With respect to swords

I have enjoyed my fencing beginner's course with Cambridge Sword but something I find amazing, shocking and at the same time fascinating is the complete disregard for the weapon as an object of beauty, of spirit and as something to be respected.

At the start of the lesson we collect our equipment from the main 'Salle' and transport it over to the smaller one. This entails bringing a bunch of foils which are more often than not unceremoniously dumped on the floor and sometimes kicked into a corner! I understand that in fencing this is simply seen as another piece of equipment but having trained in iaido where the blade should be shown respect it shocks me a little.

The katana or indeed the iaito can be something of beauty and article to be loved in some way. Respect must be shown not only for spiritual reasons but for practical reasons: it's a weapon and deadly! Cleaning, caring and ensuring safety is paramount. The idea of using the sword sensibly is referred to as Satsu jin ken, katsu jin ken or life giving sword, life taking sword. A sword irresponsibly wielded can lead to death and destruction whereas a sword user with good intentions can use his or her sword to 'give' life.

Saya construction

The saya is the scabbard of a sword in Japanese. The saya has a beautiful finish to it and is very often so highly lacquered that one might think it was plastic! It is, in fact, traditionally made from magnolia (ho) which is easy to work, has very little sap and is said to have oils wihtin it to help preserve the blade (An introduction to japanese Swords, I. Bottomley). 

I found a very interesting website outlining the main processes of making a saya:

• Kidori & Nakadoshi: Cutting & Splitting the Blank
• Kezuri-awase: Planing the Inner Surface
• Kaki-ire: Chiseling the Space for the Blade
• Norizuke: Gluing the Two Halves Together
• Arakezuri & Nakakezuri: Rough & Fine Planing the Outside
• Mekugi-ana-age: Drilling the Rivet Hole
• Shiagekezuri & Shiagemigaki: Finish Planing & Finish Polishing

Usually the hilt (tsuka) is also made from magnolia wood. I believe the ho wood is cut from the Japanese magnolia or Magnolia hypoleuca (possibly Magnolia liliiflora).

The saya is an important part of the sword in iai. Correct usage of the saya helps the drawing of the sword rendering the iai-to a two part weapon: sword and saya.

Iai-hiza hurts. It's Official!

Anyone familiar with iai will know that kneeling in seiza for long periods hurts like hell. Yes ok we all use knee pads but it still hurts the thighs (we can train that) and the joints of the knees, ankles and feet. Once we reach the fourth of the seitei iai kata, tsuka-ate, we reach a whole new level of pain. That pain is called iai-hiza.

Iai hiza is a seated position whereby the left leg is bent under oneself with the shin on the floor and the heel on your bum-hole (more or less) while the right foot rests on the floor with the leg bent upward. Ouch.

So when you're kneeling there wondering why, as a gaijin, you're even bothering to try to master this very Japanese martial art, you can rest assured that it's not your *fault* that it hurts. And it'll probably always hurt because we're just built differently. That's right we have different sized (and proportioned) lower legs! It's official too : I found this article called 'Anthropometric Comparison between Japanese and Caucasian American Male University Students' by Yasuto Nakanishi and Vincent Nethery. Their broad conculsion is that there are clear anthropometric differences between Japanese and Caucasian American males particularly Japanese having shorting standing height (ok I could've guessed that) and longer trunk to standing ratio. In a nutshell this means less in the leg department. Japanese calves are shorter but more importantly for iai-hiza their calf to height ratio is less than their American male counterparts. Hey presto: Japanese can sit more easily in iai-hiza (hey it was invented by them) while my gaijin lower legs protrude into my bum and stop me from sitting correctly.

Of course there are other issues too which I assume are common such as joint pain but at least we can know why we feel that pain in the ass.

Aw quit griping and keep practicing...

Ref: Anthropometric Comparison between Japanese and Caucasian

American Male University Students

Yasuto Nakanishi and Vincent Nethery

Department of Science, Kobe University.

