Fifth dan written test cheat sheet [Archive]

Nanbanjin

30th October 2006, 11:48 AM

I'm going to have a crack at translating some of the info from
http://www.ne.jp/asahi/aaa/tagi2/gakka/godan.htm

I'm going to really rush this so sorry if the translations are less than faithful sometimes. Here are the first two questions and answers.

1. Virtues nurtured by kendo training

Virtues nurtured by kendo can be divided into the following five categories

(1) Courage (yuki)... Because in kendo you have to rely on your full mental and physical capacity, courage is nurtured natually.

(2) Etiquette (reigi)... Because etiquette is treated as fundamental to all traning, you learn to have correct etiquette at all times

(3) Loyalty and honour (shingi-to-kenchi)... If you learn the way of the sword from your heart, a person's heart will become clear. Loyalty and honour will result from this naturally.

(4) Self-control (Kokki) ... If you are unable to overcome fear and doubt you will never be able to win. Because of this a psyche capable self control is developed.

(5) Endurance (Nintai) ... Because one is pushed to the limits of physical and mental capacity, endurance will become better naturally.

These virtues are nurtured by other sports as well, but in kendo emphasis is placed on spiritually, so the effects are more striking.

2. Things to bear in mind as a kendo instructor

(1) Understand the fundamentals of kendo thoroughly, and apply this knowledge in your instruction. Sufficiently grasp the purpose and spirit of kendo, and accommodate for the age, ability and technical skill of your students.

(2) Make students sufficiently aware of the purpose of training. For example, you should be able to explain why "shizen-tai (natural posture)" is important in "Kihon-no-kamae (basic kamae)" , and what meaning it has in kendo dynamics, in other sports and in daily life. By doing this you should be able to increase the students awareness of the importance of maintaining a more natural posture and thus encourage them to maintain a natural posture. This will increase interest of students and make training more effective.

(3) Find ways of improving the training environment. The most fundamental element in improving the training environment is above all other things the dedication and attitude of the instructor.
The instructor should make the purpose and content of instruction clear, and form at systematic and constructive training regime based on the needs of students. You should not simply concentrate on teaching technique; you should also be aware of your own role in the human training environment and never fail to improve your own personality, insight, technique etc. This will allow you to collaborate better with your students and be a better instructor.

(4) Be aware of the health and wellbeing of students. You need to be aware of the health of your students, and avoid situations where you ask too much of them, causing them injury and making them lose desire to train. Instruct appropriately keeping in mind the health, ability, experience, weather etc.

(5) You must maintain the state of your facilities and equipment. You must be sufficiently mindful of maintaining levels of safety, and preventing injury and accident.

Nanbanjin

30th October 2006, 12:52 PM

3. Being mentally prepared for shiai

Shiai is a way of judging your own improvement. Shiai is an important opportunity to compare your attitude and skill with that of your opponent, and to reflect on your strangths and weaknesses. Shiai is an important stage for the training of your spirit and development of your character.

To be mentally prepared for shiai you should consider the following

(1) Remember ettiquete and uphold the rules of shiai.
(2) Use all your strength and skill (i.e. don't hold anything back).
(3) Try and maintain Kikentainoicchi, and play correctly with a serious attitude.
(4) Always show zanshin after striking, and never lose correct posture.
(5) Observe your opponent's openings and seize opportunities to strike.
(6) Always be assertive/positive.
(7) Quickly assess the strengths and weaknesses of your opponent.
(8) Never judge the match yourself while playing (i.e. let the judges do it)
(9) Always play in a level headed manner (i.e. never lose your cool or "heijoshin")

etc.

In summary you should approach shiai with a correct understanding and grasp of its spirit and role in kendo study.

Nanbanjin

30th October 2006, 01:31 PM

4. Mental preparedness and what to look for when observing kendo practice

Observing kendo practice has been known as "mitori-keiko" from long ago and is seen as in important part of kendo study.
When observing serious keiko or shiai, the observer should also have a solemn attitude and should respect the rules, and have correct attire and posture.
When observing kendo you should pay particular attention to the following points, observing from the front, back, left and right, understanding the relationship between the different perspectives, comparing with your own movements, and reflecting on your observations.

(1) Posture
Observe whether posture is "expansive", calm and dignified, whether movements are smooth and agile, whether there are any bad habits in technique, and then observe in finer detail each area, for example stance, the manner of stepping, the way of holding the shinai etc.

(2) Technique
Observer the speed and accuracy of strikes, the position of both elbows, the movement of the hands, zanshin, kikentainoicchi, maai, receiving etc.

(3) Spirit
Observe if enough spirit is being displayed, if concentration is being maintained at all times, whether there are any signs of surprise or doubt, and whether one player is always in control.

