San Dan to Yondan

[eric]

Hello all,

I am planning on taking the test for yondan soon and was wondering if anyone had any advice to share about the test or preparing for it. I have asked many people this question and have received very similar answers. I just wondered if some of the sensei here at kendo-world had advice to share. If not, I'll start another discussion on testing in general.


I currently run a dojo where I find I push my students to test to improve themselevs and find "their" kendo along with tournaments. What do you think of testing and the politicing that is involved? This has been touched on, but not at some of the lower levels. Thanks for the help and any comments. Have a good day. Cheers!

[Neil Gendzwill]

The main thing they're looking for is the ability to manage your opponent, mainly creating opportunties through seme and exploiting them. That's a hard thing to train for if you are the top dog in your club at sandan, so I suggest some travel to train with opponents at your level or higher.

[sjp]

I've just made this transition this year and Neil is spot on.
I was in the same position as the original poster and the only way I could improve was to make the time to practice at another dojo with Go-dan and Yondan kendoka.
It is a significant leap not just in the kendo itself but also in your mental approach to your opponent.

[eric]

The sensei that I train with regularly is Tagawa Sensei, the vice president of competition for the AUSKF. The dojo that I run is a brother dojo to the Detroit Kendo Club. As far as training with higher sensei my training is with Detroit, 3 Go-dan, 4 Yon-dan and Tagawa sensei along with many visiting sensei. Thanks for the advice, which is what Tagawa sensei and others have shared. I apprecieate it. Have a good day. Cheers!

[Kento]

It is very lucky and fortunate that you can practice with Tagawa-sensei, one of the best Senseis in the U.S. Tagawa-sensei learned from Nishiyama-sensei, one of Kendo Masters in Japan, who unfortunately passed away recently. Please follow Tagawa-sensei's direction.

[eric]

I very much agree that I and everyone in MIchigan is lucky to have Tagawa sensei here. I was not posting this to find differning advice just to find out what other sensei around the world and country had to say. Thanks everyone for your help and have a good day.

[Charlie]

I'll be eligible to test in 2007. Ready to test? Who knows, probably not!

Curious: in a yondan + test, if you have two persons testing, does one of them necessarily fail because the other is "managing him," as Neil put it? Unlike in lower grades where both persons can pass if they are doing their best kendo?

I'm a member of the same dojo as Eric, by the way, and enthusiastically second what's been said about the Detroit dojo. I'll embarrass Eric by pointing out that it'd probably be easier for him to train at Detroit exclusively but that he keeps coming an hour away to lead the club. Wotta guy!

[DCPan]

Curious: in a yondan + test, if you have two persons testing, does one of them necessarily fail because the other is "managing him," as Neil put it? Unlike in lower grades where both persons can pass if they are doing their best kendo?

Well, in Kendo's Gruelling Challenge, both Ishida sensei and Abe sensei passed the 8th dan test eventhough they were partners for each other....

So, I'm not so sure about the "one of them necessarily fail" theory....

[Charlie]

Good point. I think that explains it, really. If one opponent were totally dominating the other it might be different.

[Neil Gendzwill]

You need to get a point that you create through seme. Ideally it should be men. If both sides can do that, great.

[Kento]

To pass 4 Dan, the following is what I think:

Solid Kamae is a must. Solid kamae to me is that your left hand in the right spot with live kensen. Plus you need to remain calm with your kamae until you strike. Do not often lose your kamae by the pressure/movement of your aite. If you sway back to avoid getting hit, you will fail.
Need to know what you are doing. Aim, create the opportunity, and execute. Lucky stike does not count. Execssive blocking is very bad as judges see you passive and reactive. Excessive hitting is also NG as it is like shiai. Focus on good strikes. Avoid hiki waza (if you execute, you need a very good one. I always avoid hikiwaza in a promotion test as I would like to show my forward striking, which jusges want to see). Kaeshi do is tough to execute properly as many of us tile or bend forward or side. You may want to avoid this waza. 2 dan waza, like ai kote men, is a good technique to show you know what you are doing to judges. Play in the middle so that Judge can see you well. Maintain "en" with your aite, always engaging in a good mawai (if some distance to your aite, you need to close in in order to maintain en. Debana waza is good. Get back to keiko soon after you show enough zanshi as time is limited and excessive zanshin gives bad impression (we kendoist strive with the spirit of "hit and reflect, get hit and be thankful).

[Charlie]

May I ask, Kento-san, what is "en?"

And by the way, did you ever get the chance to train with Nishiyama-sensei? I'm happy to say he attended seminars, tournaments and gradings here in Detroit two times, and I was there for them. I attended one seminar where he taught all the kendo no kata, which was inspirational! I have a poem of his that I clipped from the programs of those years and pasted into my budo journal. I should type it up and post it here.

[Kento]

Hello Charlie-san

Nishiyama-sensei taught me in jigeiko when he was in NY with Tagawa-sensei and Kan-sensei 5 or 6 years ago...all I remember was it was HARD keiko where I felt his constant pressure (oh, I will meet both sensei's tomorrow as I am going to do referee for the US Team Tryouts at Rutgers Univ.).