Martial Arts Festival - iai

This demo was lead by Hanshi Mike Selvey and as well as some iaido kata the guys treated us to some iai-jutsu kata and koryu kata as well as some tameshigiri (test cutting)-always interesting to see! The dojo site can be found here: www.tenshin-ryu.co.uk

Martial Arts Festival, Leicester

as I pulled up at the Parklands leisure centre, Leicester, I realised the MAF-UK was going to be quite a big festival! There was a shuttle bus laid from the car park (which I had to pay another fiver for!) but it was well organised and ran smoothly so we were at the door soon after. Not sure what to expect I scanned the programme which seemed crammed! Two outdoor demo areas and one inside as well as two indoor seminar rooms meant there was plenty to see (although the indoor demo area was extremely impractical and you didn't get to see much!). 

It seemed a fairly nice atmosphere but there were plenty of guys strutting around looking like they'd had a ramrod inserted up their backs and that they were incapable of walking without swinging their shoulders forward outrageously. Strut, strut, strut. But this was, I'm glad to say, in the minority.

I made my way straight to the main hall and had only had made 5 steps in when I got chatting to a guy who was promoting his sensei and club: Wayne Swietoslawski of Waskido Ryu Ju Jitsu who was eager to tell me about his art. I took to Wayne and we got chatting about canes so he led me off to a seminar by canemasters: a self-defence programme based on walking canes. 

Following this I went straight to a Krav Maga seminar which focused on effective self-defence tools. this system struck me (unsurprisingly) similar to Systema but I guess experienced practitioners of either may disagree. Fundamentally it's quite a flexible and 'free' system with key principles underpinning different scenarios. We worked on stopping the attack early and ground work. As well as scanning for other opponents-very useful I thought.

Back in the main hall I bought my pair of Feivue's which I've been after for some time and saw Iain Abernethy on a stand! After I heard from his accent that he was a Northerner I had to stop and chat. What a friendly guy and although I didn't buy anything from him he still had time to chat with me about what he's up to, his dojo, Harry Cooke and the meaning of life. Great interlude to the day's seminars...

I strolled out into the sun to the outdoor arenas and watched capoeira, iai demo with some tameshigiri and finished the day by watching the krav maga demo.

A full day but I managed to have a cuppa in the sun and take lots of cool photos and meet some good folk. I'll document some of these things in more detail soon once I've downloaded photos and sorted them:

- Wayne Swietoslawski

- Canemasters

- Krav Maga

- Capoeira

- Iai

Mirror polishing (Meikyo)

Well the past few sessions of iaido have brought me turmoil and seen me agitated somewhat. Last night I was determined to concentrate on the iai and not let the knocks daze and confuse me.

My resolve was soon broken when during the practice the sensei pulled me up on a few things. Actually I found he was hovering over me somewhat and picking me up - passing over others who were making glaring mistakes! Agh! I was in a real huff. The more he did it the more I blew my cool, the more I fouled up. Now there is a flip side to this. Many really.

My main feeling is that this is probably just my reaction- the way I am: hyper sensitive. Don't take it to heart man! But what about my resolve, my focus? Is it shattered that easily? What a sap. What would my sensei have said if I'd whinged: " Why me?". Well, he may well have retorted that it is somewhat of a compliment to attract the attention of one's teacher. 6th Dan no less! Making time for me! The fact that it was criticism is just a detail. Criticism is part of teaching is it not?

Staying focused on what I'm doing rather than checking out other people's technique won't make my iai any better. Certainly not if I'm denigrating others: finding fault in their iai to make me feel better about myself or justify my feelings of doubt and self satisfaction. Christians have a saying about planks and splinters (Luke 6:42)- quite apt to meditate on just now...

But I sucked it up as they say in the States. Suck it up man, suck it up. You know: Ouch! Just been punched in the gut. It hurts, your breath is caught but you don't want to show it. YOu make a sucking noise, turn red, stand up straight. I sucked it up. Refocused and was back on track. I determined to take on board the points and get the hell on with it.

So what was I so upset about? Ah well it was all this bloody detail-just a fraction over here, do this not that. Hey I'm co-operating here! It was only during the course of the lesson that I realised that that's what it's all about in iai. Maybe not all, but quite a lot of it is about the detail. Getting it right, the constant striving towards that state. Every day we polish the mirror a little otherwise the dust will gather.

So I stopped griping like a spoiled kid and started polishing.

And I had a good session and learned a lot.

Meikyo.