Nanbanjin

30th October 2006, 01:51 PM

5. Types of keiko

It is possible to classify keiko into six types: kakari-geiko, gokaku-geiko, sougou-geiko (aka. ji-geiko or jiyu-geiko), shiai-geiko, hikitate-geiko, and tokubetsu-geiko. It is also possible to classify keiko into four types: kakari-geiko, ji-geiko, (gokaku, shobu or shiai) hikitate-gaiko, and tokubetsu-geiko.

1) kakari-geiko

The aim is to develop the foundation for your body, spirit and technique.
It is a style of keiko where you mostly strike.

(1) It makes physical movement more free, and makes hand and footwork more agile.
(2) It makes striking techniques more accurate and strong.
(3) It helps develop cardio-vascular, and aerobic strength, and develops mobility and stamina.

Important points:
Should be carried out with an unaffected attitude, big techniques, in a relaxed and correct manner, with speed and power. You need to push yourself forward and use all your physical power. Strike deeply, don't break posture and carry out continuous basic techniques.

to be continued...

Nanbanjin

30th October 2006, 02:09 PM

2. Gokaku-geiko

Keiko carried out together by two people of similar skill and experience.

(1) Use the techniques you have learned to compete in offence and defence with your opponent, and as much as possible try and make correct and valid strikes.
(2) Attack your opponent, and through repetitive study of techniques you have learned and feel you can execute effectively, make them your own.
(3) Reflect on your unpreparedness and insufficiencies, and work to correct your weaknesses.
(4) Always study legitimate techniques

Important points:
As much as possible train with a large number of different opponents. Use your own favourite techniques from long-distance (toh-ma), and also try to master at least one new technique as well.

to be continued again...

Charlie

30th October 2006, 09:47 PM

Excellent! Thank you.

Halcyon

30th October 2006, 10:19 PM

Another fine installment in the Nanbanjin "masterpiece theatre in translation." Keep 'em coming. Thanks.

Ignatz

30th October 2006, 10:31 PM

Another fine installment in the Nanbanjin "masterpiece theatre in translation." Keep 'em coming. Thanks.
Watch out though, people will start thinking that you are a nice guy. Next thing they will treasure your posts.

mark

31st October 2006, 12:35 AM

(4) Always study legitimate techniques

Thanks for the translation, it made for interesting reading.

What do you think they mean in number 4? Do some people study non-legitimate techniques?

sainueng

31st October 2006, 12:42 AM

4) Always study legitimate techniquesThanks for the translation, it made for interesting reading.

What do you think they mean in number 4? Do some people study non-legitimate techniques?

Some people try to invent their own techniques, based on what they think will work. Sometimes they're good ideas, sometimes they're variations of legitimate techniques, but more often than not they're just crap, imo. Personally I see this more at the 1 kyu/shodan level, not sure why they need to remind 5 dan of that... Maybe it's a reminder that what works in shiai is not necessarily legitimate?

Nanbanjin

31st October 2006, 01:40 AM

Thanks for the translation, it made for interesting reading.

What do you think they mean in number 4? Do some people study non-legitimate techniques?
The original sentence is:

（4）常に適法な技の研究に励むこと。
つねにてきほうなわざのけんきゅうにはげむこと

つね Always
てきほうな Legitimate
わざ Techniques
けんきゅう Study/research
はげむ Endeavour/Strive (I didn't really stress in the translation)
はげむこと Be sure to Endeavour/Strive

So I guess I should have translated it as:

"Always strive to study legitimate techniques"

Basically I think that means not to try the "Hammer of Thor" (influence form recent posts) technique you made up even if you think it would really add to the global kendo repertoire.

Nanbanjin

31st October 2006, 01:43 AM

Personally I see this more at the 1 kyu/shodan level, not sure why they need to remind 5 dan of that... Maybe it's a reminder that what works in shiai is not necessarily legitimate?

The first few questions seem aimed at people teaching kendo. It's what people of godan should make sure their students aren't doing.
And don't get me started on people who get godan and suddenly think they have a licence to create their own waza.

Ignatz

31st October 2006, 02:12 AM

Note to self:
Ixnay on the Hammer of Or thay.:cool:

Nanbanjin

31st October 2006, 07:54 AM

More of Question 5...

3. Sogo-geiko (aka., ji-geiko, jiyu-geiko)

This is generally the most commonly practiced keiko, and its content is varied, where lower and higher graded practioners can train with one another freely.

(1) For higher ranked players it is important to practice your own techniques as attacking as much as possible, refining legitimate techniques.

(2) People of the same rank should practice gokaku-geiko, shoubu-geiko etc, making sure you don't slacken off in your intensity.

(3) Lower graded players are made to carry out hikitate-geiko, trying out techniques that they not confident with.

(4) Try and make this a meaningful training with a defined goal

Important points: Both players should attack sufficiently without slackening off. You should be prepared to be the person who makes scores the first point.

...to be continued again...

Nanbanjin

31st October 2006, 08:11 AM

more of question 5....

4. Shiai-geiko (shobu-geiko)

Compete for each point. The purpose of this type of keiko is to learn to take winning points, or to prepare for competition.

