Carrying the Sword (Teito)
The sword should be carried in the
left hand with the thumb over the Tsuba. The sageo or strings should be
secured between the index and middle fingers to prevent them from
dragging. The Ha should be toward the floor in a natural drawing
position.
Rei ni hajimari, rei ni owaru - Everything begins and ends with respect
Bow of Respect (Hairei)
When
bowing into the dojo or to the alter, the sword should be transferred
to the right hand with the Tsuka toward the rear and the Ha toward the
ground. This is a sign of deepest respect and trust since holding the
sword in this position makes it impossible to draw.
Bowing to the Sensei (Shirei)
All
Seito line up in front of the Sensei taking seiza. The proper way to
take the position of seiza is to snap the left leg of the hakama back
between the legs and kneel onto the left knee then bring the right knee
down. NEVER use the sword as a crutch to support your weight. This is a
sign of disrespect. It would be better to fall on your face then to
disgrace yourself in this manner. The sword should be lying on the
floor on your right side with the Ha facing toward your right leg and
the Tsuka toward the front. Seizarei is performed by first placing the
left hand on the floor in front of you in an "L" shape with the tip of
the thumb on midline. Next place your right hand down in the same
manner so that the thumb tips meet forming a diamond shape. Bow the
head approximately 4 - 6 inches from the floor centered on the diamond
formed by your hands.
After the Sensei has returned your bow
return to a seiza position by returning your hands to the rest on your
knees in the reverse order of placing them on the floor. Rise to your
feet, first the right then the left. Again, do not use the sword as a
crutch to assist you.
Bowing to the Sword (Torei)
Depending
on the school you attend, the Torei may be performed from either seiza
or the standing position. Never-the-less, it is always performed prior
to and immediately following any practice session. This is a sign of
respect to your sword and a joining of your spirit with that of the
sword's.
When performed from seiza, the sword should lie in
front of you. The Tsuba should be positioned so that it is in line with
the left knee, the Ha toward you and the Tsuka to the left. The seito
would then perform seizarei to the sword as described above.
If
Torei is performed from a standing position, the sword is held in front
of the head at eye level with the Tsuka toward the right and the Ha
away from you. Lower the head to below the level of the sword.
Wearing the Sword (Taito)
The
katana is worn on the left side with the Ha facing upward. The Sageo
are tied into the Obi of the hakama. The end of the Tsuka should be
directly in front of the naval.
Standing Bow to Training Partner (Tachi Rei)
Prior
to Junjo (training) and upon completion of training you and your
partner should perform Tachi Rei to show mutual respect. Any time you
change partners or receive individual instruction from the Sensei,
tachi rei should be performed.
When your training session has
ended and you and your partner have performed Tachi Rei, you should
again bow to your sword (Torei), Bow to your instructor (Shirei) and
bow to the alter or at the exit of the dojo (Hairei).
Gripping the Sword (Tsuka No Nigiri Kata)
Many
beginners tend to hold the sword too tightly. In the beginning,
training should concentrate on gripping the sword properly. The sword
should be held loosely but firmly. It should act as a natural extension
of the dominant hand. There should be a space between the hands, this
allows for better mobility of the weapon. The dominant hand should be
next to the hand guard; this is the weapon's center of balance. The
majority of the grip strength is applied by the little finger and the
index finger is used for balance. Beginners are often taught to grip
the sword with the index finger extended to train them not to use this
finger for gripping. The non-dominate hand should grip the sword close
to the butt of the weapon.
Drawing Cut (Nukit Suke)
Koiguchi
no kiri kata - Opening the Koiguchi. The thumb of the left hand should
push against the Tsuba slightly to advance the sword approximately ½
inch from the saya (scabbard). The middle knuckles of the right hand
should rest on the bottom side of the Tsuka. As you draw the sword
forward from the saya with the right hand, the left hand should be
pulling the saya to the rear. Do not think of drawing the sword and
cutting your opponent - think only of cutting your opponent. Drawing
the sword is merely a means to the end and both the drawing and the
cutting are the same action.
Raising the Sword (Furikaburi)
After
the initial cut is made on your opponent, twist the right wrist inward
to raise the blade above the head. The blade should be brought to a
position parallel to the ground as the left hand raises to the Tsuka.
Downward Cut (Kirioroshi)
This
is the Men uchi strike to end the suffering of your opponent. To allow
another Samurai to bleed to death or die from infection of the wound
would be to disgrace him. To die at the hands of a master swordsman was
the ultimate sign of respect. Te no uchi or cutting technique refers to
a straight cut or hasuji otosu. A wavering hand would only butcher the
opponent more and add to his suffering. The cut must be quick, clean
and straight.
Chiburi (Blood removal)
There are three main ways to perform Chiburi. They are as follows:
Kasa
no Shizuku Oharao - After the cut is made, twist the wrist so that the
Tsuka is now in front of the head. Swing the katana in a circular
motion over the head and snap the blade by twisting the wrist as it is
pointing to your right.
Katana O Kaesu - Loosen the grip with
the left hand except for the little finger. Flick the right wrist out
while pulling the back of the Tsuka to the left with the little finger
of the left hand.
Chi no Shizuku O Otosu - Tilt the blade to a
45 degree angle and rest the tip on the right outer thigh and allow the
blood to run or drip off.
Noto (Resheathing)
When
replacing the Katana, circle the sword in front of you, bringing the
mine to rest on the koiguchi. Slide the mine along the koiguchi until
the Kissaki drops into the opening. Raise the Tsuka rotating the Ha
upward and slide the blade into the saya with the right hand as you
slide the entire saya forward with the left hand.
Distance and Timing (Ma ai)
Ken-jutsu
requires an extreme awareness of distance and timing. Unlike unarmed
combat, where an accurate defense may result in an opponent contacting
with a strike or kick, in Ken-Jutsu, the same mistake could result in
death. Distance and timing is what makes great martial artist great. No
matter how strong the attack, if you are not there when it arrives, the
attack is ineffective.
Knowing when and from where to attack
is paramount. An ill-executed attack is just as deadly as an
ill-executed defense. Faking an attack against an experienced swordsman
is useless. He will see through your fake and avoid it, launching his
counter-attack before you have a chance to recover.
Unlike the
movies, actual sword-combat last only for a few passes. A spectator may
not realize what has happened before the combat has ended. In training,
a great deal of time is devoted to distance and timing. There are
multiple drills the student must work on to build these skills.
Metsuke (Eye Contact)
Where
should your eyes be focused during combat? There are many different
schools of thought on this question. The best advice is to look at the
level of the solar plexus with Enzan no Metsuke, or Distant mountain
site. This allows you to see the entire body all at once. If you watch
only one portion of the body you can be fooled by a master swordsman.
All parts of the body cannot fake a movement at the same time.
Kokyu (Breath Control)
When
practicing kata, take three deep silent breathes attacking on the third
breath. Think positive thoughts with each inhalation and disperse
negative thoughts with every exhalation. The breaths should enter the
nostrils, circle the crown of the head and settle to the Tan Tein.