tussle in close-quarters with the tsuba of both shinai touch !b
1

ing following a failed attack. ② Both practitioners engage in chudan rom

4
a

-:・Method
-
a
1eshinai should be angled slightly to the right with the
-
h
a
hands lowered， and tension kept in the abdomen while
tot-maat.

Move into iS50 灼 叫'o-no-maaiin chudan.

guarding the centerline. With the tsuba touching， each practitioner competes to eateattacking opportunities. In the case of nito， the longer shinai (.仰が)should be placed on top of the shoto to form a“X"，

Points
.:~・ Teaching

(1) Make sure that students understand attsuba-zeriai should not be used as a break from attacking， or as a

五巡包三塁盟 i

‘ • •
③Lift the shinai overhead in a large motion，
 ③

st tegicplay to waste time in shiai. It is a chance to assertively create attacking opportunities， (2) When in tsuba-zeriai， the back is kept perfectly upright， with the hands lowered， and energy concentrated in the lower-abdomen
(3) Instructstudents to stand tall with their neck straight， with a feeling of trying to be taller than the opponent. Check that they do not lean too far forwards.
，
(4)百 日 tsubashould be connected at appropria intervalwithout pushing the shin againstthe opponent's body.
(5) Do not to use excessive force， and avoid resting in the tsuba-zeriai position.

Kirikaeshi 切り返し
The attacker strikes shomen， stretching both arms out fully .

1. Ki 世佐 aeshi
Kirika hiis a comprehensive basic exercise which involves continuous men attacks， starting with shomen followed by a series of s のル menstrikes. It is a crucial part of training for beginners， as well as higher ra 凶 山 gkendo practitioners. Ki
月初出 hidevelops kamae (stance and posrure)， correct striking technique (hasuji and tenouchi)， footwork， distance and breathing. Kirikaeshi also helps build physical strength， nurtures a vigorous spirit， and improves the ability to make
strikes with ki-ken-tai-itchi，

At the beginner level， kirikahishould be done slowly with large， accurate strikes， Tai-atari and other elements may be introduced in accordance with the level of the students to develop other aspects of their kendo. Kirikaeshi is
particularly useful for correcting and preventing bad habits.

68
Moving forward from the hips， the at
⑤ tacker collides with the receiver keeping an
upright posture 69

C CHAPTER 6: KIHON-Do (BASICMOVEMENTS) 基本動作

⑤
Fhm'h
L
g
L
n
g
J
M
'He cs da IJ amr LME
rA'Lvnu
un

u
dI
m

問、
e
s
t
ir
⑥
m
M
U
h
1
m
m
4

d
t

b
(2) Shomen -Sayu-men
From chudan no-kamae， the attacker lifts the shinai overhead in a large motion and strikes shiJmen，
⑦
日f
叫
巾
shinaio
verhea
d in a
large
mo
凶九
theat

ckermakes a d 岨略 gFOxn1ad[mk
to m~ 仰-
fit

③?干 othp tl E
Qlstance.

@ The attacker immediate1y lifts the shinai OV?rhead in a large moUORand Strikes l⑨ 5 omen
IA2rib-esbiIKaining sups]
(1)Coatmuous saya-mm Strikes
:t!OTch 加丘幼炉向

tEZ20;trcii:
a Jargε motion and strikes hidariZ→，問?勿町 2en.Without ret
F

;222121222U33
followed by continuous sayu-men moving forwards then
backwards. Once this p ternis completed， both
practitioners should return ro a suitable distance in
chudan， after which the attacker immedi- ately strikes
shomen again. When repeating this cycle more than two times， the final shomen strike becomes the first shomen strike for the next set.

判:.Teaching Points
(1) 1he student should confirm that they have correct posture，ね maeand grip on the shinai at the toi-maai distance， and then proceed to issoku-itto-no-maai
(2) Emphasize large and accu 回 目 strikingin the case of beginners， and gradually increase the speed as their ability improves.
(3) Check that the shoulders are not too tense， and that sayu-men is struck in a smooth and relaxed manner
(4) 1he angle of the sayu-men strikes should be approxima ly45 degrees.
(う)刀 1estriking should be accompanied by correct footwork， making sure that the attacker does not use ayumi-ashi when moving backwards.
(6) 1eleft hand should not drop below， or stop too high above the solar plexus on each downswing. Also， the left hand is brought overhead in the upswing.
(7)耳目 lethand should remain on the centerline at all tim.
(8) The attacker should only breathe in after the shomen strikes， and continue exhaling with one breath for all the sayu-men strikes through to the next strike to shomen， or carry through to zanshin after， the final shomen
strike.
(9)τhe attacker must aim to strike the receiver's temples accurately with big strikes when executing sayu-men， and should be cautioned not to aim at the receiver's shinai， or strike at empty space. 1he datotsu-bu section of
the shiimust aim to strike the target accurate 砂.
(10) Make sure that the attacker does not bounce up and down excessively with the head， hips and knees when creating a striking rhythm
(11) 1he nalshiJmen strike should be done properly from issoku-itto-no-maai
(12) As skill improves， encourage the attacker to strike with one continuous breath in full spirit， stay mg m correct posture
(13) lisexercise should always be performed at the start and end of training

2. Receiving Kirikaeshi

.:.・Method
Both practitioners face each other from chudan-no- zae.When both are ready to start， the receiver should open the kensen slightly to their right to allow the attacker to strike shom 問 .The receiver should then move backwards allowing the
attacker to strike sayu-men. When the striking pattern is completed， both practitioners return to chudan at a suitable distance， after which the receiver opens the kensen again for the attacker to strike shiJmen

::Lilternately
‘.
continuousIRIEnsurehthcJ;z:;:
411
1
-kels approximately 45degrees It IS POSSIble to uset-F

ZZz21222:ぉ伽
J
fi--EasE z
' E
70
ReceivingContinuous Sayn-men Strikes

(1) Receiving by pulling the strikes in

1his method should be used when receivingrbeginners or lower grades. Holding the shinai verti- 71

C PTER6: KrnoN-DoSA (BASlC MOVEMENTS) 基本動作

cally， the left hand should be moved alternately to the left and right of the body's centerline， and the attacker's strikes“drawn in" on impact.

the attacker.
(4) Make sure that students start and finish by srriking hidari-men. The final srrike in particular， must be executed as accurately as possible
(う)Backward and forward movements should be included
(6) Help students improve by utilising either method of receiving in accordance with their level. (7)Zanshin must always be displayed after the shomen strike.

図画園 Zanshin 残 心

Zanshin is the physical posture and state of mind in which， even after striking， one is alert and ready to respond instandy to any counter-attack by the opponent. An attack thar does nor display zanshin is not considered to be valid.

Blockig(pulling in) hidari~men

Blocklng (pulling in) mlgz~men

Blocking (pulling in) hidari-men

Blocking (pulling in) mtgt-men

-:・Method
After executing an attack， the attacker must take a suitable disrance and immediately rerurn to

(2) Receiving by striking down

This method should be used for higher grades and more experienced students. Keeping the left hand on the centerlinethe receiver should go Eo gfeet and hit each Strike down Crispiy(uch-otoshi) rhrough e 丘町 ivetenouchi
 Blocking hidari-men Blocki.ng migi-men

-:・TeachingPoints
(1) The merhod used to receive kirikaeshi influences rhe progress of rhe attacker， and should be considered carefuly.
(2)百四 receiveruses ayumi-ashi when blocking the sayu-men attacks. Holding the shinai vertically; ensure that the left hand is POSitioned around waist-heightand the right hand around the chest. 1ehands should not be lifred too high
(3) 1ereceiver should engage in ful spirir wirh a loud and energetic kegoe(vocalisation) to boosr 72

chudan to face the opponent in preparation for a possible counter-attack.

If an appropriate spatial interval cannot be taken after the strike， the attacker should keep the kensen pointed at the opponent's tsuki-bu in preparation for possible counter-attacks

-:・TeachingPoIflts
(1) Make sure th;(r demonstrating zanshin becomes habitual in basic training from the beginner level. (2) Even if the strike is excellent， students must be taught to refrain from making exaggerated or excIred appeals

73

' •
•

Kendo is an individual combative martial tin which two opponents compete to score valid points on each other. There rethe basis of kendo instruction must aim to develop skills to respond to a multitude of different situations. To ensure the
successful acquisition of kendo techniques， it is important to always train in high spirits， with correct posture， and strike the target areas accurately with proper ha. ifor each attack to be counted valid(yuko-da 印刷).