(1) Think about "one point" ("ippon-shobu") and practice with all your ability.
(2) Use your favourite techniques to bring about results.
(3) Never let your concentration slip, and keep defence strong.
(4) Nurture the self confidence and courage you need to face shiai.

Important points:
Not worrying about your opponent, choosing players who you find difficult, play against a large number of opponents. Forget that you are in keiko and approach this training as if you are in shiai.

5. Hikitate-geiko

Keiko performed to teach beginners and lower ranked players to strike correctly with correct basics.

(1) The senior leads the beginner, encouraging the formation of correct kendo basics.
(2) Correct bad habits, bringing out strengths and in so doing accelerating progress.
(3) Discover strengths and weaknesses, bringing out standard and high level techniques.

Important points:
Make students carry out strikes in a correct way, and allow them to experience the joy that this brings.

to be continued....

Nanbanjin

31st October 2006, 08:19 AM

...Question 4 last installment...

6. Tokubetsu-geiko

Kan-geiko, shochu-geiko etc,; keiko that is performed at times of particular cold or midsummer heat.

(1) Nurtures the endurance to overcome the hardships of extreme heat and cold.
(2) Because this training is carried at particular times of year, make sure you plan and prepare sufficiently.

Important points:
Try and achieve goals without being discouraged by heat or cold, but be aware of welfare and don't compromise the health of students.

End of Question 5!!

Nanbanjin

31st October 2006, 08:26 AM

6. Heijoshin

Heijoshin is a "Heart that is always calm", or the state in which the human heart (spirit) should be. People tend to strive to achieve goals with their hearts, so maintaining a steady/simple heart is difficult.
In kendo your movements are the result of reacting to your opponents as well as moving from yourself, which means that "heijoshin" is also technically very difficult.
In kendo it is vitally important to practice basic training while maintaining a calm heart.

Nanbanjin

31st October 2006, 08:39 AM

7. Kigurai

Kigurai is the quality of spirit that and dignity that eminates from one's self. Kigurai is the natural by product of maturing technique and trained spirit.
When crossing shinai with the opponent, suprise and doubt that lead to a feeling of having lost before the fight has begun come about when you are overcome by your opponent's kigurai.
If you try and immitate this kind of kigurai deliberately, if your technique and spirit are not sufficiently mature you will have the opposite effect of creating openings and you will be struck and it will be ugly to watch!!! Development of technique and strengthening of spirit are naturally manifested in kigurai, so kigurai is not something that can be achieved overnight.
Kigurai is very different from pride or vanity. Vanity must be avoided at all costs in kendo.

Nanbanjin

31st October 2006, 09:07 AM

8. Tenouchi

In kendo tenouchi is a combination of:

(1) The grip of the right and left hand on the tsuka.
(2) The application of strenght.
(3) The level of tension in both hands at the time of striking.
(4) The losening of tension in both hands after striking.

(1) Method of gripping.
The left hand is such that the little finger doesn't release the back of the tsuka. The right hand right up the tsuka to the extent that it doesn't touch the tsuba. Both hands grip the tsuka with the thumb, little finger and ring fingers. The elbows are not extended too much, and the tsuka is gripped lightly keeping all joints of both arms relaxed. The feeling in the wrists should be that of wringing a damp cloth, bringing the gap between the thumb and forefinger of both hands in direct line with the tsuru of the shinai.
In an old kendo poem you can find the line "Right hand forward, left hand back, hold softly like wringing out a cloth".

(2) Application of strength.
The little fingers of both hands grip normally, and the stregth becomes less with the ring finger, middle finger and so on.
In order to stop the end of the shinai from rising the thumbs are held down lightly. It is important that the tsuka is gripped lightly with the feeling of holding an egg. Don't put too much strength into the right hand or into the shoulders or arms. Strength should be sixty percent left hand and forty percent right hand.
(The right hand is known as the "deputy hand").

(3) Tension and release of tension in both hands.
When striking, apply strength through tenouchi evenly to both hands. If you do this such that you do not favour one hand, balance will be achieved and the strike will be correct. At the time of striking the wrists of both hands are moved to the centre line, wringing inwards as of wringing a damp cloth, extending tendons sufficiently. After striking tension should be released immediately, returning to the original tension, so it is easy to continue with subsequent strikes.

Kenshi

31st October 2006, 11:09 AM

The first few questions seem aimed at people teaching kendo. It's what people of godan should make sure their students aren't doing.

I`m sure Nanbanjin knows, but for your others -- in Japan you are not an adult kendo teacher at 5dan. No way. Im pretty sure you couldnt teach at university either (anyone want to confirm/deny?). The minimum a good 6dan, but usually its from 7dan.

You can teach in school (ages 6-18) with a minumum grade of 4dan.

Therefore, the "students" mentioned here are, in fact, children.

Nanbanjin - cheers.

