John Maki Evans

by Kurikara: The Sword;the Serpent

  When the sword is held in both hands, the differing roles of the right and left hands results in a further adaptation. The left hand transfers power into the sword and acts as the fulcrum of the swing; the right hand acts as a sensor and gentle stabilizer. If the right hand usurps this role, the amplitude and acceleration of the swing are reduced and the trajectory disturbed (this is a common cause of failure to cut through a target). One of the most demanding aspects of tenouchi is the instantaneous change required when changing from a two-handed grip to using the right hand only.

  Enkeisen—Circular Trajectory

  Enkeisen refers to the circular movement of the sword during a correct cutting action. This is not a simple circle but a spiral that includes circular movements at three joints—shoulder, elbow, and wrist. (In some cuts this is enhanced by a turn of the waist and hips.) Combined correctly, these components produce great power and acceleration without stress on the joints or sinews. The sound produced by a swinging sword can indicate the accuracy and fullness of the technique. The tone and quality of sound vary according to the amplitude and integrity of the swing. When all the joints are harmoniously utilized, the resulting arc produces a deep, full sound. If the movement is restricted, a higher-pitched whistling sound results. With experience and a suitable sword,4 one can also tell if the hassuji (angle of blade in relation to the cutting action) is correct (see chapter 5, “Tameshigiri”).

  The enkeisen is best learned performing the vertical cut (kirioroshi) and standing in a long front stance (see photo). Here one is well-grounded, and the initiating action of legs, coordinating role of tanden, and transmitting role of the spine can be can be most clearly apprehended. One should begin with the kissaki in contact with the sacrum and finish with the tsukagashira brought in to press the lower abdomen below the tanden (itself four finger-widths below the navel) with the kissaki about 12 inches from the floor.

  Figure 4. Kirioroshi, the vertical cut. The complete technique is performed in a long training stance stance through full extension to final position below the navel.

  This full-span vertical cut must be well understood before attempting the other cuts, where additional factors like hip turns and crossing of the hands are involved. Without this foundation, the essence of suburi will never be grasped. Use of the tanrenbo and kabutowari (the helmet splitter—a heavy sword with a blunt edge) as well as katana and bokken can accelerate the learning of suburi with fewer repetitions and fewer injuries. For example, the equivalent of five hundred swings of kirioroshi with a two-pound katana can be achieved by performing the following kihon combination set:

  50 moderate swings of the two-pound katana

  50 slow swings of the four-pound tanrenbo

  25 moderate swings of the four-pound kabutowari

  50 full power swings of the two-pound katana

  and 25 swings of the light one-pound bokken (to release the muscles)

  The order here is important, as each set prepares the body for the following set. Not only does one reduce repetitions and consequent wear and tear by more than 50 percent, but the varied weights and balances of the swords used work the joints and pathways in complementary ways to accelerate learning. As we shall see in later chapters, uchikomi (target striking) and tameshigiri provide further variety, learning, and advantages in the training of the basic cuts, especially with regard to targeting and tenouchi.

  Ki-ken-tai-ichi—Integration of Suburi and Ashisabaki

  If one fails to complete these initial stages of kihon training ki-ken-tai-ichi (the unification of energy, sword, and body) will be ever elusive. In the quest for speed or power, arms (and legs) may grow superficially powerful, but unless training is focused on coordinating the action of the limbs, this approach results in weak technique, loss of balance, “telegraphing,” and vulnerability to the opponent. Timing is the key, and the synchronizing of one’s own actions must be achieved before one can make any sense of the realm of sen (initiative and timing in attack). As with tenouchi, the scope for development is endless.

  As soon as beginners have strengthened their legs and learned basic tenouchi, they should learn to perform suburi, moving in such a way that they register the connection between foot movement and the generation of power in the swing. This is best achieved first in half steps and then in complete steps using kirioroshi (the simple vertical cut), moving forward and then moving backward.

  Kiai—The Uniting of Energy

  Kiai refers to a bringing together of the energy or energies. In the beginning, the most important function of the shout or vocal kiai is to break the rigidity of the mind. This exposes a variety of energies, some helpful and some unhelpful. The student discovers a release of tension and blocked emotions, but this must not become an end in itself (at first it is hard to differentiate between vital energy and excitement).

  Training the vocal kiai develops discrimination because in the struggle to produce the right sound it becomes clear that making a physical connection to the lower abdomen is required rather than an exciting of emotions. The energy of the tanden area is most important because it has the power to evoke and integrate the vital energies from all over the body and mind in a split second. As access to this area increases, the power of ki-ken-tai-ichi grows. When this is grasped, the kiai can be developed as a powerful tool in triggering an opponent, enhancing a technique, or recovering alertness (zanshin) after delivering an attack.