Progressing from basic movements to practical movements

(individual skills)
基本動作から応用動作(対人的技能)への移行

lefollowing is a Iist of important points to note when progressing from basic movements (kihon dosa) to applied movements (oyo-dosa)

(1) Striking witli ki-ken-tai-itchi

Once the basic striking movements have been learned， students must try to strike with ki-ken-tai itchi (unison of spirit， shinai and body)

(2) Striking during the seme-ai

Kendo students should be taught to strike or thrust in a thoughtful process of active confrontation and application of pressure to force openings (seme-ai)， not to simply attack target areas randomly

(3) Taking advantage of attacking opportunities

Keiko should begin with exercises that encourage the student to seize obvious striking opportunities， and then progress to the subtle action of creating openings. As their technical ability improves， students should be taught to strike the
instant the opponent starts an attack

(4) Counter-attacking (ザ'-waza)in response to the opponent's strike (shikake-waza) Students should be taught shi ke-wazaand oji 'azaand practice oji-waza agai tshi ke-waza

(5) Providing snitable striking opportuities

Various instructional points concerning motodachi (receiver) skills are often neglected during instruc tion. Good motodachi skills must also be taught in order to improve the ualityof the attacker's strikes. As the motodachi plays a leading role
during practice， special attention should be given ro understanding the appropriate striking interval， having a sincere attirude， and revealing suitable openlngs so that the attacker can grasp the elements of correct striking

75
CHAPTER 7: A!>PLlEO MOVEMENTS (1ECHNIQUES) 応用動作(対人的技能)

Engagement (seme-ai) 「攻め合 L JI L、て

The act of applying pressure (seme) can be a di cultnotion to understand. Even if the intention is to apply pressure， if it evokes no response in the opponent， then it cannot be called true seme Seme is the act of maintaining a
comfortable distance (maai) but controlling and forcing reactions in the opponent

leability to respond to an opponent's attacks effectively extends from applying pr 田町民 first d then striking. An important teaching regarding the act of controlling the opponent is that of“san sappo" -"killing eken (sword)， killing the waza
(technique) and killing the ki (spirit)." To “kill" means to inhibit the opponent's movement.

(1) Killing the ken

1f each opponent faces off in correct chudan (with the kensen directed at the throat)， neither will be able to find any striking opportuniiies.官官 tipof the opponent's sword can be controlled by touch ing， suppressing， deflecting，
repelling， slapping， or tolling their shinai

(2) Killing the waza

Asserrive and constant attacking will prevent the opponent from initiating their preferred techniques.

(3) Killing the ki

The opponent's willpower can be overwhelmed， and their attacking opportunities forestalled or prevented by advancing with a determ edand strong fighting spirit.

1n this way， protagonistsrelentlessly applying seme and forcing openings in the opponent's mental and physical kamae constitutes the seme-ai in which the exchange of techniques becomes possible. It is important not to attack randoml
burthrough “applying pressure and attacking". Seme and counter ing an opponent's pressure (seme-均百 u)is a key factor for improvement in kendo， and understanding the concept of seme-ai is inextricably linked to the advancement of
practical skills.

Eection 3 Initiating attacks (shikake-waza) しかけ技

τhe skills fundamental to kendo can be categorized into shikake-waza and oji-waza.官官 following section is an explanarion of shikake-waza. The phorographs are provided for junior level kendo practitioners to learn the various techniques.

To take the initiative and attack (shi ねた)in kendo is not metely to make a committed strike at a target， bur includes the process of seme made prior to the attack lefeeling of seme must always be present， regardless of whether one is
advancing or retreating. Shikake-waza is the result of various modes of seme， and beginners should ideally be given instruction in shikake techniques first.

lefollowing are specific examples for einstruction of shi ke-waza:

76
‘

(1) I;pon-u~hi-wa:::a (l-s~ep techniques in response to ch gωin eopponent's Itensen through sem
- One-step techniques. Attacks that begin with seme and take advantage of opportunities created through consequential movem 回 目 inthe opponent's kensen

. The kensen opens (moves of center) ・・ ・・ men

lekensen drops . . ・ ・ ・・・ tsuki
. The kensen rises . . . ・・ ・・ ー.. .. .kote
. The hands rise . . . . . . . . . . . . . . . . . . . . . . . do

(2) Renzoku-waza (2 or 3steptechniques - Continuous attackin)

- 2-3 consecutive strikes

• Kote men • Kote do

.Men men • Men kote .Men do
Tsuki kote • Tsuki men
• Kote men men • Kote men do . Tsuki men men
. Tsuki men hiki-men
(3) Harai-waza
- Deflecting the opponent's shinai off the centerline

1Harai-men(omote -from left to right)

• Harai-men (ura - omright to left)
• Harai-otoshi-men (downwards)
• Harai-kote
• Harai-d
• Harai-tsuki (omo 町)
• Harai-tsuki (ura)

(4) Maki・仰~za
- Using a circular motion to roll the opponent's shinai off center. This category includes ma 'ge techniques (a circular motion flicking the opponenr's shinai upwards) and makiotoshi techniques (a circular motion forcing the opponent's shin
downwards)

• Makiage-kote
• Makiage-do
• Makiotoshi-men
. Mkiotoshi-tsuki

(ラ)Debanawaza
- Striking the moment the opponenr is about to attack.

• Debana-men
• Debana-kote
• Debana-tsuki

77
CHAPTER 7: ApPLIED MOVEMENTS (TECHNIQU 日) 動作(対人的技能) (1) Seme men
P ur 一?一 e appμl E 一! O oppon
(6) Hiki-waza soon as the opponent's 舵己~e moves offcenterseize this opportuniry to make a decisive strike to men It is
possible to apply sen toeither side (omote or 't)of the opponent's kemen to create openings
- An attack made while retreating

Hiki-men
-:・Method
o

o Hiki-kote
o Hiki-do ①
Both practitioners engage in ch danfrom

(7) Katsugi-waza
- Moving the shinai over the left shoulder quickly to surprise the opponent and then striking.

o Katsugi-men (shomen)
o Katsugi-men (問答 i-men)

oKaugi-kote
toi-maai.
The attacker on the right applies seme and ②
(8) K tate-waza moves into the optimum striking distance
- One handed strikes (uchima). The opponent's kensen opens，
revealing a striking opportunity.
oKaate-migi-men(katate-yoko-men)
o Katate-tsuki
( ny t
o
nu A-
- a
h
z
z En C O V i r 'n a 1G R d m u
pL
'

q m
oKote (moro Taking advantage of this opening， the at tacker quickly ③
oMen (katate -one hand) Men(morote -twO hands) o Kote oDo swings the shinai overhead
(katate)

(10) l zafor nito-no-A 抑 制 e

- The sryle of kendo that uses two swords at once

1. IpPON-UCHI-WAZA (1STEPTECHNIQUES IN RESPONSE TO CHANGES IN THE OPPONENT'S Theat krcom 坤吋 Pμl 町申 menstrikein 011e ④ flowing motion
NSENTHROUGH SEME) 本打ちの技

The requirements for ippon-uchi-waza have already been outlined in the section on basic striking， but will be treated
here as the starting point for shikake-waza

In the seme-ai proc sthe opponent's kensen will either change direction verrically or horizontaly， or their hancls willlifr
up. Carefully watching the opponenseyes and the movement of their kemen， execution of shikake-waza requires
striking at any openings that manifest while.

78 79
-
CHAPTER 7: ApPLIED MOVEMENTS (TECHNIQUES) 応用動作(対人的技能)
lil-
-
e
(2) Seme kote
i-ifell!lil---11111
Pressure is applied to the opponent's center with the kensen while engaging vigorously from chudan.

As soon as the opponent's kensen lifts up， make a decisive strike to kote. It is possible to strike kote omabove or below the opponent's shinai
(3) Seme migi-do
Pressure is applied to the opponent's center with the ke enwhile engaging vigorously omchudan As soon as the opponent's hands rise， take a large step in and make a decisive strike to the right side of the do.

-:・Method
① Both practitioners engage in chudan from
-
V
①
Me 1
j
-
出
h
-u d d n b o m Fc σb ρiw a c t o n ρL r s ρiv n
W
- σhu A
U

①
toz-maaz.
m
PA
rz

The attacker on the right applies seme and

②
T 'h
M

M
，‘ S
no'i tF
h
h
t
hHJue YHhv r sg n Ili
P

anku nun GLσb E

moves into the optimum striking distance

②
e
v
ρLrLi

t1
&n
It
ρL

uk
m
u
!a
m
p
WM
ipK
g
dLn

②
o
e
O
d
The opponent's kensen rises up revealing an
T
t
h
'
h
o
K
p
p
、ム
m
d
s
r
e
1
ρ
L
d

openmg

l
r

Taking advantage of this opening， the at

t a . 'k ③
a
k mσbn T r
AU
vKM my ts £
!
L
t'h Luc 1J f
O A十L
O
s m
' a t tt
k d ριL

n
ρiLw7
m g
p

③
tacker quickly swings the shinai overhead.
L
A
ー
n

pr
w
U
d
u

④ 百 1eattacker completes the kote strike

in one ④ T
&
e n o n Ir
- L
-'K r pLP
L

'uEo et n
c a
-
a
flowing motion ④
e
n
n nr l c t t h c
- S

d
r
g

80
81
CHAPTER 7: MPUED MOVEMENTS (TECHNIQUES) 応用動作(対人的技能)

(4) Seme tsuki (omote， ura)

Pressure is applied to the opponent's center with the kensen while engaging vigorously from chudan
〈・ Method(ura -the attacker's right hand side) Both practitioners engage in chudan from
As soon as the opponent's ke endrops， make a decisive thrust to the throat. Method(omote - the attacker's left hand side)

tot-maaz.
①

Both practitioners engage in chudan from

①
toi-maai

I
The attacker on the right applies seme and ②
moves into the optim，um striking distance.