Nanbanjin

31st October 2006, 11:46 AM

From Ichinikai:

何段以上が指導者という明確な規定はありませんが、一般的に「四段以上くらいが目安」って考えられていると思いますよ(^^)

"There is no strict definition of what grade signifies instructor level, but I think that it is generally considered that "About fourth dan or above is the standard"."

I don't know how many times I've told people my grade and have been told "you can be an instructor from fourth dan".
In practice you don't see many instructors heading dojos who are less than 7th dan. At schools you hear stories of kids being taught kendo by people of lower dans or even who have no instructor and have to train themselves.

By fourth dan it seems generally accepted that you could in theory be an instructor. By fifth dan I guess you should start thinking about it serously. Given that it will be a good eleven years at least before you make seventh dan you will have given it a fair amount of thought by the time you put your understanding into practice.

Hence the high level of quality of instruction in Japan.... ?

James

31st October 2006, 11:50 AM

Nanbanjin - Good Job, a post purely about kendo here is like a breath of fresh air. Thx j

Agree with George, that is the case here in Japan; however I'd like to add, if you are training in a country/situation where the only instructor for miles is a sincere nidan - do not take this as reason for dicouragement. Work and grow together until you can widen your experience.

cesarekim

31st October 2006, 12:01 PM

I just tested 3 dan in June so this WAY over my head for testing purposes but thank you for a good read.

With Best Regards,

Nanbanjin

31st October 2006, 12:22 PM

The link to the Ichinikai post I quoted above is:

http://www5a.biglobe.ne.jp/~ichini/bbs7/645628220242546.html

mark

31st October 2006, 12:35 PM

8. Tenouchi
In order to stop the end of the shinai from rising the thumbs are held down lightly. .

Could you please expand on this?

Nanbanjin

31st October 2006, 12:46 PM

Could you please expand on this?

I was really rushing when I did these.

剣先を揚げないようにするため、拇指で軽く押さえる。

剣先 Kensen
を
揚げないようにするため、 so it doesn't rise
拇指で with the thumb(s?)
軽く lightly
押さえる。 restrain

Maybe "restrain" is a better way of putting it than "hold down".
I'm confident that thumbs is plural.
Also, think of the thumbs as including the fat bit at the base of the thumbs. Maintain a little pressure in that area and you should be able to keep the kensen down. Or rather, if you lose pressure you will probably notice the kensen rise.

Kenshi

31st October 2006, 12:47 PM

By fourth dan it seems generally accepted that you could in theory be an instructor. By fifth dan I guess you should start thinking about it serously............Hence the high level of quality of instruction in Japan.... ?

agreed that about 4dan you could generally be seen as "instructor" level, but I tend to see it as more of a "right, lets get serious" benchmark, and I am guessing that this is the standard thought about it. In practise - in Japan as you know - 4dan is still a pretty low grade and not an intructor level. You know fine well that you wont be taken too seriously in the kendo community at large. Hide-sans "4th dan and above" was still in relation to teaching at school.

You are right about many schools not having teachers are such (often someone will visit from time to time) and these generally run the classes by themselves. What worse is if the teacher in charge has zero kendo experience. If you are at one of these schools, however, you are probably not serious about kendo.

Ive a fair bit of experience teaching kids, from 6-15, and have been around kids from 16-18 a lot, so I think I am at least semi-qualified to comment. Ive just covered the vast majority of kendo practioners in Japan in one fell swoop.

The reason I commented in the 1st place is that abroad (not Japan) people tend to think that 4dan is where you are a teacher. If you stuck all those 4dans on a plane and flew them to Japan and stuck them in a dojo they would be in for a sore sore lesson in humility. Hopefully then they would fly back from whence they came and reaccess their ability to teach and their teaching methodologies.

Nanbanjin

31st October 2006, 01:00 PM

I agree with everything you say except for the "Hide-sans "4th dan and above" was still in relation to teaching at school." bit.
The post was in direct reply to:

私は学校の部活で剣道を教えたりする、指導者ではなく
市や町の道場で剣道を教える指導者を目指してるも
のですが、何段を取れば指導者になれるのでしょうか？
知ってる方、お願いします

The position of the first comma is misleading, but this guy wants to teach at dojos outside of the school system.

Also, if we were going to fly all the fourth dans in the world-except-for-Japan to Japan, we should use two planes like with the Royal Family.

Kenshi

31st October 2006, 02:51 PM

I agree with everything you say except for the "Hide-sans "4th dan and above" was still in relation to teaching at school." bit.

Ok, I admit it, I skim read. But still.... I think im on the ball, as you know.

Also, if we were going to fly all the fourth dans in the world-except-for-Japan to Japan, we should use two planes like with the Royal Family.

Dunno... if the plane crashed I dont think much would change. Besides, we wouldnt want to inflate their ego to Royal size proportions anyway... if they arent already.

JSchmidt

31st October 2006, 07:05 PM

Geez, George...whats bugging you..While I agree with some of your comments, your bitterness over non-Japanese kendo players seems rather high at the moment.