"En" is connection, ties and relation. Maintain en is to keep being engaged in with your aite. Some Kendoists cut en in gokaku keiko too often by turning back after hitting, or missing hits. Tubazeri and wakare, you off-guard your shinai so that you can take a break: you are not maintaining en with your aite.

In a promotion test, maintaining en is very important as it does not matter hitting and getting hit so much. If you get hit, witout showing disappointment (usually when you are disappointed, you become off-engaged). We need to move on (or even acknowledge your aite's good strike) and keep on doing keiko. If you have a good strike, you need to get back to keiko right after enough zanshin (it is not shiai).

When we do keiko with great sensei's like Nishiyama-sensei, it is hard, isn't it? Why are we getting exhausted more easily and quickly even though we are younger? It is because sensei's do not cut en at all, constantly giving you pressure, making us nervous, mentally tired, urged to hit (hikidasareru) which exhaust us physically, and on and on...

[Charlie]

I understand what you're saying. Thank you! I'm embarrassed to admit that sometimes I break en as a way of resting, as you said, especially in tsuba-zeriai.

Sorry, Eric, I don't mean to clutter up your thread with my own questions, but may I ask another? Kento-san, you have said that there is such a thing as showing too much zanshin, that it is acceptable for shiai but not for grading. I have never heard this before. Can you explain more? I thank you.

I wonder if we have been at some of the same functions (Detroit, Chicago or Cleveland) if you are from New York. Where do you practice? There's some great, great teachers in NYC. I tried to Private Message you but it seems this function is not working. Sorry! Have a great time at Rutger's. Tagawa-sensei and Kan-sensei are such great teachers, both in practice and "second practice." :D Eric and I collaborated on an article about kendo in Michigan that will appear in an upcoming issue of Kendo World, and of course these teachers, especially Tagawa-sensei, play a huge role.

[Neil Gendzwill]

I'm going to guess that "too much kiai" would be the shinai up in the air, banshee-scream, look-at-this-I-hit-a-good-one aspect of "selling" a point in shiai.

[Kento]

Charilie,

I practice at Kenzen with Ebihara-sensei. Time to time, I visit NYC with Kataoka-sensei, Shidogakuin with Kato-sensei, Shinbukan with Suyama-sensei, Kenshinkai with Kishino-sensei, and Hyun Moo Kwan (I pretty much go everywhere!).

I went to Michigan long time ago back in 1997 or 1999. It was Midwest Kendo Tournament (I was the first place for the 3 Dan Above Division).

What I meant by showing too much zanshin is that time to time we tend to exaggerate zanshi in a way to appeal judges, being almost arrogant. Hmmm, kind of difficult to explain...I hope you get what I mean. In a promotion test, I try to engage myself immediately after each hit.

Oh, sorry about the private message. I activated. If still not working, please let me know.

[Charlie]

Oh, you have to turn private messaging on? Maybe I have to do it as well...

I think I understand what you and Neil are saying, thank you. You know, I had just started kendo in 1998, so I bet we were at the Michigan event in 1999. Good to "meet" you. You have an absolute wealth of kendo around you!

[Neil Gendzwill]

PMs don't work here no matter what you do.

[Kento]

Neil-san,

Thank you for your follow-up. In shinai, we do try to sell a point as you said, and it is NG.

Charlie,

Yes, I am very fortunate that I can practice with great sensei in NY. Everyone takes good care of me.

[Lucien]

Sorry to dig up this thread again. I have reread it many times and I find it very useful.

I am going to take yondan in 1 years' time and I am thinking seriously about how my kendo will progress between now and then.

All the posters agree that to pass one has to 'manage your opponent, mainly creating opportunties through seme and exploiting them.'

Although I realise I cannot force my kendo in a particular direction, what other advice would you give to someone in my position?


(Incidentally, during keiko last night Kento's advice about maintaining 'en' popped into my head and I became aware of all the moments when I disengage.)

[Karaken]

Sorry to dig up this thread again. I have reread it many times and I find it very useful.

I am going to take yondan in 1 years' time and I am thinking seriously about how my kendo will progress between now and then.

All the posters agree that to pass one has to 'manage your opponent, mainly creating opportunties through seme and exploiting them.'

Although I realise I cannot force my kendo in a particular direction, what other advice would you give to someone in my position?


(Incidentally, during keiko last night Kento's advice about maintaining 'en' popped into my head and I became aware of all the moments when I disengage.)
I'm in the same boat as Lucien and I need some advice on correcting bad habits. These are not a big deal during day to day practice or shiai but it'll be bad if it shows during the promotion test. If you have a good drill to fix thiese, I'd appreciate.

1. My stride is small - I'm 50 and 5'6" - so I need a drill to increase it. I'm trying to hit men from Toma - any other drills?