The attacker on the right applies seme and r-::: moves into che ideal scriking discance. I@

Due to the scrong pressure applied by the attacker， che opponem's sendrops down (2) on the omote side (to che righc)
 Due to che strong
pressure applied by the
③ attacker， che
opponem's kensen
drops down on che ura
side (to the left).

Taking advamage of this opportunity， che attacker quickly chruscs aC tsuki-bu wich boch hands.

Taking advamage of this opponunit che attacker quickly thrusts aC tsuk buwith boch hands

82

TeachingPoints
(1) Men， kote， do and tsuki acracks and their rpectiveteaching considerations are discussed in Chapcer
6. Particular attention should be paid to striking w 出戸 m mi(scepping forwards and smping).
(2) Inform srudems about che importance of keeping an appropriace discance when facing-off in
chudan-no-kamae

83
C 出町田 7:A!>PLlED MOVEMENTS (TECHNIQUES) 応用動作(対人的技能)

(3) Enter the striking interval (uchima) making sure that unnecessary power in the hands and shoulders is eliminated when applying seme with the ke 町四ー
(4)When moving in to apply pressure， the attacker must maintain correct chudan revealing no openmgs.
(う)Check that the left foot does not fly up at the back after making the attack (hane-ashi) (6) Encourage the student to apply seme， identi theopening， and strike in one smooth movement In order to achieve this， effective footwork and
moving from the hips should be emphasized.
Utilizing the momentum from the kote r (4) strike， the attacker quickly swings the shinai overhead

The attacker follows through for the men

明'AZA(20R3STEPTECHNIQUES
2.RENZOKU
CONTINUOUSATTACKIN) 連続投
⑤ strike in
one fluid motion
Renzoku-waza should be used when the initial
attack is foiled， or was insufcientto score a
valid
strike. Especially in training， each strike
should be precise and strong， and flow into
the next one.
Students should attempt the techniques in
various situations to work out what is the best occasion to
apply them.

(1) Kote men

Engage the opponent from chudan. Strike the opponent's right kote when the opportunity manifests. As the opponent draws back and drops their kensen， or moves the kensen to the side in defence， use the momentum from the kote
strike to continue forward and strike men.

①
-
V
um
B
-bι
①
L
u
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S 5
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mu
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②

K(Jte men (viewed from above)

Due to the strong pressure applied by the at

tacker， the opponent's kensen rises in defence.
1eattacker seizes the opportunity to quickly
strike kote.

85
84
CHAPTER 7ArPUEDMOVEMENTS (TECHNIQUES) 応用動作(対人的技能)

。) Kote do
Engage with the opponent in chudan. When the opportunity arises， strike the opponent's right kote. If the kote attack is insufficient， apply seme to the opponensmen. When the opponent

tries to counter-attack men or lifts their arms in defence， immediately move the body slight!y to the right and strike migi-do.

-:・Method
Both practitioners engage in chudan from tOl-maat

The attacker on the right applies seme using the kensen and moves into the optimum striking
distance.

K山→ do(viewed From abov

-:・TeachingPoints
(1) Remind the attacker to focus on the opponent's eyes rather than looking at the kote prior
to striking.
Due to the strong pr sureapplied by the a I ~ tacker，出 eopponent's kensen rises in defence. I ¥0 leattacker seizes the opportunity to quickly strike kote
(2)Ensure that the attacker's kensen does not deviate from the opponent's centerline after striking kote
(3) Instruct the attacker to snap the left foot up quickly to attack again with correct posture

(
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n y a W

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a
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④ 百 leoppone 'sarms then lift to defend from
M
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the next attack
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⑤ 百 leattacker immediately strikes migi-do 6

ぐ~ Method
Both practitioners engage in chudan from
toz-maaz.
The attacker on the right applies seme using
the kensen， and moves into the optimum
striking distance

⑤t
，
 .，

87
CHAPTER 7: ApPLIED MOVEMENTS (TECHNIQUES) 応用動作(対人的技能)

③
i
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The attacker on the right applies seme using the kensen and moves into the optimum striking distance
 ②

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The attacker continues the momentum and

collides (tai-atari) with the opponent (left)

The opponent steps into the collision， to

which the attacker utilizes the force to
rebound backwards from the left foot while
lifting the shinai overhead.

88
The attacker follows through for the second
men strike in one Huid motion

‘ h

(4) Men tai-atari hiki-men

Engage the opponent in chudan. Strike the opponen'smen as soon as the opportunity arises. Both collide (tai-atari) as the opponent moves forward to block the men attack. The attacker bounces back immediately from the left foot and strikes hiki-
men
.，
④

89

CHAPTER 7: APPLIED MOVEMENTS (TECHNIQUES) 応用動作(対人的技能)

An accurate strike is then made to men

⑥

(ラ)Men tai-atari hiki-kote

Engage with the opponent in chudan. When the opportunity arises， strike the opponent's men. Both collide (tai-atari) as the opponent moves forward to block the attack， and then the attacker bounces back immediately from the left foot and strikes
the opponent's ourstretched kote

-:・Method
Both practitioners engage in chud from
toi-maai.

The attacker continues the momentum and collides (tai-atari) with the receiver (¥eft) who moves forward and braces for the collision

⑤The attacker utilizes the force of the collision to rebound backwards from the left foot， and strikes the right kote
-:・TeachingPoints

The attacker on the htapplies leusmg the kensen and moves into the optimum striking distance

Due to the strong pressure applied by the attacker， the opponent's kensen opens and the attacker seizes the opportunity to strike men

90

③
 ，- ，

(1) When practicing this technique， the attacker should be encouraged to make a committed and pre seattack to men. To enable the efFective execution of the hiki-waza technique， the motodachi must move forward resolurely into the tai-atari and
reveal a clear opening for kote
(2) When strikir¥g kote while retreating， a firm strike must be made with proper tenouchi (hand
manipulation) on the target area with correct posture
(3) lestrike should be decisive with both shinai at a parallel angle

(6) Men do
Engage with the opponent in chudan. Strike the opponent's men when the opportunity arises. Step forwards with the right foot and strike do as the opponent's arms rise in defence， or as the opponent begins to counter-attack.

〈・ Method
Both practitioners engage in chudan from

toi-maai ① 91
CHAPTER 7: A1'PUED MOVEM Ts(TEc IQU 回)応用動作(対人的技能)

striking distance.
a .. arises， strike the opponent's men. The opponent

The attacker on the right applies seme using )Men tai-atari hiki-do ① the kensen and moves into the optimum Engage in chudan. When the opportunity

moves fotward to block the attack. Both collide

(tai-atari) and then the attacker bounces back
immediately from the left foot and strikes the

.
opponen'sdo .:.・Method
 Due to the strong pressure applied by the
• ① Bothpr 日 肌 aCt oneEsengage in chudan from
l② attacker， the opponent's kensen opens.百四 a ① tot-

maaz.
tacker sees the opportunity and immediately
• aThe attacker on the right applies seme using

lifts the
shinai overhead
. the kensen and moves into the optimum striking distance.

‘
The opponent's kensen opens due to the
③
The attacker strikes men by lunging forward
strong pressure applied by the attacker
from the right foot. Seeing the opportunity to
strike men， the a tacker immediately lifts
the shinai overhead

UIIlimnE Ehe forward momentumhm the l④

leattacker (left) then steps backwards and
the attacker strikes do as their arms rise up
in defence

-:・TeachingPoints
(1) The first strike to men is not a feint but should be executed with full commitment. (2) If the distance is too close after the men strike， it will be di cultto follow up with a strike to do. Adequate consideration should be given to creating a
suitable distance
(3) Once the initial attack has been received， it is import tto have pliable tenouchi to enable a quick strike to d.
(4) When striking do， ensure that the attacker's head does not drop， nor do the hips bend. ledo strike should be executed from the hips with a stable postu .
‘.
 ‘
，ZE----a .E
‘. a .‘.
j
-

l
l
，

men attack， the attacker collides with the

opponent who steps forward and braces r the
tai-ata

The attacker boundsbackwards from the left

foot and strikes do

93
92
:HAPTER 7: ApPLlED MOVEM 回目(ThCH QU 日) 応用動作(対人的技能)

-:・TeachingPoints
(1) When striking do， the attacker's head should be upright， and the back and arms extended to strike do at the correct angle.
(2) Upon striking the opponent's do， the attacker should retreat far enough to avoid any fol1ow up attack.

-:・TeachingPoints for Renzoku-waza from Men

(1) Ensure that the tialmen is struck accurately and with commitment.
(2) In the case of forward moving techniques， the attacker should keep the shinai on the centerline
As the opponent's arms rise， the attacker immediately steps back with the left foot and strikes kote.

④
after striking men
(3) When performing techniqu withtai-atari， make sure the center of gravity is lowered and the ‘'
movement is executed in one flowing movement.
(4) 1emotodachi should brace for tai-atari by moving into it.