Ouch. Iaido hurts....

Hurts my ego, that's what Iaidio hurts. I find it difficult being told my iai is poor. I don't feel angry or aggressive towards the critic rather disappointed in myself or my performance. My good friend John thinks I'm hyper critical of myself and I think he's probably right. I need to find a balance between pushing myself towards an idea of perfection and trying to live like that and not being devastated if I drop off the path. Just get back up and back on...

And this is what I'm writing about. After two difficult iaido sessions I was driving home and felt glum. "I'm not going next week", I thought for about 2 seconds then in a sudden flash of realisation I shook my head to rid myself of that thought! Last week I my mind was unfocused, no zanshin, and certainly no mushin. I was so worked up I felt all hot and bothered and my mind kept wandering to the thought of global warming. This came about as I looked at the dark windows with mud streaks on them; for a moment I was fooled into thinking it was rain: but no rain! Mild weather for January, ergo: global warming. Consequently no mushin. Boo! The sadder aspect of this for me is that I didn't focus and get on with my iai. It affected my iai.

So this week came around and I was determined to diligently work through my setei iai. This was a good beginning mind set and I went about it seriously. Until sensei picked me up on something. You think I'm being petty? Well let me tell you- I think I was too! As ever he was kind and informative and coached me through Shihogiri and my ego was bruised. But there is no place for ego in the dojo. Especially when there are so many masters who have gone before who have shown humility towards younger and less experienced students. My lesson has been learned. I need to implement it now, next time my wanders. I wonder what the weather is like later....

Shihogiri

• The first strike with the hilt must show real intent to forestall the attacker. Large and powerful movement quickly executed!
• Draw the sword out and up to threaten this first opponent, with good sayabiki, the the threat is maintained. Once the sword is released and out at chest level, pivot the feet, do not step out.
• Thrust second opponent, strike first opponent, cutting him down.
• With a feeling of moving through ukenagashi the hands move up and back (or to the left of the head) as the body turns and moves towards third opponent. If an opponent was striking down at this time the body will already be moving away.
• Turn through waki gamae. Note: turn sword down first then body follows.
• Strike down fourth opponent.
• Return to jōdan-gamae. Crucially keep seme on the opponent and raise the tip of the sword first, as if cutting upwards along the centre line of the stricken man (in my case my opponent is a man)
  

Also see pp258-268 Japanese Swordsmanship-Technique and Practice by Warner and Draeger.

Chiburi

Taken at Xmas Embu, 2007.

The Sword

I'm reading a book about signs and symbols. This is an are which fascinates me. For me it's linked to the development of communication and written language. How did we develop writing systems which were pictographic, or a picture of say a cow... to the written letters forming the word cow! Interestingly the letter 'a' which derives from the Hebrew aleph for bull doesn't feature in the word cow or bull!

Anyway- I digress... My eye alighted rather on the article in the book regarding swords! Swords which stand for power and virilty with their phallic form. He who holds the sword upright and threatens is to be feared! Perhaps I'm over-egging the virile element of a sword. After all, I'm not quite sure what other form a sword could take, other than phallic! There are some Bronoze Age Celtic swords which were 'leaf' shaped, but all in all it's a big metal stick with a pointy end :-)

Interestingly the sword is used when honouring Knights to bestow honour and authority but the book also says the sword can be seen as a symbol of purification. I wonder whether warriors of old thought of their swords as a purifier-cleaving the enemy in two to 'purify' them! Maybe. Maybe not....

The sword is often a violent symbol of death and power.

Japanese swordsmen do have, however, a slightly different take on this called Satsu Jin Ken / Katsu Jin Ken, or life-taking sword / life-giving sword. When the sword is applied without discipline it is destructive or Satsu Jin Ken but with experience and ability the master of the sword can resolve matters without the drawing of the sword, or by the re-sheathing of the sword to show an intention of peace. This is Katsu Jin Ken. Iaido is in fact a non-combatative mental discipline as much as it a physical one. Iaido is the art of drawing the sword but futhermore can be seen as "the way of mental presence and immediate reaction"(ref: wikipedia), thus we see the handling of the sword in a thoroughly peaceful way for the personal development of the practitioner.

Life taking and life giving sword.