2. I don't know it's because of my height but video shows I often jump when I do hiki waza. Even during normal keiko, I have some undesirable up and down movement but it's prominent during hiki waza.

Any advice would be appreciated..

[Wout]

I'm going to guess that "too much kiai" would be the shinai up in the air, banshee-scream, look-at-this-I-hit-a-good-one aspect of "selling" a point in shiai.
hehe if you hold your shinai to high my teacher sais 'you're not waving the flag'

[JSchmidt]

1. My stride is small - I'm 50 and 5'6" - so I need a drill to increase it. I'm trying to hit men from Toma - any other drills?

The best drill I've tried for this (ie increasing power/distance with the left leg), is to start in regular chudan, then move the right foot forward about 1 foot. From there, then cut men. (without bringing the left foot up first). This exercise is really good because:
1. It forces you to focus power in hip/left leg, which will in time, increase your reach, power and speed.
2. It very clearly shows all the weaknesses in your cutting action, as any inbalance (be it feet, hip, back,arms shoulders), will be exagerated, making it hard to cut correctly.

It does however, put a lot of strain on the left leg, so listen to your body and don't overdo it.

Jakob

[Karaken]

The best drill I've tried for this (ie increasing power/distance with the left leg), is to start in regular chudan, then move the right foot forward about 1 foot. From there, then cut men. (without bringing the left foot up first). This exercise is really good because:
1. It forces you to focus power in hip/left leg, which will in time, increase your reach, power and speed.
2. It very clearly shows all the weaknesses in your cutting action, as any inbalance (be it feet, hip, back,arms shoulders), will be exagerated, making it hard to cut correctly.

It does however, put a lot of strain on the left leg, so listen to your body and don't overdo it.

Jakob
OK, I'll try that - Thanks.

[Andoru]

I'll try that too! Thanks!

[Taek]

That's what my sensei told me last night. Slide my right foot first. I used to bring my left foot closer to my right foot so I can shorten the pysical distance to the target. I'll try to move my right foot first too.

[Kento]

OK Guys, I would like to add my routine exercises next to Jacob's.

First, we need to put our bogu on.

1st exercise is:

Hold mawai in yokote position (only sakigawa potions of shinai touching), in other words, toma;
Slide your right foot first, and as you reach out the max, furikaburi and cut men as you pull your left; and the opponent goes back to set again in yokote position; and
Continue until you reach the other side of dojo (if you can do 10 men cuts, that will be great), and let the other side do the same exercise.
Important to remember is you need to set yourself as far from the opponent as possible. You may want to start from a little closer. The other thing to remember is that we tend to cut as hard as possible: if the opponent feels pain, your cut is NG, no good tenouchi. Good cuts do not hurt.

This theory of sliding right foot first before furikaburi/bringing up shinai is somehow controversial, where some sensei believe that right foot movement should go with furioroshi motion/cutting. Anyways, what I believe is by doing so, moving right foot first, you can do seme and tame at the same time, leading you "Ippyoshi Uchi."

The 2nd exercise is do the same with fumikomi. Make sure your fumikomi is strong. Make sure to stop and remain straight completely after each cut, not tilting forward & side, or stepping extra steps. Even though you do not reach men each time, make sure to finish cutting as if you reached, mantaining your posture. In order to reach, you need to push from your left foot and hip to have good leap (remember: leap high is NG; rather, leap forward). I believe this exercise is much better than routine men kihon uchi as we tend to do this as warm up.

In doing the 2nd exercise, do not hurt your heel as you do fumikomi. As I said, leap forward, NOT high (you will hurt yourself).

The above 2 exercises are very simple and sometime borring, but once you start doing and find it difficult to execute, you will have fun in doing so.

Many good schools like Takachiyo Junior/High School does these exercises regularly with many variations (kote & men etc), especially winter time when we make sold foundation/kihon.

[Oni]

I just erased a long post I wrote by mistake...
Then i'll sum it up shortly.
I first greet everybody, and apologize for mistakes, as I'm french, and moreover, this will be my first post in here.
I am 25 and Actually have my place in this topic as a Yondan Kendoka.
I don't know if it's very polite, but I have to introduce myself before I can explain you my point about transition between Sandan et Yondan.
I started Kendo at the age of 16, in one of the only Ken-jutsu / Iaido Dojo in southern france, in the city of Avignon. I needed a few days to realize I hazardly entered the Dojo of Bresset Sensei. Maybe not a great tournament challenger (Kendo Rokudan / Iaido Godan / Naginata Expert and Jodo initiate) , but definitively the greatest French sensei...
He's bond to Japan by the culture, as a translator of Japanese texts from the 17th century to nowadays. He used to live in Japan for a while and Have many friends there, most of them being Sensei are Blacksmiths.
(His soulfriend, if I can say so, is the great armorsmith Taganesan). He's one of the great representative of the foreign Kenjutsu in Japan.
By the way, he will be entering in his 37th year of Kendo in 3 months.
Here you can see him, at the top of the Official French Kendo website page: http://www.ffjda.com/Kendo/culture.htm (http://www.ffjda.com/kendo/culture.htm)