(8) Tsuki kote

Engage the opponent in chud.仰 .When the (i)
opportunity arises， thrust at the tsuki-bu with
both hands. If the tsu isparried or insufCJent
to score a valid point， move backwards s1ightly
to
strike kote decisively as the opponent handsrise

〈・ Method
Both practitioners engage in chudan from
tot-maaz
(9) Tsuki men ① Engage the opponent in
chudan. The instant the opponent's kensen
lowers or opens to the side， step forward with
the right foot and thrust at the tsuki-bu. As the
impact causes the opponent tos pback， or the
opponent's posture changes in defence， qu
lystep in with the htfoot and strike men.

-:・Method
Both p titionersengage in chudan from ② toi-maai
The attacker on the right appli semeuSlng thehensrpzaMmoves into the optmuJ striking distance.

The attacker on the right applies seme using the kensen and moves into the optimum striking distance.

Due to the strong pressure applied by the attacker， the opponent's kensen lowers， and the attacker thrusts at the tsuki-bu with bo
hands.

4
②
Due to the strong pressure applied by the
attacker， the opponent's kensen lowers， and
the attacker thrusts at the tsui-buwith
both hands.

As eopponent moves back and the ke 町 四

drops down to the right， the attacker seizes p④

the opportunity to strike men

95
CHAPTER 宍 ArPLIEDMOVEMENTS (TECHNIQUES) 応用動作(対人的技能)

-:・TeachingPoints for Renzoku-waza from Tsuki

(1) Techniques beginning with tsuki are most effective when the opponent's kensen moves off the centerline. Therefore， it is important to encourage the attacker to carefully watch for movement in the opponent's kamae to identify attacking
opportunities
(2) Encourage fully committed attacks. Half-hearted tsuki techniques may result in a striking chance for the opponent
(3) Tsuki men is effective on opponents who step backwards， whereas tsuki kote is best used against an opponent who attempts to counter by moving forward. There reit is important for the attacker observe the opponent carefully to determine the
best technique.
τhe attacker then strikes men as the opponent moves backward and the kensen drops down to the right

As the opponent's arms Else again the ⑤ attacker l

moves diagonally to the right and
(10) Kote men do strikes dd. Engage the
opponent in chudan. If the initi 叫ん otestrike is insu cientto score a valid point， move
rwardand strike men. As the opponent's arms rise in defence of the men strike， immedi elymove
forward again and strike migi-dd

-
V
①
im
M -
d
i
h
Fd a t lt 10n
Fhw
U pL P
-s e R σb a ob e -I n fau

m
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r
M
r o m pd n I

(11) Kote men tai-atari hiki-do

Engage with the opponent omchudan. If the initial kote strike is insu cientto score a valid point，
move direct1y forward and strike men. If the men strike is also indecisive， and the opponent does not
move backwards， perform tai-atari and strike m i-ddwhile stepping back from the left
foot.

-:・ Method
The attacker on the right appli semeusmg I
the kensen， and moves into the optimum 10 striking distance.

③ 百 1eopponent's ke 間 四 risesdue to the

strong
pressure applied by the attacker. Taking ③
advantage of this opportunity， the attacker
strikes kote.

96
Both practitioners engage in chudan from tOl-maaz

The attacker on the right applies seme with the kensen and moves into the optimum striking distance
①

② 97
CHAPTER 7: A PPLIED MOVEMENTS (TECHNIQUES) 応用動作(対 的技能)

τhe opponent's k enrises due to the strong pressure applied by the attacker. Taking advantage of this opportunity， the ④ reare many other combinations that can be practiced depending on skilllevel
attacker strikes kote

④The attacker then strikes men

③ (12) Other Examples of Renzoku-waza

(1) Kote men men

(2) Kote kote men
(3) Kote d 一→ men
(4) Kote tsuki men
(う)Kote tsuki→ 必
(6)Men tat-atarl kote men 3. H ARAl-WAZA 払い技
(7)Men men do
(8) Tsuki men do Harai-waza are techniques which are employed when the opponent is ready in maeor III a
(9) Tsuki men men defensive stance， and there is no opportunity to attack; it consists of striking after deflecting the
opponent's shinai to the upper-left or right， or to the lower-left or right， and breaking the opponent's
⑤ ' backwards. As
x ⑤ such， it is important to always take the initiative J
lt is particularly effective when the opponent either begins an attack or steps
stance.
T ' cku 5ua K1mmT s-' t L th t
E n M J u l
ρ c L E
1 ? O -
I I L
r x L P n t u E E
l n O E c m O
b i mp
ρ
L m nt 丘 d 3

m H
e k
E c
引
n
L
e o E s
- N
T k r
3 u
h a
m (1) Omote (left) harai-men
begins an attack in response， deBect the shinai upwards to the left with the omote
(left) side of the
shin 山 .Quickly move in to strike men as the opponent's kamae is broken

Engage the opponent in chudan. Use the kensen to apply seme. As the opponent
moves forward or
-:・Method
The attacker then steps back from the left ①② 百 leattacker (at the top) seizes the opportunity to deBect the opponent's shinai diagonally up to the left.
foot and strikes do. @)
③The attacker continues to lift the shinai overhead.
④The at kerthen lu esforward to strike n.

. :~・ Teaching Points

Emphasize the importance of footwork and correct posture when striking hiki-do. Also ， ensure the attacker
moves back far enough to avoid the opponent's follow-up attack. (Refer to the section on hiki-waza)

-:・AdditionalTeaching Points for Renzoku-waza

(1) When performing renzoku-waza each strike must be made with full commitment (2)τhe left
foot (rear) is immediately snapped back into position after the first strike

98 99
CHAPT 7:ApPLlED MOVEM TS(TECHNIQUES) 応用 作(対 的技能)

σ) Ura (right) harai-men

h
.
③
③
r S
M uN13 n O O m i r M
d
t In'n ee t Hdk -
Ast m n W t K
O
L
Engage the opponent in chudanUsethe kensen to apply seme， and as the opponent moves forward
nn
r
1
d
t
d
 a

e
t
Y
a
P
o &
s
m
f
p
μ

or begins an attack in response， def!ecr the shinai upwards to the right with the ura (right) side of the
L
d
d
t
n
e
m
u
H
U

1
t
shinai. Quickly move in to strike men as the opponent's maeis broken

.:. Method
①② 1he attacker (at the top) seizes rhe opportun todef!ect the opponent's .aidiagonally up
to the right.
The attacker continues to lift the laioverhead
τhe at 凶 臼 rthen lur forwardto strike men.
The attacker continues applying seme and
quickly moves in to strike men. U

-:・TeachingPoints
(1) The attacker's shinai should make contact
with the middle of the opponent's in the
harai (def!ection).
(2) 1he technique must be performed with ex
ible wrists in a sharp motion.
(3) Encourage the attacker to draw an arc as they li theshinai overhead while def!ecting the op
ponent's shinai off-center. leharai and the strike should be completed in one f!owing movement.
(4) Ensure that eattacker uses both hands to perform the h 泊四日 therthan just the right hand. leat
ckermust take the initiative and move eirwhole body in a consolidated movement from the hips.

(3) Haraiotoshi-men
Engage the opponent in chudan. Using the ke 町 ー (4) Harai-kote
l① en to apply seme， when the opponent Engage the opponent in chudan. Apple seme with the kensenWhenthe oppon tprepares to attack by lowering their
prepares attackand lowers their ensen deflect kensen， def!ect the shinai up to the right， and strike directly at the opponent's kote. le basic movement for this
technique can also be used in harai-men
-:・Method
- - m LK
V 旧。川 EnA t md e “ mcm -t r
- m v
n

町 U
(at the top) sees
IR m W
e 伍② Theattacker U3 - pi
B H
ι
H 1 d O ② bK
l
a an opportunJty
t 3
M?
凶山
T et 「 and deflects the
A
w
aa ②
h v
d h J o r n o u 1 m opponenr's
n 1
HAU
at t n m shinai
H

diagonally upwards to the right

The attacker then moves in and
strikes kote.
 100 101
CHAPTER 7: ArPLaD MOVEMENTS (TECHNIQUE5) 応用動作(対人的技能) θ) Teach the attacker to move through to the right or the left， depending on the ④ 百 1eattacker quickly mrusts at the tsuki-bu
circumstances after striking do.

-:・TeachingPoints
(1) The attacker will often only use the hands when performing this technique， so
ensure that the whole body is used without leaving the hips behind.
(2) Watching the opponent's eyes， the attacker should snap the left foot up to
maintain stability dur ing execution of the harai technique
(6) Harai-tsuki (Omote) ①
Engage the opponent in chadan. Use the kensen to apply seme， and deflect the
opponent's shinai up to the le.Move in quickly to thrust at me uki-bufrom the omote
side (the attacker's left side). It is acceptable to thrust at the rgetwith the blade

，
(3) Harai-kote requires f!exible wrists with a smaller， sharper harai than the harai- facing down to me diagonal right
men technique
②

102

(ラ)Harai-do
Engage the opponent in chadan. Use the kensen to apply seme and def!ect the
opponent's shinai up to the right. Move in quickly to strike migi-do. Method
Both practitioners engage in chadan from toz-maaz

-:・Method
①② 百 1eattacker (at the bottom) sees an opportunity and def!ects the opponent's
shinai diagonally to the right
③ 百四 opponent'sarms rise and the attacker takes advantage of this opportunity.
④ 百 1eattacker quickly strikes do.