Nanbanjin

31st October 2006, 09:17 PM

Geez, George...whats bugging you..While I agree with some of your comments, your bitterness over non-Japanese kendo players seems rather high at the moment.
We all feel that way sometimes. Most non-Japanese fourth dan players I know are actually pretty good. It's fifth/sixth/seventh dans that bug me.

Kenshi

31st October 2006, 09:41 PM

Geez, George...whats bugging you..While I agree with some of your comments, your bitterness over non-Japanese kendo players seems rather high at the moment.

you are right!!! most of it stems from hanging out here (Japan+these forums) for the past few years (and wondering why the information and experiences presented in 1 do not match the other). ive been pretty good about NOT posting over these last 4 years, but somethings clicked in me recently. my kendo and my ideas about kendo have fundamentally changed. there are various reasons for this, and id be happy to explain some of them on your next trip!! im struggling with this change myself.

somehow, ive felt the compulsion to post recently... i need to stop. thanks for pointing out ive my head up my arse.... i was waiting for someone to say it... best its from a friend!!!!

i dont think im bitter, btw, its more.... a combination of frustration and a feeling of being cheated. i'll let you mull that one over!

Nanbanjin

31st October 2006, 10:36 PM

A little cyber stalking tells me you have pretty kendo. Maybe you're starting to build up some confidence. Also, testosterone levels will be up now ahead of the WKC.

And thanks to all the people who gave me positive rep points for this thread.

Neil Gendzwill

31st October 2006, 10:41 PM

My experience with Japanese 4th dans is that they are technically pretty damn good and usually playing at a pace I don't see around here, so they kick my ass.

But from a teaching point of view, they typically don't know much as they've never been given that chance. Here we start giving teaching responsibilities much earlier, because we have to. In Japan, your standard yondan guy is just another student in the dojo.

We are fortunate enough to have a nanadan sensei in my club, but I know others who don't. Sometimes those clubs will have an import member due to an ESL program or other circumstance and really could benefit from the import taking a leadership role. But it's like pulling teeth to get them to do it because they don't have any experience, don't think of themselves as instructors, are not too comfortable taking the lead over people they consider as senior to them within the new club, and all that is compounded by being new to the country and the language.

Charlie

31st October 2006, 10:47 PM

That's been our experience, too, Neil. We practice at a university dojo and obviously people come for grad school, teaching, internships, what have you. We have been fortunate to have several great visitors from Japan, Korea and other places. All have accepted the teaching/mentorship role we thrust on them very graciously. In fact, they have been willing to exchange kendo for practice in using the English language! I mean, the worst thing that happens is our visiting friend will be, like, "How can I say...? Mmm, to make the attack, you must... and then..."

My sig at this forum for a while was "Make sense?" We had a great friend from Japan, yondan, and he would end a lot of his instructions or explanations with, "Make sense?"

Charlie

31st October 2006, 10:51 PM

By the way, George, I have always, always appreciated your posts, and I do not want you to stop. Be as grumpy as you like, I and many others appreciate your perspective.

JSchmidt

31st October 2006, 10:57 PM

you are right!!! most of it stems from hanging out here (Japan+these forums) for the past few years (and wondering why the information and experiences presented in 1 do not match the other). ive been pretty good about NOT posting over these last 4 years, but somethings clicked in me recently. my kendo and my ideas about kendo have fundamentally changed. there are various reasons for this, and id be happy to explain some of them on your next trip!! im struggling with this change myself.

somehow, ive felt the compulsion to post recently... i need to stop. thanks for pointing out ive my head up my arse.... i was waiting for someone to say it... best its from a friend!!!!

i dont think im bitter, btw, its more.... a combination of frustration and a feeling of being cheated. i'll let you mull that one over!

George, I think I know what you are saying, but it will require a rather lengthy reply which I will try to get around to later (when I'm not working). I don't, however, think you should stop posting, as your experiences and thoughts are valuable.

Jakob

misterkurukuru

31st October 2006, 11:36 PM

note: i should be testing for 5 dan this year. i am pretty sure i would get it. but i dont really care about rank. i only got 4 dan so that i dont have to pay dojo dues.I was 21 when i got 4 dan.

out here kendo has gone the way of self promotion. Sensei want rank to show up others or to gain/maintain power. There are many 4 dans(in so cal) that are not given the chance to teach and grow because there are higher ranking sensei fighting among themselves for power. some are doing so well thast they just stay at the top

My own experience- when i first took over the dojo i was a 4 dan with no clue. I do have a college degree in education, but i only took a few "instruction of kinesiology" classes. I had to learn to train people the correct way. After my first year, my head was filled with questions. I wanted to to teach efficacy and skill, but balancing the two was difficult. My first year, i made the dojo do high level drills with little explanation(the just watch me teaching style). everyone became a little sloppy(a reflection of my self at the time) but they did well in shiai. The next year i worked on kihon and simple things. I worked on become well rounded and understanding yourself and your opponent.