  Shisei—Posture

  A warm-up sequence involving circling all the joints while standing in natural stance (shizentai) is essential and also provides the best opportunity for establishing posture. This is achieved by manipulating the navel and adjusting the position of the chin. The back should be kept spread so that the solar plexus does not project forward. The tongue should be curled, the tip placed to the roof of the mouth behind the top front teeth. The tongue and throat must remain relaxed and the chin must be adjusted so that the back of the neck feels “full.” At this point the ears, shoulders, hips, and ankle joints will be in a vertical line. Attention should be given to maintaining this alignment while circling the joints from the neck down to the ankles. Once practice of kihon begins, posture should be corrected sparingly to avoid inhibiting the movements of the beginner.

  “Posture” is an inadequate translation of the term shisei, which means, literally, “shape of power.” This suggests that what defines correct form is not external alignment but the capacity of that shape to generate power. One of my teachers used to regularly refer to a solitary deformed tree that clung to the side of a very exposed hillside. For a month we passed this tree every day on our way to training. He used it as an example of how the life force can develop most strongly in adverse conditions and through “distorted” forms.

  Body shape is an expression of inner energetic structure and the breathing patterns that feed it, and these are in turn a reflection of mental habits. In sparring, successful assessment of an opponent’s abilities and intentions depends on one’s ability to see through external form. Learning to perceive one’s own underlying patterns is the first step in developing that skill.

  Forcing people into an “ideal” posture inhibits development. Most beginners are accustomed to moving in a poorly coordinated and inefficient manner. Their shape and coordination feels natural, and allowance must be made for this so that the person is able to relax while learning. The teacher’s function is to bring the student to a point at which they experience the increased ease and power that comes from moving closer to their center.

  The slow movements of tanren afford the best opportunity for transforming these patterns. In these exercises, the mind has time to adjust and register the moment when power moves through the center. This insight can then be applied to kihon practice. When actions are performed at normal speed, it becomes clear that posture has more to do with the timing and sequencing of actions than alignment. In other words, shisei equals ki-ken-tai-ichi.

  Kamiwaza—The Divine Technique

  The ide
a that practice of a single technique can bring supernatural power or enlightenment is attractive in its simplicity, but illusory. In Japan, people often practice suburi with a wooden or bamboo sword as an isolated exercise without participating in any other sword arts. This is usually performed with great expectations and very poor technique and has limited benefits. Yet as part of a complete tanren, suburi carried out with a complete and integrated movement of body and sword has a profound effect on the energy of the spine. For this reason, it is one of several techniques used by Japanese tantrikas to stimulate the energy of the central channel (others include abdominal manipulations, waterfall immersion, and breath retention).

  However, such practices are only considered effective when the peripheral channels of the inner body have first been made to flow freely through exhaustive preparatory work. These nadis or “flows” are often depicted as snakes, as in the famous representation of the “cosmic dance,” the Shiva Nataraja. As the energy flows more freely, movement of the limbs grows increasingly serpentine.

  Correct wielding of the sword engenders such movement since tenouchi depends on a spiraling action through the arms and correct trajectory (enkeisen) on an undulating action through the joints. When cutting movements issue from the body center, they effortlessly transmute into additional circular or spiraling cutting arcs. Perhaps it was in an effort to describe such movements that the image of the flying dragon was born. If kihon are practiced correctly, this freedom of action is the natural outcome. This is the goal of the happo giri (eightfold cutting system) of Nakamura Ryu, and this is the realm of kamiwaza—the outcome of years of comprehensive practice.

  1. The understanding of these principles begins with tanren or conditioning—see chapter 3.

  2. From Gorin no Sho; translation by the author.

  3. The energetic significance of the different areas of the two hands can be gleaned from studying appendix III.

  4. Some swords and bokken have been constructed so that they produce a strong sound even when swung inaccurately. These weapons are worse than useless.

  Kata—Forms

  2

  Stirring in deep ocean

  the dragon wave lifts,

  pulls on the sky. Lightning thunders,

  yet leaves no trace.

  kata: form, pattern, format

  Kata (hsing in Chinese) refers to a form, pattern, or format. In martial arts, a kata is a short sequence of movements that recreate the defender’s side of a combat scenario. In a typical Battodo or Iaido kata, the exponent’s sword is drawn swiftly in a one-handed cutting movement that is immediately followed by a larger killing cut with both hands. Other basic forms may involve an initial parry or drawing to assume a kamae (combative position) before advancing to engage.

  While kihon training establishes correct basic technique, power generation and shisei (posture), kata is the forum for assembling these components in a sequence that recreates a real confrontation. The first set of kata in a ryuha will usually include the basic techniques of that school (cuts, thrusts, parries) and also involve countering opponents from the four cardinal directions. Additional kata usually deal with situations of two or three opponents attacking from different directions. The closing elements in each kata—which may include assuming a kamae (combative position), chiburi (shaking off of blood), and noto (sheathing)—are ritualized actions that help to regain composure (zanshin), refine sword-handling skills, and add aesthetic satisfaction to the sequence. Thus composed, the practitioner is ready to withdraw to the starting position and begin the next kata.