Moving forward to apply seme，

the attacker lifts the shinai
slightly up to the right

Seeing an opportunity to stril 司，

the attacker def!ects the
opponent's shinai down to the
-:・TeachingPoints left.
(1) 1eattacker must use their whole body and maintain stability while applying
seme and executing the technique after the opponent's shinai has been def!ected
upwards
(2) The attacker's wrists are turned in front of the body to strike do. 103
CHAPTER 7: ApPLIED MOVEMENTS (TECHNIQUES) 応用働作(対人的技能)

σ) Harai-tsuki (Ura)
Engage the opponent in chitdan. Use the kensen to apply seme， and deflect the opponent's
shinai up to the right. Move in quickly to thrust at the 抑止 i-bufrom the ura side (the attacker's
 right side). It is acceptable to thrust at the target with the blade facing down to the diagonalleft makiotoshi-men and makiotoshi-tsuki are examples of this technique.

.:.・Method

-:・TeachingPoints
(1) Ensure that harai and ukiare performed in one flowing movement.
(2) Instruct the attacker to thrust with the whole body with su cientforce， and to pull 品 lVayafter contact
is made with the uki-bu

.:. Teaching Points for Harai-waza (1) Makiage-kote

(1) When performing harai-waza， make sure that the desection is powered not only with the right Engage the opponent in chitdan. Maintaining
hand. The left hand provides leverage， and the right wrist issupple， not rigid. Both hands operate contact with the opponent's shinai on the omote U

Both practi nersengage in chitdan from tot-maaz side， rotate your shinai in an anti-clockwise
direction. Lift the opponent's shinai up to the
right and continue moving forward to quickly
strike kote as eopponent's hands are off-center

〈・ Method
③

@ Moving forward to apply seme， the attacker lowers the shinai on the ura side

Seeing an opportunity to attack， the attacker deectsthe opponent's shinai up to the right.
together in an arc-like movement to slap the opponent's shinι
①

(2) Teach students to move the whole body forward from the hips theharai is executed

4. h -WAZA 捲き技
Maki-waza are techniques in which the attacker rolls the shinai clockwise or anti-clockwise to lift or
suppress the opponent's shinai and break the center to create striking opportuniti 白・ Makiage-kote
Both practitioners engage in chitdan from
The attacker quick1y thrusts at the tsuki-bu 104

tot-maaz
The attacker moves in and applies seme， maintaining contact with the opponent's shinai on the omote side

③ 百 1eattacker rolls the opponent's shinai in an anti-clockwise direction.

② ③

4J 105

C P R7: A1'PLlED MOVEMENTS (Thc IQUES) 応、用動作(対人的技能)

The attacker then lifts the opponent's shinai ω by Hicking it up to the right. '-Y

The attacker quickly strikes kote just as the

opponent's hands move off center.

Makiage-kou (viewed from above)

(2) Makiotoshi-men
Engage the opponent in chudan. Keeping contact with the opponent's shinai on the ura side， rota your own shinai in an
anti-c1ockwise direction. Li 氏 theopponent's shi iup to the right and con tinue moving forward to quickly strike men as
the opponent's hands are 0 center.

-:・Method
Both practitioners engage in chudan from ①

tOl-maal
② 官官 attackermoves in and appli 回 日 mιkeep- |②
ing contact wim the opponent's shinai on the

ura side.
The attacker suppresses and rolls the op
ponent's sh 閉 山 fromthe ura side.

The attacker quickly strikes men just as the

opponent's hands move 0 自己 center

106
③

107
CHAP R7: ApPLlED MOVEMENTS (ThCHN1QUES) 応用動作(対人的技能)
 as the opponent prep 町 田 tolaunch an attack
and begins to move forward

1eattacker steps in to strike men

Maki otoshi men {viewed from

above}
TeachingPoints for Maki-waza
(1) Instruct the attacker to perform the technique by utilizing the whole body rather than just the hands
(2)1 匂 chstudems to execute maki-waza from the middle of the shinai in towards the opponent's hands

Encourage EC attdcrto move in aI trikew wholebody herthan just the hands -・~ TeachinσPoints

ラ.DEBANA-WAZA 出ばな技

Debana-waza techniques are applied the moment an opponent begins to apply seme or starts an attack.百
(2) Debana-kote
lUSit is important to carefully observe and read the opponem's movements. 1estart of the opponent's attack
Engage Ehe opponent m cb#dm.As the opponent's hensm lowers or moves oHcenterprior to launch mg an
is revealed by changes in the kensen and hands.
attackselzc this opportumty tostep forward and Strike hotge
1eattacker quickly !ifts the shinai overhead (吉)

(1) Debana-men
Engage the opponent from chudan. As the
op ponellt's kensen lowers or moves off
center prior to launching an attack. seize
this opportunity to step forward and strike
men.
① ②

Method
Both practitioners engage in chudan from
toz-maaz.
The attacker on the right applies new the
kensen and moves into the optimum
striking distance.

The attacker on the right applies seme with the kensen and
moves into the optimum st kingdistance
.:1Method ①
Both practitioners engage in chudan from toz-maal.
 ② 109

108
CHAPTER 7: AP 四 回 MOVEMENTS(TECHNIQUES) 応用動作(対人的技能)

1eattacker quickly lif theshinai overhead as the opponent prep 紅 白 tolaunch an attack and begins to move forward
Me 由。d
③

Both engage in tsuba-zeriai and seek an

opportunity to attack

④ 百 1eattacker steps in to strike kote.

The attacker on the right pushes the oppo- ⑦
④ nent's hands in order to break the opponent's

kamae
quarters， the attacker's posture is often becomes unbalanced， giving the ③ 百 1eopponent then pushes back
-:・TeachingPoints opponent an opportunity to execute a follow-up attack. Hiki-waza should be
Instruct the studenr to move in and strike without breaking posture just as the applied when the opponenr's posrure is de-stabilized， or when rhere is a
opponenr is about to attack. change in eposition of their hands.

-:・AdditionalTeaching Points for Debana-waza

(1) !t is too late to perform debana-waza successfully if the opponent has
already started the attack， or has moved in to apply pressure. The student
must be taught to attack at any moment with full commltment
(2) The technique will not be successful if the opponent's spirit is stronger.
Encourage students to have a strong spirit， always ready to move forward
even a little
(3) As debana-waza requires exact timing， students need to learn how to read
the situation， and react instantaneously with the whole body.
(1) Hiki-men
From the tsuba-zeriai position， create an opporrunity to attack by unbalancing
the opponent's posture. Strike the shomen (or hidari， migi-n 仰，)using okuri-
ashi or hiraki-ashi to move backwards on an angle.
Utilizing the opponent's force， the attacker moves back onto the left foot and
lifts the shinai overhead.

6. HIKI-WAZA 引き技
⑤ 百 1eattacker then strikes men.
Hiki-waza is applied from tai-atari or tsuba-zeriai to execute an attack while
retreating. Many techniques in kendo start from a distance and are executed
after moving in closer. However， as hiki waza is instigated omc!ose-
 ④ ⑤

111
110
CHAPTER 7: APPLIED MOVEMENTS (TECHNIQUES) 応用動 (対人的技能) TeachingPoints
(1) Ensure the student uses correct footwork.
(2) Encourage a large striking movement with ample f!exibility in
the wrists (tenouchi). (3) As students become better at this
technique， make sure they make large， fast and powerful
strikes while moving backwards.

(2) Hiki-kote
From the tsuba-zeriai position， create an opporrunity ro attack
by unbalancing the opponent's posture， and strike kote using
okuri-ashi or hiraki-ashi moving backwards on an angle.

-:・Method
伍② The'attacker on the right push the
opponent's hands ro break their kamae. ①
Hiki-men (viewed from above)

The opponent then pushes back. Utilizing the opponent's

force， the attacker moves back from the le footand lifts the
shinai overhead.
④The at ckerthen strikes kote

②
112
Hiki-kou (vic:wed from abovc)

-:・TeachingPoints
(1)Instruct Students to push the opponent'S hands in a sharpSHong motion down to the leftand then strike when the hands move back in rponse.
(2)Cor16rmthat boEh tbet aze dlrectcd towards Ehe opponent'S Eight kote when stHKIng Ihe attacker should take a large step back from the left foot followed quickly by the right

(3)T，四 chstudents the importance of moving the body back with borh sh 印 刷 ona parallel angle 113

CHAPTER 7:APPlIEDM OVEMENTS (TECHNIQUES) 応用動作 ( 的技能) from the left foot and lifts the shinai
overhead

(3) Hikdo
From the tsuba-zeriai position， create an opportunity to attack by unbalancing the opponent's posture，
and strike migi-do using 0 uri-ashior himki-ashi moving backwards on an angle .

• :. Method ④The attacker then strikes do.