22 months later after I joined the Dojo, at the age of 19, my sensei told me I was ready to pass the ultimate test for the novice I was. I followed his advises , tried, and became Shodan. I always heard I needed 2 years to prepare my Second grade. the second sensei of the Dojo, HannonSan (Kendo Sandan, Iaido Nidan) told me I could still try earlier. Tough Bresset sensei told me not to try, but to do it, or not. One year later, I was a Nidan Kendoka. I got many problems due to my age and people being jealous among MY OWN dojo and from outsiders too...
It really started kendo at that time, not only moving a stick in the air anymore (as said my Bresset Sensei)...but training the inner cores of my mind. In 2 years I learned more than in the 4 previous ones.
At the end of my 6th year, I reached the Sandan grade.
All said It could not be so, and treated me like a mistake, an error.
I was now the highest KendoSei of the Dojo, and few older men, mowt from 35 to 50 yo started to almost hate me. I was really disapointed by such reaction from kendoka...To fix the problem, Bresset San ordered me to sit in seiza in front of him and HannonSan (the 2 sensei), at the far left side, to lead the ceremony. Untill that time, nobody anoyed me anymore. He Knew what to do, and all respected his wish. It was almost 3 years ago now.
To me, he was the best Sensei I could have lessons with, tough he knew (actual better than I did) that I had to leave. I reached the grade of our second sensei. He told me what I had to know not to flee fom the good way, and how it would be hard but amazing. Then he told me I could leave.
THIS period between Sandan and Yondan is THE important period...after sandan you can consider that you have only learned the basics yet (and no more). Tough you know at that time that you have a potential ennergy, an inner Ki yearning to lead you ahead and ahead (sorry I have troubles to express my feeling in english). as Im concerned I was filled with confidence and a strong feeling of freedom.
This period is THE period of choices, the time when you will shape your Kenjutsuka life, the time when you must create YOUR kendo.
Thus, I was ready to build my dream. I remained in my former Dojo but seeked tons of informations about the Hyoho Niten Ichi Ryu.
Even before I started Kendo did I have Miyamoto Musashi (Fujiwara Genshin) as my hero.
I started reading most of his texts, and of course his famous Dokudou ( the path of self-reliance).

I did a lot of stages and contacted many people untill I joined the only person abble to give this lessons in france, with the agreement of the Niten school headmaster himself, Imai Masayuki Nobukatsu.
I've been taught in the art of Niten double wielding Kata for 31 months now, tough I kept training my Kendo in Avignon Mostly.
I got my Yondan 2 months ago, at the age of 25, after 9 years of intensive training...and i'm still not aware of the path I have to chose.
The only thing I can say, is that most of the time, Sandan is the gateway to a new world, as Shodan is for Novices.
THis is the period when you have to seek yourself, by yourself and for yourself. I'm sorry that I had to talk about my own life with such details, but I wanted to show you another example of journey through a Kendo life.

To me, you are Eric, at a crucial period, don't forget, that more than ever, you must feel ready to get you Yondan, you must be sure of the Kendoka you will become, even if you'll shape yourself all your life long, this is a time when you have to create YOUR basics.
I'm sorry again, I can't reall explain clearly my point, but I hope you'll get the main idea.
On this words, my friends I must leave you, but I will come back as soon as possible.
I'm sorry for a so long post, but it was the first as I said before. Now you know me and I can enter your online community. I will now try to read few topics to know a bit more about the main characters of the forum, to know a bitmore about all of you through the threads.
I just hope I didn't flood your topic with my own experience.

Oni

[eric]

Thank you for your response Oni. I agree with your comments on the feeling and mindstate that it takes for this development in kendo. Thank you for your input and discussion on the matter. Hope everyone had a good holiday. Cheers!

[Nanbanjin]

I know a few people going for yondan this year.
I found a Japanese site with yondan written exam questions and answers here (http://www.ne.jp/asahi/aaa/tagi2/gakka/yodan.htm).
You may or may not find some of these useful for reference.
Some of the content is targeted towards Japanese candidates, but I have left the content in its original state (more or less). Just select the relevant bits.

Question 1: What is the purpose of and correct attitude to kendo training?

Kendo has developed alongside the history of our country and is a cultural treasure of the Japanese people. As such it is not simply a game where skills are compared by idly hitting and thrusting at one another. Kendo is an important means of physical and spiritual development for Japanese people and could thus be said to be close to a religion. Kendo is not about theory, it is in itself a way of life, a way of attaining spiritual development, a way of developing character, a form of physical education, and its purpose is the training of both the mind and body.

I the training of whatever pursuit, if one's spirit has not been sufficiently strengthened then it will be difficult to appreciate the intracacies of that pursuit.
Kendo involves techniques perofrmed from the hara, not the arms and legs. This means that the spirit is at the foundation of kendo so however deft the movement of your joints and however swift your use of the shinai or tachi, if your spirit is not developed parallel to this, however many years you may attend dojo training you will be able to attain a true understanding of kendo.