Now things are much easier, i have grown much from being be able to teach in the dojo. As a younger 4 dan, everything about my kendo has changed after i started teaching. I think 4 dan would benefit from teaching a class for 2-3 years. When the time comes for m to step aside, i will, and i will be happy about it!!

Nanbanjin

31st October 2006, 11:59 PM

Getting a bit tricky here. Apologies in advance.

9. Jiri-icchi (Giri-icchi) 事理一致（技理一致）

Translating the characters "Ji" is "fact". In kendo this is technique, movement, and form.
In other words it is the working of "Feet, hands, sword (ken)". "Ri" is "theory" and "reason". In kendo this is "spirit" and "meaning (ri-ai)". In other words it is the working of the mind or spirit.

Kendo is said to be a study of both "ji" and "ri". It is necessary to practice efficient kendo that realises meaning and movement, mind and technique. Mind and technique should be trained as one.
Technique in kendo is large, strong, quick and light in action (movement). If this technique alone is improved without training spirit, reason, external and internal spiritual dynamics, it will not become an action that encompases both mind and technique. If this happens openings will occur in your mind and technique, and you will be struck. On the other hand, if you improve kendo "meaning" and spirit without technique, openings will appear in your movement and you will be hit by your opponent.

Therefore, in kendo you need to always train both spirityal activity (mind, spirit, reason), and physical activity (technique, hand and foot movement) as one, in the spirit of jiri-icchi.
Ji and ri are like two wheels of a cart or the two wings of a bird in that only when both have equal emphasis will movement become smooth, so kendo training requires empasis on both. Considering development of kendo, training with emphasis on both "ji" and "ri" will bring about the fastest improvement.

PhilMcLaughlin

1st November 2006, 12:24 AM

you are right!!! most of it stems from hanging out here (Japan+these forums) for the past few years (and wondering why the information and experiences presented in 1 do not match the other). ive been pretty good about NOT posting over these last 4 years, but somethings clicked in me recently. my kendo and my ideas about kendo have fundamentally changed. there are various reasons for this, and id be happy to explain some of them on your next trip!! im struggling with this change myself.

somehow, ive felt the compulsion to post recently... i need to stop. thanks for pointing out ive my head up my arse.... i was waiting for someone to say it... best its from a friend!!!!

i dont think im bitter, btw, its more.... a combination of frustration and a feeling of being cheated. i'll let you mull that one over!

course youre not bitter, youre just scottish :-)

and id say cracked not clicked !!

how are you doing georgi sensei ?

regards

phil..

Kenshi

1st November 2006, 07:25 AM

A little cyber stalking tells me you have pretty kendo. Maybe you're starting to build up some confidence. Also, testosterone levels will be up now ahead of the WKC.

hah hah at work now, so dont have time to reply.... i`ll just say one thing - i am not allowed to participate in the WKC as the BKA stipulate you must attend monthly squad training which is just outside London... a bit far to travel from Osaka every month. But yes, this inability to participate (despite being British and a fully payed up BKA member) has recently been making me more .... frustrated ... than usual.

Ignatz

1st November 2006, 07:55 AM

9. Jiri-icchi (Giri-icchi) ??????????

Boy o boy. Some day I hope to be able to do both at the same time. :disapp:

That is one good piece of knowledge there skippy.

Nanbanjin

1st November 2006, 09:29 AM

10. Shu-ha-ri

Translating the characters, "shu" is "to guard, to protect" or "to follow unquestioningly", "ha" is "to break, to tear down" or "to defeat" and "ri" is "to depart, to draw away" or "to break ties with".
In kendo, as a representation of levels of learning, "shu" is said to be the first step, "ha" is where the first stage is traversed and progress is made, and "ri" is where the stage of "ha" is surpassed and the student devotes himself/herself to developing his/her own style.

1. Shu
Until the student's kendo has developed to a certain level they follow their instructor's teachings faithfully, learning kendo theory and technique, and never learning other styles.

2. Ha
As kendo experience piles up, the student makes what they have been taught their own, and continue to progress and learn other styles, taking on the strengths of those styles and developing new areas that were unattainable in the stage of "shu", and thus making their kendo another level stronger.

3. Ri
Through rigorous training the level of "ha" is surpassed and the student finally discovers their own stage, creating their own style. In other words, the student masters the deep meaning of the sword.

"Shu-ha-ri" can be applied not only to kendo but also to ones way of life.

Nanbanjin

1st November 2006, 09:56 AM

11/1. Houshin

The word "houshin" itself conjures images of "a clumsy person" or "a bad person with no conscience", with a meaning of having let your heart loose and losing it, but in kendo "hoshin" is as in what was once called "to call in your wandering heart". In other words, you do not leave your heart loose, but find out where it wants to go and reign it back in.
If your heart is held captive, it will be like a tethered cat unable to chase a mouse when it appears. If you allow your heart to freely go where it wants when it wants, your whole body will always be aware, and your heart will be there and will fulfill its task whenever it is needed. Because of this you should allow your heart to be free.
In other words, "houshin" is desirable and necessary.
In kendo you should not shackle your heart, always allowing it to be free, so it can be there as soon as it is needed. Allow your heart to work as quick as lightning.