①② The attacker on the right pushes the ④
opponent's hands to break their kamae ①

Hiki- (viewedfrom

The opponent then push backand as the

above) -:・ TeachingPoints
(1) Make sure the upper-body does not incline forward when striking 'o.
opponent's arms se the attacker retreats ③
 (2) Employ proper tenouchi by turning the hands su cientlyto strike with the cutting edge of the shinai， as it is easy for the opponent to chase and counter-attack ， it is advisable rthe attacker to retreat
not the side. facing the opponent square-on

-:・AdditionalTeaching Points for Hiki-waza

(1) Teach students to attack after breaking the opponent's kamae， or by dodging or utilizing the op
ponent's pushing force.
7. KATSUGI-WAZA かつぎ技
(2)Conrmthat rhe correct part of the shinai is used in the strike.
Katsugi ー 即'azais a techniueused to lure the opponent into moving. Bringing the shinai over the left
(3) Striking while retreating is often not as forceful as a forward-moving attack. Teach students to make
a loud vocalization and strike with plenty of vigour. shotUder， the opponent is enticed into lifting their hands up， or their kemen becomes unsettled， creat
ing opportunities to strike men or kote.
(4) It is a common mistake to break posture and strike with the hands when executing hiki-waza. Also，

(1) Katsugimen
Engage with the opponent in chudan. While
applying seme， the attacker unexpectedly lifts
the shinai over the left shoulder to surprise the
opponent. As an opening manifes 臼， the attacker
quickly steps forward and srrikes men

-:・Method
Both p titionersengage in chudan from
tot-maat

114
①

115

C P R7: APPUED MOVEMENTS (ThCHNIQUES) 応用動作 (対人的技 )

The attacker on the right applies seme with the kensen and ④ 官官 attackerqllickly steps in to strike men
mOves into the optimllm striking distance.
②

I
The at keron the right appli.es seme llsing ② the kensen
The attacker lifts the sh 印 刷 overthe left sholllder qiuckly in and moves into the optimllm striking distance.
a large motion.

④
The attacker lifts the shinai over the left sholllder qllickly in a
-:・TeachingPoints for Katsugi-waza
large motion. ③

The attacker immediately steps in to strike ④ migi-kote

。)Katsugi-kote 116
①
Engage the opponentln cbddanApplying sunep the attacker unexpectedly lifts the 5bz az ove h lefE
shoulder to surpHSe the opponent-As an opening is revealedthe attacker quickly steps in to strike kote.
Katate-waza can almost be described as a kind “projectile weapon" as it is applied from a distance.
Method
(1) Encourage students to li theshinai over the left shoulder with total commitment (sutemi). (2) As katsugi-
waza reqllires the attacker to break their own kamae to create an opening， it ShOllld be tallght only after
dlle consideration is given to estuden.slevel.
(1) Katate 怖が-men
Engage the opponent in chiidan. Seeing an opportllnity to strike， take the right hand off the t: 4
swing the shinai back， and qllickly strike the opponent's migi-men as their kamae is disturbed.

8. KATATE-WAZA 片手技
Both practitioners engage in chidan from toi- at.

117
CHAPTER 7: APPLIED MOVEMENTS (TECHNlQUES) 応用動作(対人的技能)

- M The attacker on the right releases the right

V
i
①① ②
11
b P FM
-U ra d n FATA
in
-
c
o n e s n o qa σb
M qa FL
EIE rA ρL ρL

r hand from the tsuka while stepping out with

M the right foot and thrusts at the opponent's
z tsuki-bu

va om
The attacket on the right applies seme with above)
"'" the kensen， and seeing an
opportunity， moves ψ forward onto Ehe
left foot while SWIngmg the shinai back with
one hand
Katate-tsuki against jodan

TeachingPoints

③ 百 1eattacker strikes migi- n.

Katate-tsuki against jo n (from

abovc)

Katate-tsu againstchudan (from

(2) Katate-tsuki 118

(1) Rather than only using the hands and upper body， katate-tsuki should be executed with the
Engage the opponent in cbddan Seeing an opportunity EO Striketake the right hand OE Ehe tsuba
while thrusting at the opponent tsuki-buwith the left hand . whole body advancing forward to thrust. Ensure atthe srudent returns immed 旧 日 Iyto chudan. (2)
Make sure that the student strikes with the correct angle of the blade when attacking katate-men (3)
Confirm that the back foot is snapped into place quickly.
• :. Method (4) As these are comparatively difficult techniques， give due consideration to the ability of the
Both practitioners engage in chudan from students before teaching them
toi-maai ①

9. ]UDA WAZA よ段技

jodan is said to be an offensive kamae in which attacks are made with a strong， aggressive and
replete spirit. Techniques from morote-hidari-jod. aremost commonly used.

(1) Men fromjodan

Stepping forward with the left foor， assume hidari-jodan with both hands gripping the shinai. Seize
the opportunity to strike the opponent's men.
 119
C PTER7: APPLlED MOVE NTS(TECHNIQUES) 応用動作(対人的技能)

As the opponenr's
-:・Method
The attacker applies seme from hidari'odan ①
with both hands gripping the shinai
As soon as the
opponent' s kensen
opens， the attacker ②

the attacker steps forward from the left foot

and strikes men.

Men from jodan (from above)

(2) Kote fromjodan

Stepping forward with the left otassume the stance of hidari-jodan with both hands gripping the sbindz.Strike Ehc opponent's hote when an opportunity1s revealed

-:・Method
The attacker applies seme from hidari-jodan '"
with both hands gripping the shinai. ~

120
 Kote from jodan (from above)

-:・TeachingPoints for J odaI.waza

(1) Students must have a reple spiritwhen executing techniques from jodan
(2) Encourage the jodan practitioner to use the entire body rather anjust the hands when strik.ing. (3) Check that the hinai is on the correct angle when striking.

10. WAZA FROM NITO-NO-KAMAE ニ刀の構えからの技

Attacks made with the daito are katate-waza based on jddan techniques. For information on the hoto， refer to the section on valid strikes and thrusts (yuko-datotsu) in the glossary.

ji-waza(Counter-attacks)
Oji-waza are not meant to be blocks. Use the opponenr's power from their strike agams apply a validcounrerstrike.1his can only be achieved with an assertive approach during the seme 叫ん which flows seamlessly into receiving the
opponent's attack， and turning itagainst them.

To master oji-waza， it is important for the motodachi to strike accurately at the target areas. If the motodachi executes strikes expecting to be counrer-attacked， it will be difficult to apply oji-waza properl andwill slow down the rate of
pr6gress. When practicing these techniques， make students starr at a distant interval with slow and precise attacks， gradually increasing the pace and realism

Generally speaking， oji-waza can be categorized into two types: avoiding the opponent's strike so 121

CHAPTER 7: ApPLIED MOVEMENTS (TECHNIQU 田) 応用動作(対人的技能) Kote-nuki 寸?吋 n

• Kote→叫ん i-katate-m l-men
• Kote-nuki-kote

that their attack does not come into contact， and using the Jhinai to stop or alter the course of the (2) Suriage-waza
opponent's attack
• Men-Juriage-men (omote)
• Men"Juriage-men (ura)
Specific examples of oji-waza are !isted below.
• Men-Juriage-kote (ura)
• Men-suriage-m'gi-do
(1) Nuki-waza
• Men-suriage-hidari-d.
• Men-nuki-men
-Kote-su age-men
.λ1en-nuki-kote • Kote-Juriage-kote
• Men-nuki-migi-do
Tsuki-suriag men(omote)
• Men-nuki-hidari-do . Tsuki-Juriagenen(ura)
 (3) Kaeshi-waza ②The counter-attacker on the htapplies Jeme ②
• Men-kaeshihidari-men with the kemen and moves into the optimum
• Men-kaeshi-migi-men striking distance
• Men-ka hi-hidari-do
.λ en-kaeshi-migi-do
• Men- eshi-kote
• Kote-kahi-men
• Kote-kaeshi-kote
• Do-ね目 hi-n

(4) Uchiotoshi-waza τhe attacker on the left steps in

.M.主 f1 叩 n-uchioto.'shμj..men to strike men.
• Do-uchioto.'shμi-men g The counter-attacker moves
-Kotej-uchiotoshi-n back one step
-Kote-uchiotoshi-koteg while lifting the Jhinai overhead
. Tsuki-uchiotoshi-n 2 causing the
attacker to miss.

④ 官官 counter-attackersteps in and strik men.

④

122

1. NUKI-WAZA 抜き技

Nuki-waza are techniques in which one avoids the opponent's attack， causing the opponent to
swing through air， then counter-attacking when their movement has come to an end 123
CHAPTER 7: ApPLIED MOVEMENTS (TECHNIQUES) 応用動作(対人的技能)

can be interp 町 田 din two ways in kendo: Moving out of the way to take or crea distance
“Nuki"
and，② Changing direction and moving the body to the side to dodge an attack

-:令 TeachingPoints
(1) Men-nuki-men (moving back) ① (1) Concentrate on footwork to move the whole body out of the way when dodging the attack. (2) Ensure
that the evasive movement (nuki) and the counter-strike are performed in one seamless mot10n.
Engage the opponent in chudan. Dodge the
opponent's men strike by taking a (3) When stepping back， the counter-attacker should have the feeling of keeping their body w<白 ght
step back slighdy forwards， and makethe counter-strike immediately.
from the left foot， then step in and
strike the
opponent s men. (2) Men-nuki-men (moving to the side)
Engage the opponent in chudan. Move the right
foot diagonally forward to the right to ftthe ①
-:・Method body and dodge the opponent's men strike. As
Both practitioners engage in chudanfrom
tot-maat.
 the attacker misses， lift the shinai (2) When moving to the right， the counter-attacker should strike as the attack is avoided， rather than
overhead and dodging and striking in separate movements
strike men (3)Check that the counter-strike is not made from the side through excessive power in the right hand.