There are many important aspects to correct attitude to kendo, but the following five are the most important.

1) Treat etiquette and manner with importance.
2) Train with unyielding perserverence.
3) Conscious innovation is necessary.
4) It is necessary to learn "seiken" (othodox technique).
5) Be conscious of hygene/health and never quit training.


*******************

One down, fifteen to go.

[Nanbanjin]

Question 2: What are the most important points for improving kendo?

Answer 2: Sufficiently grasp the purpose of and attitude to kendo, understand that your whole life should be dedicated to kendo training, and training without forgetting the feeling that you are competing in a real swordfight. The following points are generally considered to be imporatant to keep in mind.

1) Mentally (spiritually) and technically study theory.
2) Master kendo kata.
3) Be conscious of safety and hygene.

Whether you are a beginner or a kohdansha (higher grade), you should sufficiently learn kihon-waza, ooyoh-waza, train to have your spirit, technique and body as one, rid yourself of distractions and humbly follow the teachings of your instructor. This is the basis of improvement in kendo.

[Andoru]

Nice work Nanbanjin!

[Nanbanjin]

Not sure whether this exercise is doing anyone other than me any good. Japanese seem to have a thousand different ways of "mind", "spirit" etc which makes life difficult when trying to translate.

Question 3: Effctive kendo instruction methods

Answer 3:
Instructors should keep the following in mind when considering kendo instruction

1) Understand the essence of kendo well and instruct in accordance with this understand (this means instruction with the purpose and spirit of kendo in mind)
2) Always be mindful to develop one's own character, kendo technique and teachning abilities.
3) Study instructional techniques thoroughly and instruct in a systematic way (create an appropriate instruction plan).
4) Teach beginners to hit with correct posture and with expansive movements, to not have unnecessary movements, and so as they don't lose interest in kendo.
5) Instruct higher grades while making them aware of kendo theory, and have them understand true kendo.
6) Understand that kendo helps develop an understanding of other things outside of kendo (not sure about this one)

The above are the most inmportant things to keep in mind when instructing kendo. However it is important to take the age, skill, physical ability etc. of each student into consideration and always keep the well being of students in mind.

[Nanbanjin]

Bear with me here. Some of the later questions are more interesting.

[Nanbanjin]

OK, this one's a bit more interesting.

Question 4: Correct attitude to practicing kendo kata

Answer 4:

1) Kendo is performed in agreement between two people to a set pattern, however psychologically speaking it is not simply a matter of carrying out the prescribed movements. You should always maintain the attitude of being able to change movements in any way throughout the performance of the kata.

The uchidachi is plays out various types of seme in his/her mind, and finally at an agreed point hits forward with vigour sufficient to break the guard of the shidachi. The shidachi on the other hand takes an attitude of being able to fluidly react to the attack of the uchidachi, and must maintain this attitude when reacting to the predetermined attack by the uchidachi.

If you perform kata with this type of attitude it will in itself be an effective means of kendo training, and will also help practioners in their everyday lives.

2) During the practice of kata, from the first Rei to the final Rei, and especially when the kamae is broken when moving backwards and forwards, you must not relax concentration, and you should always maintain a high level of intensity.

3) Kata is peformed by a uchidachi and a shidachi. The uchidachi takes the position of the guest/assistant in the relationship and must help fully exhibit the movements of the shidachi. In otherwords the uchidachi is the instructor. Shidachi takes the lead role, making the uchidachi peform movements and in reacting to the uchidachi's movements fully displaying his/her own techniques.
The shidachi's position is thus that of a student.
When practicing kata the senior grade usually takes the role of uchidachi. The uchidachi should always lead the shidachi and the breathing of both parties should be as one. Kiai should be full. The uchidachi should lead even the thought of the movement, and the shidachi should always move in accordance with this.

4) Kata practice is of course about the mastery of the techniques in the kata, but at the same time you need to understand the theory of the kata. If only the techniques of the kata are practiced, the kata is as good as lifeless, and only through theory does kata attain true meaning.

You must also embody kata with sufficient "kiai" as well as subtleties of speed and strength. Just as music has beat and temperament, there are changes in strength and speed in kata and herein lies the charm of kata.

Often the movements in kata can become uniform and lack subtlety of strength and speed. Too much emphasis is placed on getting the movements right and the kata becomes lifeless and spiritless.

In summary, true kata is born when a combination is made between technique, theory, kiai and subtlety. If these characteristics are always employed in kata practice the kata will naturally take on finesse and style. Finesse and style are born of dedicated training over many years and can't hope to be achieved in a short period of time.
If kata is practiced in this way, then kata practice will show results on a par with keiko.

5) Kata used to be performed with the uchidachi on the left and the shidachi on the right when facing forward. The reason for this was unknown and this positioning actually varied regionally. As the result of a meeting of instructors at a seminar held at the Nihon Budokan in 1967 it was agreed that as when facing shomen johseki is on the right, the uchidachi should stand on that side. The reason for this is that in the etiquette of the Japanese Imperial Household johseki is on the right hand side when facing shohmen.