Nanbanjin

1st November 2006, 10:30 AM

11/2. Shishin

"Shishin" is on the face of it "to stop your heart", "a stopped heart", or "a captured heart".
In other words, "shishin" is to have one's attention captured by a single thing, and because of this to be unable to remain aware of other important things.
In kendo, "shishin" is to have your attention stolen by your opponent's attacking sword, becoming preoccupied with whether to block or deflect etc., thus becoming unable to execute your own techniques, and ultimately being hit by your opponent.
If you pay attention to one thing only, your heart will be trapped by that thing, and you will lose understanding of other thing.
Kendo teaching warns against "shishin" and encourages a heart full of "houshin", without any part that is in stasis.

Nanbanjin

1st November 2006, 11:56 AM

12. Things to look for when viewing a sword

(1) The nihonto is a weapon made for use in battle.
However, even though today it has outlived its use in war, depending on its use it can still be a lethal weapon.

(2) Today the nihonto is treated only as a work of art. Nihonto with artistic value are registered by law, and it is possible to own, study and admire them.

(3) When viewing a sword consider there are two roles, that of the viewer and that of the person showing the sword.

i) When showing someone a katana, bringing it out on a spread cloth etc., whether it is ornamented or if it is in a plain sheath it should always be kept in a sack. This is to prevent it coming out of its sheath by accident. You should make sure the tsuka-gashira is upwards and hold it in your right hand when you put it in and take it out. This is considered polite. When showing the sword you should never allow the kissaki to face them, or hold it such that it is cutting towards them. When drawing the sword the cutting edge should face up and the back of the sword (the mune/mine) should be touching the saya as it is drawn. Tilt the cutting edge towards yourself and hand it to your guest from the tsuka-gashira.

ii) The person who takes the sword should grip the tsuka firmly and draw sideways being careful not to point the kissaki at the person showing the sword. Bow once before viewing the sword. When doing this it is recommended to use a "fukusa (cloth)". If you use your bare hand or a dirty hanky you run the risk of dirtying the tsuka.

iii) When looking at the katana always hold it upright and view its shape. At this stage you should avoid holding the katana sideways. You should never hold the tsuka as if to swing it, or strike poses with the sword.
After viewing the shape of the sword, hold it agains the light and view the hamon and boshi, starting from omote and moving to ura. At this time be careful as much as possible not to allow the kissaki to point towards your host. Because of lighting or for whatever reason you find you have to point the kensen at you host you should say "shitsurei-shimasu".
Next lay the blade sideways and draw your hands back, admiring the metal. When admiring the upright tempered blade and when drawing the hands back to admire the metal, use a "fukusa" in both hands. You should rest the blade lightly on the fukusa, being careful never to place the blade on your sleeve or the katana's saya. You may use "paper( 拭紙 ?) in place of the fukusa, but you should not thoughtlessly rub the blade. When viewing the blade the paper of fukusa should simply support the blade and sould not rub or wipe it.

iv) When presented with a sword in its saya, the way you draw and the way you sheath the sword is very important.
When drawing the sword you should hold the saya from below and grip the tsuka from above, with the cutting edge upwards you sould break the "Koi-guchi", and slowly draw without rattling. Drawing the sword quickly is something that sword enthusiasts generally dislike greatly. When sheathing the katana the hands are held the same, and the sword is inserted in the saya slowly without rattling the blade. You should never draw or sheath the sword with the the blade held horizontal, you should never draw the sword part way and then stop and look at it, and you should never grip the saya from above with your left hand. Also, however much of a work of art the sword may be, never forget that it is still capable of cutting and as such it should be treated with care

To be continued....

Nanbanjin

1st November 2006, 12:38 PM

...12 continued...

v) In the past, when viewing a sword it was necessary to hold a piece of paper in your mouth. Today this is unnecessary, but it is important to know why this custom existed. The custom existed so that spit, or breath would not touch the blade and risk rusting. Therefore, when viewing the sword you should remain quiet, and if you do have to say something be careful not to spit or breath on the blade.

vi) When viewing the tsuka (kuki), you must gain permission from your your host by saying "Kuki-wo-haiken-sasete-itadakimasu". To remove the tsuka first remove the mekugi, grip the edge of the tsuka with your left hand, hold the cutting edge upwards with the sword held to your shoulder (I think it must be in the saya at this time). With the right fist hit down on the left fist with a knock. If the tsuka doesn't come loose with this, hit again with more force. If it still doesn't come loose use an "ategi" at the mouth of the mouth of the tsuka and hit with a wooden mallet.
At this time you sould never hit the tsukaguchi directly, and you should not use a metal hammer.
After this admire the shape of the kuki, the yusurime ?? and the inscription.
There is nothing that requires particular attention, and there is no need to comment on the name in the inscription. However, saying things like "kekko na kuki de aru" or "yoi mei de aru" are not considered rude.
After admiring the kuki, quietly replace the tsuka, and hit the tsukagashira firmly with your right palm. Replace the mekugi. Then you would usually thank your host.