Method
Both practitioners engage in chudan (3) Men-nuki-migi-do ①
from Engage the opponent in chudan. In response
toi-maai
to the attacker's men strike， move the right foot
diagonally forward to the right， followed quickly
by the left foot. As the attacker misses and
strikes dlfough air with outstretched arms， turn
TeachingPoints
the blade and strike migi-do.
(1) Instruct the counter-attacker to keep their body weight wardwhen moving juSt enough to the side to
avoid the attack， and strike quickly after the attack is dodged
-:・ Method
② 百 1e unter-attackeron the right applies seme with the kensen and moves into the optimum striking distance

1eattacker on the left steps in to strike men. The

counter-attacker moves one step to the side
while lifting the shinai overhead

The counter-attacker quickly strikes men as the attacker's body is left unprotected.
② ③
Both practitioners engage in chudan from toi-maai
② 百 1ecounter-attacker on the right applies seme with the kensen and moves into the optimum striking distance

1eattacker on the left steps in to strike men. The counter-attacker moves the right foot forward diagonally to the right， and lifts the shinai over the left shoulder while avoiding the men attack

The counter-attacker brings the left foot up whestriking the open do rget.

② ③ ④
 124
125
CHAPTER 7: ApPLlED MOVEMENTS (TECHNIQUES) 応用 作(対 能) (2) Make sure the counter-attacker moves the whole body forward quickly from the hips to avoid
attacks， rather than only using the legs.
(3) Teach the counter-attacker to stay very close to the attacker when evading the attack， only nar
(4) Men-nuki-hidari-do rowly avoiding collision
Engage the opponent in chudan. 1n r，田 ponseto the attacker's men strike， move from the left foot and (4) 1ecounter-attacker stretches the arms out and spsin for the counter-strike while evading the attack in
turn the body to the left. T urn the hands and strike hidari-do while avoiding the attack. one movement， rather than moving and striking sepa 四 日 l
(5) Confirm that the rear foot and hips are not left behind when striking.
-:・Method (6)Men-nuki dari- IS hnicaIlydi cultto 悶 叫 eso it is important to give due con eratlOn to the ability of the
Both practitioners engage in chudan from ① students
toi-maai
①

(ラ)Kote-nuki-men
Engage with the opponent in chudan. 1n
rponseto the attacker's kote strike， move back

1ecounter-attacker on the right applies seme with the kensen and moves into
the optimum striking distance. -:・Method

② ③
Both practitioners engage in chudan from tot-
1he attacker on the left steps in to strike men Swinging the shinai up， the maat
counter-attacker moves from the left foot to the left to avoid the attack. The counter-attacker applies seme with the
kensen and mo'ves into the optimum striking
distance.

④ 古 1ecounter-attacker brings the right foot up while striking hidari-do as the

attacker's body is left unprotected ④
one step onto the left foot while lifting eshinai back to
dodge the attacker's shinai. Step forward with the
right foot and strike men.
τhe counter-attacker avoids the attacker's kote ω strike by moving one step

back and lifting 1- the shinai overhead.

126

1he attacker then strikes men. ④

-:・TeachingPoints
(1) Ensure that the do strike is made by turning the wrists in ontof the body so
that the shinai con nects at the correct angle
-:・TeachingPoints
(1) 1ecounter-attacker moves the whole body when avoirung attackra er 出血
justthe hands (2)官官 counter-attackermust be able to adequately evaluate the
speed， distance and direction of the attacker's shinai when avoiding the
attack. (3) Make sure that evasion and counter-attack are performed as one
seamless movement

127
CHAPTER 7: ApPLIED MOVEMENTS (TECHNIQUES) 応用動 (対 能)

(6) Kote-nuki-kote (1) Make sure the student does not come to a standstill after moving back

Engage the opponent in chudan. In response to the attacker's kote strike， move the left and right feet diagonally back to the(2) lewrists should be flexible， and the strike performed quickly in order to evade the attack and
unter-strikein a seamless motion.
left while shifting the ke 問 問 underneathin a semi-circular motion. Lifting the shinai overhead， step in and strike kote. This
technique features in nihon-me of the Nippon Kendo Kata
.:.・ TeachingPoints
①
σ) Men-nuki-kote
The counter-attacker then quickly Iifts the shinai Both practitioners engage in chudan from toz-
-:・Method overhead， facing the attacker maaz.
Both practitioners engage in ② 百四 cou er-attackeron the right appli seme
chudan from toi-maai with the kensen and moves into the optimum
② 百 lecounter-attacker on the striking distance
right applies seme with the
kensen and moves into the
optimum striking distance
⑤
Engage the opponent in chudan. In response to
⑤The counter-attacker steps in to strike kotι the attacker's men strike， step forward slightly
with the left foot and move to the left. Shift the The counter-attacker is able to avoid the a
As the attacker begins a kote attack， the kensen underneath in a semi-circular motion and tacker's men strike by moving slight!y to the side
counter-attacker moves back to the diagonal left ② Iift the shinai overhead， bringing the right foot with the left foot
while lowering the hands over to the left side as kote is struck oma square-
③ ④ on poslt1on

-:・Method
The counter-attacker faces the attacker， quickly
Iifts the shinai overheard and steps forward to
strike kote.

① ② ③
④

129
128
C HAPTER 7:ApPLlEDMOVEMENTS (ThCHNIQUES) 用動作 (対人的技能) Both practitioners engage in chudan from

-:・TeachingPoints lecounter-attacker then strikes men

(1) When performing men-nuki-kote， the counter-attacker must move su cient!yand counter-strike with the ④
correct cutting angle while facing the attacker. 1he strike should not be executed with eside of the shinai
(hirauchi)
(2) Instruct the counter-attacker to use the wrists flexibly wrists and to strike quickly. (listechnique was once
refrredto osae-kote.)

(8) Kote-nuki-katate-migmen
Engage the opponent in chudan. In response to the attacker's kote strike， take the right hand off the ukato A

evade the attack while moving forward with the left foot. Strike the attacker's migi-men with one hand
-:・TeachingPoints
(1) Ensure the counter-attacker us thewrists flexibly and strikes with the correct blade angle， rather than
just simply swinging the shinai around
-:ゐ Method
(2) Instruction in this technique should be determined by the level of the students

toz-maaz he counter-attacker on the right applies seme with the kensen and moves into the In response to the attacker's kote strike， the counter-attacker moves onto the left
optimum striking distance foot while lifting the shinai back with one hand.
①
 (4) Make students' understand the importance of carefully scrutinising the
attacker's movements and evading the attack just before it lands

② ③ ‘
2. SURIAGE-WAZA すり上
Suriage-waza is used to parry an attack using the left side (omote) or right side
(ura) of the shin to create an openmg.
-:・AdditionalTeaching Points for Nuki-waza
(1) Evading the attack and the counter-strike should be completed in one seamless listechnique isnot blocking or hitting the attacker's shinai away. Rather， using
motion (2) Nuki-waza is unlikely to be successful if the attacker isable to anticipate effective body and wrist movements suriage-waza is used to parry the force of the
the intention to counter It is important for the counter-attacker to apply pre ureand attacking shinai to create an oppor tunity for an instant counter-strike. Crucial
lure the opponent into making a committed attack.
factors to the success of this technique include distance， timing ldopportunity，
(3) Teach students not to become preoccupied with the opponent's actions leymust
body movement and crispness of wrist movement
be relaxed and able to respond naturaly to any situation.

(1) Men-suriage-men (Omote side)

①
Engage the opponent in chudan. As the attacker

strikes men， use the omote side (left) of the shinai

to slide up and parry the attacker's shinai and
strike men.

-:・Method
Both practitioners engage in chudan from
tdi-maai

130
131
CHA.PTER 7: APPLIED MOVEMENTS (TECHNIQUES) 応用動作(対人的技能) J Teachine:Points
6cpend :ndlS 旧 民 itmay be app riatefor the 山 町 er ackerto move forward， draw back， or move to slightly to the SIde
in order Eomake the Strike successful
lecounter-attacker on the right applies seme I (2i with the kensen and moves into the optimum I ~ striking distance

(2) Men-suriage-men (Ura side)

Engage the opponent in chudan. As the attacker strikes men， use the ura side (right) of the shi tto
SIlkup and parry the attackerpssbmdzand Strike men.

As the attacker strikes men， the counte attacker uses the

omote side of the shinai to slide up and parry the attack
 -:・Method
Both practitioners engage in chudan from toz-maat.

③
①

④The counter-attacker continues to swing the shinai overhead omthis position with the ke enand moves into the optimum
striking distance

As the attacker strikes men， the counter- ①

attacker uses the ura side of the shinai to slide
up and parry the attack.

④ 百 lecounter-attacker continues to swing

the
shinai overhead from this position.
⑤ 百 lecounter-attacker steps in to strike men.