[Nanbanjin]

The original Japanese document has left this explanation out.

[Nanbanjin]

Question 6: The meaning of keiko and shiai.

Answer 6:

The Chinese characters of "keiko" are broken down to "kei" 稽 , which is also written as the verb kangaeru "to think", and "ko"　古 which means "old" and in of old times. In this sense "keiko" means to learn repetatively. The purpose of keiko is to use the kihon waza that you have learned and to refine these and the waza you have learned through application of the basics. You should learn to read the intention of your opponent, always be on the offensive, move with precision and such that you can perform datotsu freely. In this way, keiko forms the basis for shiai. At the heart of keiko is the training of the mental and technical aspects of basic (kihon) movements. The following are the three main types of keiko.

1) Uchikomi-geiko
2) Kakari-geiko
3) Gokaku-geiko

The purpose of shiai is to employ the waza you have learnt through keiko, to decide victory by both parties using all of their ability and thus further maturing technique and training mind and body.
Training of the spirit and mind is the ultimate goal of kendo and shiai is the best way of achieving this, so it should be employed sufficiently.

[Stephen]

Awsome posts Nanbanjin, thanks for taking the time:)

[Nanbanjin]

Question seven: Correct attitude for shimpanin

Answer seven:
In kendo shiai it is the role of the shimpan to adjudicate victory or defeat of both competitors. Kendo shiai is a means of developing kendo. Because of this the shimpan must make sure the shiai is carried out in a manner that will ensure that it will result in the development of correct kendo.

1) The meaning of "shimpan"

The first character of shimpan "shin" 審 also has the reading tsumabi(raka) which means "in detail" or "clearly". The second character "han" 判 means "seal (as in what japanese use instead of a signature)" and also has the reading waka(ru)/kotowa(ru) which means "to decide" or "to understand". When the two characters are combined the meaning is "to decide clearly".

Usually asking exactly what to "decide clearly" the following six items are usually considered.

a) Target area (datotsu-bui) b) Ma-ai (distance) c) Ri-ai (I'm a bit confused by this one) d) Strength of the cut e) Ha-suji (blade) f) Zanshin

Being a shimpan is about being able to decide in an instant whether these six things are present. Therefore the shimpan must be proficient in both technique and understanding.

2) The following are the required credentials for a shimpanin (psychological, technical and physical)

a) Impartiality
b) Cool-headedness, resoluteness and conviction
c) Ability to maintain impartiality from start to finish
d) Familiarity with kendo theory
e) Knowledge of shimpan rules and ability to make instant decisions in any situation
f) Sufficient kendo training and deep experience
g) Sufficient physical strenght and condition
i) To be able of sight and sound
j) To be capable of clear speech

3) Understanding of the shimpan's mission

Correct or incorrect judgement in kendo is connected with the prosperity of kendo and on the other can can also give rise to confusion and the degredation of kendo.
This means that the fate of Japanese Kendo is ever dependent on the judgements made by shimpanin. This mission should always be stressed, and shimpan should make sure that they themselves are aware of this too.

a) Shimpanin should be aware that they are responsible for the fate (actually says "life") of the competitors
b) Shimpanin should be aware of the difficulty of kendo shimpan
c) Shimpanin should be aware of the need for shimpan training


To be continued....

[Lucien]

Keep going Southern Barbarian, this is great.

[Neil Gendzwill]

Question seven: Correct attitude for shimpanin
[snip]
c) Ri-ai (I'm a bit confused by this one)
Riai means there must be a reason behind the cut, the cut mustn't happen by luck. So for example if the contestants get close and start furiously swinging lumber, as often happens in a mudansha match, and someone hits a target out of that mess, it usually isn't a point.

Thanks for the translations BTW, I'm enjoying them very much.

[Nanbanjin]

Thanks Neil for the clarification.

... continued from the previous post

4) Shimpanin duties and privileges

It is forbidden for anyone, regardless of the number of people involved, to directly question a shimpanin regarding a decision.
Because of this the shimpan must exercise this right judiciously and carry out their duty faithfully.
Given that the decision of the shimpan is absolute, the shimpan must perform duties in such a manner that the label "absolute" is appropriate. In other words the shimpan should work hard and continue to study to be truely qualified as a shimpanin.

5) Things that the shimpan should be aware of to maintain dignity.

a) Clothing should be kept neat
b) Attitude should be dignified
c) Judgement should be resolute
d) The reihoh (etiquette) of the shimpanin should be dignified and be an example to others

[Nanbanjin]

Question eight: Mitsu-no-sen (The three "sen")

Answer eight:

Sen refers to taking the initiative to put one's self in an advantageous position, and this concept is very important in kendo. There are three situations where this applies, sen-sen-no-sen, sen and go-no-sen.