When handing the katana to your host, hand it back as it was handed to you.

(4) Humans have a tendency to pretend they know what they are talking about. It is of utmost importance that you avoid this pretentiousness.

(5) Handle the sword quietly with correct manners from seiza. It is polite when handling a katana to not make the other person feel threatened or apprehensive.

And that is that!

Nanbanjin

1st November 2006, 12:41 PM

Please understand that these translations were rushed. I'm sure to have mistranslated some bits. Take it with a grain of salt. Any comments or questions about the content are welcome.

And thanks everyone for the positive feedback! I really appreciate it.

Peter

Aden

1st November 2006, 12:57 PM

Most excellent translation job, thanks for putting it up there.

(2) Today the nihonto is treated only as a work of art. Nihonto with artistic value are registered by law, and it is possible to own, study and admire them.

hmmm sounds like evil sword collector sword handling protocols - from the sort of people who do not believe in using nihonto for iaido and related arts....

Aden
(who started iaido with a nihonto from the sadly no longer around St George Antiques)

Kuri

1st November 2006, 01:23 PM

Nanmanjin, your efforts are very much appreciated.

xvikingx

1st November 2006, 02:19 PM

Can we get this stickied by any chance?

Thanks for taking the time to do this Pete!

Masahiro

1st November 2006, 04:12 PM

Domo Arrigatogozaimasu, good work indeed. Now all you need to do to top yourself is to translated the rest of the links on that page. say the cheatsheets for shodan, san-dan, and yondan? hahaha, j/k. ... well, no seriously, is there a chance? hahahaha. Onegaishimasu !

ben

1st November 2006, 08:23 PM

We all feel that way sometimes. Most non-Japanese fourth dan players I know are actually pretty good. It's fifth/sixth/seventh dans that bug me.

Oi! I resemble that remark!

b

ben

1st November 2006, 08:41 PM

Charlie

1st November 2006, 10:45 PM

Brilliant work, nanbajin!

johnkichu

1st November 2006, 10:53 PM

Thanks for doing all this!

Man - I really need to learn Japanese.

Thunder

8th November 2006, 11:18 PM

Fantastic information---Thanks for sharing.

Is it just me or does the thread title seem a bit odd...
I don't see Godan needing "cheat sheets"....

Something about a very high rank-- "cheating" that doesn't sit right....

Neil Gendzwill

9th November 2006, 12:12 AM

Something about a very high rank-- "cheating" that doesn't sit right....It's not a high rank, and furthermore some of this stuff is new to me so clearly I need to cheat.

Nukitsuke

9th November 2006, 12:07 PM

Thanks for all the good information! The hints you've provided also directly relate to ZNKR iaido tests as well. For my 4dan iaido test, I had to provide definitions for both Kigurai and Tenouchi as you mentioned above. I however did not have this useful guide and instead had to have translantion help from my sensei on those.
Thanks again for the your hard work! おつかれさまでした！
Brad

Nanbanjin

9th November 2006, 12:14 PM

おつかれさまでした！
Brad

少しでもお役に立たせて頂けて嬉しく思います。

Neil Gendzwill

9th November 2006, 10:49 PM

And Nanbanjin joins the double green blob club...

rfoxmich

4th December 2006, 06:41 AM

If Nanbanjin is willing to have this posted in one place for posterity
I'd be happy to put it up on the MSU kendo website
(http://kendo.msu.edu) amongst our
study/training resources (same for your other translations). Of course
with full credit. By all means get in touch with me if you want this and
we can work out details.
Ron.

Ignatz

4th December 2006, 09:57 AM

And Nanbanjin joins the double green blob club...
Sure, Peter gets his by posting useful information. Some of us need to resort to bribery and intimidation.

Nanbanjin

4th December 2006, 11:35 AM

Sure, Peter gets his by posting useful information. Some of us need to resort to bribery and intimidation.
I've gotten plenty of points for posting utter rubbish too.

If Nanbanjin is willing to have this posted in one place for posterity
I'd be happy to put it up on the MSU kendo website
(http://kendo.msu.edu) amongst our
study/training resources (same for your other translations). Of course
with full credit. By all means get in touch with me if you want this and
we can work out details.
Ron.

Mark Molloy asked me the same thing but I'm not sure whether he has done anything about it. I don't mind at all, but maybe you should be aware that Mark is planning to use the stuff too. Cred goes to KW and the Japanese site I stole the original from (without asking!).
Also, you might want to read through what I've written and let me know if there's anything that doesn't make complete sense. I have been very quick with the translations and I might have missed a thing or two.

I still haven't finished the Shodan questions I was going to do over Thinksgiving, Thanksbeing to Ignatz's hospitality.
I will have to wait for work to quieten down again.