Omou men~suriage-men (from above)

132
②The counter-attacker on the right applies seme @ I
④ 133
C 出町田 7:A!>PLlED MOVEMENTS ⑤The counter-attacker steps in to strike men. ③
(TECHNIQUES) 応用動作(対人的技能) L
U

etid eauv''b r
Lu eiE zS3 ktf
eu A
k

n'K ' ta
AW y
 -s re 5
⑤
p 口 str m o
P UA
un
③
a
p p
u t a n
町
i
.
b
L u p
r a 5 m m n 4
6

u a r
vn

、1 E
ρ
t & L M m
L
W t
L
H u
h 5 iw “
w
% t

The counter-attacker strikes migi-kote as the right foot is snapped up

Ura men-Juriage-mm (from above)

-:・TeachingPoints
lecounter-attacker must move with the attacker， going forward slightly for the suriage and counter strike

J Teachine:Points

(3) Men-suriage-kote (ゐ ib)wthEeneιPμloy11r

s
Engage the opponent in chudan. As the attacker strikes men， step diagonally backwards with the left foot， and use tive footwork to keep at the correct distance for strikinl!f (2)Encouragε qui 止と kstrikes with flεXibi 凶』孔 littyin the wrist
the ura side (right) of the sh 印 刷 toslide up and parry me attacker's shinai diago lly upwards. Snap the right foot up and
strike ko

① (4) Men-suriage-m なぜ-do

〈・ Method Engage the opponent in chudan. As attacker ① strikes men， use the ura side of the shinai to slide up and parry the
Both practitioners engage in chudan from attacker's shinai diagonally upwards， then strike do.
tOt-maat

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V L
① i
M r o m n “f -u d d n p+A W
n pb a σb
-n
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n c r s iv E - t .I a FL
- h

H
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一-一
e

②The counter-attacker on the ghtappli seme with the kensen and moves into the optimum striking distance
134 135
② 百 lecounter-attacker on the right applies seme
with the kensen and moves into the optimum
② striking distance. ②

CHAPTER 7:ApPLlEDM OVEMENTS (TECHNIQUES) 応用動作(対人的技能)

As the attacker strikes men， the counter attacker steps parry the attack.
Onto the right foot and us the ura side of the shinai to parry
.:.・TeachingPoints
the attack

③
R ④
The coun '-attackerstrikes do while bring ing the left otup
into place
The counter-arcacker strikes 'gi-doas the left foot is
snapped up

As the attacker strikes men， the counter attacker steps out .:.・Teachi Points
with the right foot and us the omote side of the shinai to

1here is a common tendency to strike only with the hands， so be sure to instruct students to attack with (1) It is a common tendency for studenτs to only use the hands when striking in this technique. Be sure to
their whole body while maintaining a stable posture. insrruct them to move from the hips dmaintain stability when striking. (2) Instruction in ihis techniueshould
be done according to abil ity level.

(5) Men-suriage-hidari-do
Engage the opponenE in cbdhn As the attacker Strikes m mmove to the rightand use the omotE SIde to (6) Kote-suriage-men
deflect the shinai upwards to the diagonalleft Engage the opponent in chudan. As the attacker
Strike hidari-'owhile snapping the left foot up. ① strikes kote， use the ylside of the shinai to slide up and parry the attacker's shu
叫ん andstrike men.

-
V M -
① K b -u n f υ 0 n iw r s Lw n σb a a e t t .1
JU bU a
、 - H
e
 m A M rom
- dn
- - z Fir -

-:・Method

lecounter-attacker on the right appli seme

with the kensen and moves into the oDtimum striking distance

136

Both practitioners engage in chudan from tot-maat.

②③As the attacker srrikes kote， the counter attacker u eura deof the monouchi party ea' ck.

② R 137

CHAPTER 7 ， ApPLIED MOVEMENTS (TECHNIQUES) 応用動作(対人的技能) ③ ③

 The counter-attacker steps in to strike men.
④ -:・Method
Both practitioners engage from in
chudan
tOt-maat
②③ As the at ckerstrikes kote， the
counter- ②
attacker uses rhe ura side of the
monouchi to parry
the strike.

-:・TeachingPoints
(1) Instruct students to concentrate on correct body movement withour bending at the
waist. (2) Ensure that the suriage and the strike is performed in one seamless movement
(3) Teach students to employ suriage by going to“meet" the opponent's shinai
(4) A fast and accurate strike to men should be made immediately after the kote strike is
parried.
138
The counter-attacker steps in to strike kote.

(ア)Kote-suriage. ote
Engage with the opponent in chudan. As the 行〕
attacker strikes kote， move to the left
with the
left foot and use the ura side to parry the
shinai
upwards to the diagonal right in a small
move
ment. Strike the attacker's kote while
moving the
right foot to the left.
 K suriageaction from above)
-:・Method
Both practitioners engage from in chudan
.!. Teachinl!: Points tot-maaz.
As 帥 民 ct11ique1sar onseto the opponen movemen 日，日 ach Sft ltto maintain fl bility in the wris 日，
and to counter with small， sharp strikes.

(8) Tsuki-suriage-men (Omote)

Engage Ehc opponent in cb#dam-As Ehe attacker thrusts at the tsubi-hmove forwards W1th the
EIght foot using the omote side (left) of the shinai to deflect the attacker's shinai， then strike men

139
CHAPTER 7 ， ApPLIED MOVEMENTS (TECHNIQUES) 応
用動作(対人的技能)

As the attacker thrusts at the tsuki-bu， the (9) Tsuki-suriage-men (Ura)

counterattackermoves forward with the right
foot using the omote side of the shinai to
deectthe attack

-:・TeachingPoints
② ③
(1) Students should be taught to move into the tsuki attack
(2) Maintaining f!exibility in the wrists， suriage is performed as if scribing a
③The counter-attacker strikes
The counter-attacker st 山 田 men. small arc with the shinai
men. (3) Make sure the attacker's shinai is def!ected rather than suppressed
③
k
-:・AddJtionalTeaching Points for Suriage-waza
(1) Suriage is completed midway as the shinai is being lifted overhead.
(2)耳目た問問 scribesan arc or semicircle when executing suriage-waza.
(3) Make sure the suriage is applied mainly with the left hand， but maintaining
flexib tyIII
both wrists
(4)Teach the student to keep in an upright posture， and go to “meet" the
attacker's strike with
the suriage.
Engage the opponent in chudan. As the attacker thrusts at the tsuki-bu， move forwards omthe ri!!ht foot using Both practitioners engage in chudan om tOl-maat
the ura side of the shinai to def!ect the attacker's， then strike men.

-:・Method
(う)Instruct suriage-waza from both the omote and ura sides so that each can be performed eely. 3.

As the attacker thrusts at the tsuki-bu， the counrer-attacker moves forward with the right foot using the ura side of the
KAESHI-W ZA 返し技 shinai to
① ②

In eshi-waza the opponent's shinai is parried while moving out of the way.τhen the hands are
turned to counter-srrike on the side opposite to that of the parry. lt is important that the technique
is performed with a feeling of “meeting" rhe attack with suriage， then utilizing the attacking force to
execute a counter-attack

(1) Men-kaeshi-migi-men
Engage the opponent in chudan. In response ro the attacker's men strike， move the left foot
forwards
to rhe diagonalleft using hiraki-ashi. At rhe same time， use the omote side of rhe shin toparry and
counter the attacker's shinai. From this point， shifting rhe entire body to the left， switch the direction of the shinai， and strike the attacker's m -men.

def!ect the attack 140

-:・Method
Both practitioners engage from in chudan tOi-1 刷 出.
①

141

CHAPTER 7: APPLIED MOVEMENTS (TECHNIQUES) 応用動作(対人的技能)

The counter-attacker on the right applies seme I o with the kensen and
moves into the optimum )
striking distance.
②The counte 日.ttackeron the htapplies seme ② with the kensen and moves
into the optimum E

striking distance.
 /予
』印t strikes men， attacker uses the shinai to
L
③ t n ECE n t ] As the
s u /"I
1 P
t kc smJU4Ju ③ ③
L
s O n attacker the ura side of
A t u d the counter
~}
ρU ア
l CF 〉- j
ρ ρ
c t m y 1 o If1 t
1
r
u h E Z O
I A h
a u y An u
u parry and counter the
r
K Lqa
m ιL w
attack.

du
L
f
t

Moving the left foot to the side， the counter attacker switches ④ the direction of the shinai ④
the direction of the shinai Moving the body to the right， the counter attacker switches
and strikes men and strikes men.

(2) Men-kaeshi-hidari-men
-:・TeachingPoints
(1) Teach students to maintain flexibility in the wrists， and to parry and counter-strike in a
Engage the opponent in chudan. In response to the attacker's men strike， move the right foot for wards to the
diagonal right using hiraki hi.At the same time， use the ura side of the shinai to parry and counter the attacker's
shinai. From this point， shifting the entire body to the right， switch the direction of the shinai and strike the
attacker's hidari-men.
seamless motion
(2) Encourage students to move the whole body in the counter-strike， rather than just the hands

① ron1 n F 'M -u d d n --o n e rIA s n uhu A a CE

-
Me 1 -h - ι F+A ρL
u
σb ρL
1L
V
142

P -i
m M
①

143