1) Sen-sen-no-sen

Be quick to perceive the opponent's intention to hit and attack straight away, thus seizing the initiative and placing yourself in a position of advantage. Thsi sen involves taking the initiative of your opponent's initiative and hitting immediately even before your opponent has begun to move.
Your own attack takes form after the attack of the opponent has been percieved, before the opponent's attack has been given shape or voice. Because of this this sen is also called "kakari 懸かり no-sen".

2) Sen

This is winning by stealing the opponent's initiative after they have seen an opening and have begun to attack.
You take the initiative and win by immetaitely doing suri-age, ohji, or by moving your body out of the way. In this case you are winning in opposition to the attacking opponent, so this sen is also called "tai 対 (opposing) -no-sen" as well as "sen-zen-no-zen"

3) Go-no-sen

Recognise the opponent's opening, endure the opponent's attack and hit strongly at the point where the opponent's momentum has been spent.
Therefore this "sen" is also called ( 待の先 - I'm not sure whether this should be "tai-no-sen" or "machi-no-sen"; I think probably the former) or "Sen-go-no-sen".

[eric]

These are an excellent addtion to this discussion and help everyone, not just san dan attempting jondan test. I believe everyone who does kendo should read these answers, especially the parts on kendo kata. Very interesting. Thank you very much for the opportunity to read these answers and the insight. Cheers!

[Nanbanjin]

These are an excellent addtion to this discussion and help everyone, not just san dan attempting jondan test. I believe everyone who does kendo should read these answers, especially the parts on kendo kata. Very interesting. Thank you very much for the opportunity to read these answers and the insight. Cheers!
Click the scales icon at the top right of my post and spread the love.
For some reason I get a kick out of reputation points.

Thanks anyway.

[Nanbanjin]

Question Nine: San-sappoh (the three kills)

Answer Nine:

In kendo you must kill the shinai (katana), waza (technique) and ki of your opponent. This is known as San-sappoh 三殺法 which means "the three kills" (or Mitsu-no-kujiki 三つの挫き which means "the three defeats").

1) Killing the shinai means pressuring your opponent's shinai to the left or right, or using maki-harai etc to kill the free movement of their shinai, namely to kill the kensen.

2) To kill the waza means to take the initiative ("sen") and pressure the opponent without giving any opening, giving the opponent no opportunity to attack thus preventing them from using waza.

3) Killing ki means continually pressuring your opponent with your whole body and keeping your spirit full to overflowing, taking the initiative with your spirit and supressing the okori-gashira (the origin of movement) of your opponent. Supress your opponent's ki or deflect their ki using effective ma-ai (distancing). As soon as your opponent gives in by moving back maintain your advantage and put further pressure on them. This will come about in parallel with the action of killing your opponent's shinai and waza.

[Nanbanjin]

Question ten: Kogi-shin (Doubting heart)

Answer ten:

The idiom "kogi-shin ( 狐疑心 )" breaks down to "ko ( 狐 )" - fox, "gi ( 疑 )" -doubt and "shin ( 心 )" - heart, soul or spirit. Together these characters give a meaning like "to be deeply doubting and unable to make up one's mind" or "the fox is by nature very untrusting".
If you have this type of doubting heart in kendo, for example if your opponent attacks with a men strike and you suspect that they might be going to strike kote, then you will be unable to have full concentration and other suki (openings) will occur for your opponent to strike.
Therefore only when you have discarded kogi-shin will your kendo become nimble and beautiful.

[Nanbanjin]

Question eleven: Regarding Suki

Answer eleven:

It is said that kendo is hitting suki (openings). It is also said that suki is to leave an unprepared opening, so suki is also referred to as "kyo ( 虚 )" or "unpreparedness/uncertainty".

During a shiai you should be always watching for certainty and uncertainty in your opponent, and you should be making sure that your opponent is unable to discern any real openings in your own movements. Avoid the certainty of your opponents movements and hit uncertainty in your opponent's movements.
There are three types of suki, "kokoro-no-suki (suki of the mind/spirit)", "kamae-no-suki (suki of the kamae)" and "dohsa-no-suki (suki of movement)".

1. Kokoro-no-suki ( 心の隙 ) - suki of the mind/spirit (shikai ( 四戒 ), kogi-shin ( 狐疑心 ), shi-shin (? 止心 )

The mind/spirit is the origin of movement. The state of there being something missing somewhere in the mind/spirit is known as "kokoro-no-suki". You should always train so that your spirit/mind fills your whole body and you do not allow any uncertainty to occur.

2. Kamae-no-suki ( 構えの隙 ) - suki of the kamae

You should think of "kamae" as a fortress. A complete kamae should be like an impenetrable fortress. You should always be in a position of advantage over your opponent, hold a correct kamae, completely protect all targets, be able to deal with any waza and be able to strike at any chance given by the opponent. You should never allow even the slightest suki to occur in your kamae.