  Discrimination in Training

  Because the kata is a set sequence and is repeated many times, it allows one to assess one’s condition and, over a period of time, one’s progress. This does not happen automatically, however, but requires an observant and discriminating mind. One of the teacher’s first duties is to discriminate for the student. It is important that the student practices regularly under guidance so that bad habits are not learned, since once they are developed they are notoriously difficult to unlearn. The next duty of the teacher is to foster students’ ability to discriminate for themselves. Without this, training becomes mechanical, and mechanical repetition of kata leads to injury, pointless fatigue, fantasy, and disillusionment. Injury comes because a point of increasing imbalance and stress has not been recognized; fatigue becomes worthless because effort has not resulted in knowledge; fantasy comes when excitement is mistaken for insight; and disillusionment comes from boredom and lack of progress.

  You should master separately the three domains of mind (shin), vital energy and will (ki) and body (tai). If you are not able to distinguish these three domains, it is impossible to realize instructions from the teacher.

  —MIYAMOTO MUSASHI1

  Here Musashi indicates the different layers of discrimination required. Practice should begin with a short period of stillness, then joint warm-ups, followed by a few minutes of kihon. During these simple activities one is able to assess the three “domains,” the mental, physical, and energetic. In solo kata you do not have to adjust to an opponent’s movements nor to external targets, and attention can be focused on one’s own form, posture, and movement. Defects in the mind and energy are revealed in the rhythm of a kata. A dull mind is mechanical and results in a “flat” performance. A tense mind makes the vision narrow and the tenouchi hard. If digestion is poor or incomplete, the tanden will be sluggish and the natural coordination of ki-ken-tai (energy-sword-body) will be missing. A feeling of fatigue may arise from genuine physical tiredness or mental or emotional congestion. With clarity of observation, a few repetitions of a simple kata will reveal the nature of the fatigue, and one can decide whether to persevere with, modify, or curtail training for the day.

  The same skills of observation can vastly increase the benefits of a training session. At the end of a long morning of training with Fushi Sensei that had involved many activities, he asked me how many “experiments” (jiken) I had made. I had no idea what he was talking about. All I knew was that I had applied myself to the various tasks with as much effort as I could muster. After a few moments of silence, he simply said “I have made twenty-six.”

  Step-by-Step Training

  There are many things to learn in a kata, and it is important that this learning occurs in a systematic and progressive way without the burden of excessive information or corrections. Whether practicing or teaching, one should address one point at a time. Considerable self-discipline is required to stick to one theme until a clear step has been taken. Unfortunately, effort alone is not enough; the mind must be both intuitive and creative to find a way through difficulties and blockages. As the student moves through the different stages of learning, the need to operate in the realms of mind and energy as well as the physical grows accordingly.

  Without this growth, effort rapidly becomes obsessive, and obsession is never far away for those who devote themselves to these arts. Each occasion that one makes a clear step in the art constitutes what Fushi Sensei termed an “experiment.” It should be remembered that the samurai were skillful with a number of weapons, were accustomed to making much of their equipment and maintaining the rest, and used to assessing the skills and weapons of opponents from different schools. The elite would also be skilled calligraphers and well versed in the Confucian classics and poetry. Such a combination of artistic, scientific, and practical skills is rare nowadays.

  Even when performing the kata slowly, it is difficult to keep in mind more than one desirable adjustment. More than this will make the student tense and fretful and their engagement in the practice incomplete. This is why kihon practice is so important even for advanced students. Suburi and ashisabaki as well as tanren should be practiced separately and in addition to kata. Kata practice is a time to learn how to put together basic elements that have already been learned. One should not be preoccupied with individual techniques during a kata.

  For this reason it is also a mistake to practice more th
an one sword system, because the inevitable differences in technique lead to an inability to absorb teachings with the body. At one time I was practicing four sword styles, and although this gave me a broad view of the Japanese sword arts, I realize now that I wasted much time and energy cultivating different ways of sheathing, drawing, stepping, and cutting. Before every kata I would have to remind myself to perform the appropriate technique for the dojo I was in. This is not the mindset one should be cultivating. Learning different forms of the basic kamae also delays the growth of a natural and spontaneous combative position, which is essential if one is to be able to move from it.

  The Development of Kata

  The qualities of a practitioner are reflected most clearly in kata—the core activity of the art. The following account indicates the manner and order in which these qualities are gained. This process is described in relation to the more common and contemporary dan and kyu grading system. This system is easily abused, but in a genuine school Shodan (beginning dan, or level) indicates basic skill and the start of real study, Sandan (third dan) is usually given at the time of greatest physical power, and Godan (fifth dan) is awarded at the level of greatest technical skill. Grades beyond this level should indicate internal accomplishments.