Weapons as training aids

This short video clip shows TO and MH using weapons to see how classical techniques feel when 'extended'. I found this particularly useful in training as it made us work harder at the technique but also gave back some insight into the inner workings of body mechanics and tai sabaki. Foot work became essential as feedback from touch on our arms was taken away. Despite this we could 'feel' with our bodies in 'cutting' into the technique.

Contact Improvisation

In response to Cat's amazing post on dance and martial arts; movement and contact improvisation I'd like to share a video:

It's slow motion kendo illustrating how two bodies can interact with timing and power in relation to an opponent's body movement (intended and actual).

The music is beautiful but not the main feature I was 'struck' with here. Even though these men (this is the men's final) are a metre or more apart they feel each other's energy and movement impeccably. Check out Koiso's 'men' strike against Inage: like a wave rising up, feeling Inage not taking the bait and continuing on to 'men'.

Uchimura's kote on Teramoto is also sublime. Here he feels the air with his shinai, tempting Teramoto to raise which he does for a men strike. Uchimura then closes distance fast for kote.

I was taught in both kendo and Western Fencing to touch blades with your opponent in order to feel the energy, or indeed to fool your adversary into striking or parrying in a particular way. These guys seem to have extended that out and are doing a similar thing without even touching blades. They're simply using the air around the blades! This interaction is much more subtle than sticky hands but I think just as relevant as a form of 'contact improvisation' where two energies interact and work around each other.

Sword Play

Two contrasting styles of fencing (with different weapons).

First the two handed sword, showing techniques from Lichtenauer's style.

Interestingly these fellas are going at it full tilt with swords but their tai sabaki is excellent. Note how they attack with their *bodies*, always pushing into the centreline of their opponent. When attacking they force forward and finish with feet pointing towards their partner's centre (not always). Solid parries and attacks with the body is essential-they're not relying on their weapon even though it looks formidable. More is needed and in this case you can see how everything comes into play: body, feet, sword and (probably) breath.

Check out the intriguing ways the Fabris fighters turn around a linear attack. They curve and circle in an almost grotesque way. Equally other times the parry is very small: just enough to knock the opponent off the line of attack. At about 1m 50s you see the active agent take the initiative to attack and also protect himself from the line of attack by turning his blade up, deflecting any forward momentum. Mind you, a couple of times it looks like the passive agent was so passive he was asleep!

Great hip movement and rotation for extra reach.