3. Dosa-no-suki ( 動作の隙 ) - suki of movement

It is said that suki are born of movement and are extinguished by movement. All examples given of chances where you should strike are situations where suki are born of movement. Just as is the case for kokoro-no-suki and kamae-no-suki, in order to avoid suki in your movement it is extremely important to hold the initiative (sen) and maintain zanshin.
To not allow suki in your own kendo, and to search for suki and to entice suki from your opponent is essential to the methodology of kendo.

[Nanbanjin]

Question twelve: Regarding kan ( 勘 - intuition)

Answer twelve:

To discern certainty and uncertainty in one's opponent and to then strike is extremely difficult.
In a shiai with little transience it is too late to hit after thinking that now is the time to strike. In many cases the suki has already vanished once you have acknowledged it. You have to be attacking while still in the instant of recognising the suki. In other words you need to attack opportunities as if your movements are reflections of the opportunities in a mirror. There is no other way of achieving this than kan/intuition ( 勘 ).
Kan is the most accute of senses and is learnt through the training by repeating the same waza over and over. Through hard keiko what you had perceived with your five senses only will progress and you will enter the mysterious state where you perceive sounds that have no resonance and images that have no form. From this you will understand just how important keiko is. Even people who have developed kan through experience will have times where their kokoro (heart/mind) will become confused and they lose that accute readiness. This is why it is important to always maintain a state of "munen-muso 無念無想 (mindlessness)" and "meikyoh-shisui 明鏡止水 (perfect tranquility)".

The following Buddhist Hymn sums up this meaning.

"The moon reflects in the water of Sarusawa pond without thought of reflecting or thought of the water"

[Gerald Audette]

These are an excellent addtion to this discussion and help everyone, not just san dan attempting jondan test. I believe everyone who does kendo should read these answers, especially the parts on kendo kata.
I must agree. This is excellent! I'm finding this very insightful, and look forward to your next installment. Thanks Nanbanjin. Cheers.

[Nanbanjin]

Thanks for the support. Remember that these are simply translations. I hope that they at least give you an introduction to some new concepts.

Question thirteen: Kyo-jitsu ( 虚実 ) - Uncertainty and certainty, Fiction and fact

Answer thirteen:

"Jitsu ( 実 )" is the state of having a full spirit, always prepared and always aware.
"Kyo ( 虚 )" is the opposite of "jitsu", that is a state of having "suki" in your mind or body. For example a strong gard (of your opponent) is "jitsu" and not having this is "kyo". Therefore to attack your opponent's "jitsu" is to attack in vain, the result being ai-uchi and possible injury to both you and your opponent. To attack your opponent's "jitsu" if you are in a position of "kyo" will end in your own defeat.
Because of this it is important to be able to accutely read "kyo-jitsu" in your opponent and hide "kyo-jitsu" in yourself. You need to avoid the "jitsu" of your opponent and attack their "kyo". You need to attain victory from your opponent just as water takes its form from the lie of the land.

For example, at teh okori-gashira, when your opponent is about to start to move in an attack, moving towards the intention of attacking is "jitsu", and this gives rise to other "kyo", so this is the point where we attack.
There is an expression along the lines of "kakari-guchi-no-kyo-ni-jou-zuru (to ride kyo at the beginning of the attack)", but this is more or less the same as what I have just described.

Also, when "Kogishin" (see above) occurs and your opponent is at a loss as to what attack to use then this is a moment of "kyo" so you should attack.
Other examples of "kyo" are when your opponent's movements stagnate, when their movements dissipate etc, and it is at these moments that you should attack with your open "jitsu".
To summarise, "jitsu" is said to be the "body" or "substance" and is thus a correct cut, while "kyo" is "void", for example colour (Note: probably in the sense that Musashi referred to) or temptation.

[Nanbanjin]

"What" I hear you ask, "no question fourteen?"
Question fourteen was too much for me. Just couldn't get my head around it. Will try again later.

Question fifteen: Giheki ( 技癖 ) - Habits in waza

It is said that "everyone has at least seven habits (nakute-nanakuse - 無くて七癖 )", that is, everyone has habits. In kendo too everyone has bad habits in their technique, and these are called "Giheki ( "gi 技 " = "waza" = "technique" + "heki 癖 " = "kuse " = "habit/idiosyncrasy" ). Even when shown correct technique by your instructor you "giheki" will arise in the form of bad habits, and this is because you have not correctly understood the technique.

"Giheki" are a major hurdle to advancement of technique and if your "giheki" are pointed out to you and you are shown the correct way of doing the technique then you must seize the opportunity to work to correct that "giheki".

p.s. Thanks to the four people (only DCPan identified himself) who added to my reputation points for the translations in this thread. Much appreciated.

[hyuna]

"What" I hear you ask, "no question fourteen?"
Question fourteen was too much for me. Just couldn't get my head around it. Will try again later.
Just thought I would ask if you have had any luck with 14 yet...

[tango]

reviving an old thread i had forgotten about....

bump.

[Charlie]

Good one! Eric passed, by the way.

[Lucien]

I was looking for this excellent thread to answer the other thread on this subject.

I passed too! Yay.

[Charlie]

All right, well done!