Japanese Sword Art FAQ

http://www.kendo-sask.com/swordfaq.htm#_Toc422549457

Why a sword ban could be beneficial to Martial Artists

Ok, so I've just scanned through this article:http://news.bbc.co.uk/1/hi/uk/7139724.stm
which outlines that that the ban is on cheap "imitation blades which can be bought over the internet for as little as £35. "

Surely this is a good thing? This may assure a market within the UK of good quality blades for martial artists? How many times have you seen people with a crappy, cheaply made set of swords on a stand proudly displayed...? Why!? As ornament?
I thikn the the down side is that prices may go up. I do like practicing with a blade, but if I was forced by monetary constraints to practice with a bokku-to, then I would (and I have been in the past).

Snipped from article: "We recognise it is the cheap, easily available samurai swords which are being used in crime and not the genuine, more expensive samurai swords which are of interest to collectors and martial arts enthusiasts."

The govt knows there is a special case to be made for martial artists and collectors and we hope there will be adequate provision in legislation.

I am , however, slightly concerned when I read:"Under the proposals, the government will ban the import, sale and hire of Samurai swords from April 2008."
Does that mean places like Nine Circles (or other bona fide MA outlets) will be restriceted in the import of weapons? I guess not if they are making provision for we "enthusiasts" :-)

In another article outlining the impact on a retailer..."Blades-UK has an age verification system, and Mr Taylor (Blades' MD) says he does not sell to anyone under the age of 18. " But I don't think that age verification is enough is it? Surely some affiliation to a MA club could be asked for?

I am cautiously welcoming the proposal. As Faye Goodman remarked:"I am concerned. It depends on the small print. Martial artists using swords begin with a wooden one, progress to a blunt weapon and finally start using a razor-sharp blade."

Uke nagashi

I worked a lot on this form (Uke nagashi, seitei #3) and picked up some good tips from the teachers.

Firstly start drawing the sword before raising the body up! Seems obvious, but I was failing to do this....

Also I wasn't bringing the sword up vertical enough as I step out with the left leg. One sensei miplied that the whole movement of uke nagashi was to bring the sword above the head into the blocking position as quickly as possible (which makes sense!) and as such bringing the sword in it's saya as vertical as possible helps this. The sayabiki is pulling downwards to release the sword. Don't pull the sword up and out as this locks the arm out and gives no further room for manouevre. Instead keep the elbow relaxed during the block as this helps the turn and subsequent cut.

Kesa Giri - Tough Iaido training

Well it was a tough training session yesterday. My mind is exploding from it. You think you've nailed a form (haha) and then the teacher just points out one or two things.... (sighs)

So we started the iai with Mae. Firstly I was shown that it's important not to collapse the elbow in at O chiburi. I tend to flatten the wrist and lose the cutting grip and bring the elbow forward first. If the cutting grip is maintained the chiburi can be executed correctly and with much less effort. Equally the tip of the blade must advance over the wrist and the elbow should follow. I was tending to bring forward the elbow and flick down with the hand.

More practice!

But the real penny dropper moment came during Kesa giri. The beautiful standing form which cuts up and then down through the kesa line. After these cuts the tip is brought immediately up whilst stepping back into hasso gamae. (Tsuba at mouth level!) It was here that I was shown the importance of maintinaing the cutting grip- if this grip is kept then the chiburi can be executed. If the hand flattens (as in my O chiburi!!!) then correct chiburi can't be made. PING! Oh yeah. I didn't realise that before.....

My teacher once said that iai practice isn't cutting with a sword. It's everything-it cultivates an attitude towards life. See the bigger picture and have your vision and goals by all means but take care of the detail and make sure you do the job properly. If it's worth doing it at all then do it well! If you decide to do something then you may as well set out to do it well! Why choose to do something then make a half hearted effort at it. It makes no sense. Stay focused on the task at hand and do it well.

(This ripped from web somewhere:)

Bart- "Dad I gave up playing the guitar because it was too hard- I hope your not mad."
Homer- "Son, if something is too hard to do then it's not worth doing. Just put the guitar in the cupboard along with your short wave radio and karate oufit and we'll go inside and watch TV."
Bart- "What's on?"
Homer- "It doesn't matter."