No movement

[Nanbanjin]

Liked this post from Ichinikai so I translated it.
Someone might find it interesting.
I've been free with the translating and haven't proof read yet. There is one more post from B-san to translate.

I am trying to study and master "no motion" datotsu. By this I mean datotsu without any initial movement. However, I just can't seem to get it right.
I was wondering if there was someone out there who would be able to help me with this.

I am a studier of koryu.
Essentially budo is about movements that have no telegraphing movements and that are also not "stationary" at any given point in time. The only way to achieve this is through a "qualitative change in movement" itself.
Using the hinge action of the arms only when cutting you can't generate speed without drawing back. That speed itself is a wave that peaks for only moment. However, if you master the skill, it is possible to move without initial telegraphing, to be at top speed from the beginning of the movement and to maintain power throughout the movement.
Achieving this is something that can only be done gradually, working on relaxation, moving in the centre line, using the "tanden", using hip and stomach muscles, using the centre of gravity and other things important to budo. There is no shortcut.
In koryu this is exemplified in kata, and in kendo it is exemplified in the achievements and composure of one's predecessors.
There is merit in practicing kendo in pursuit of success in competitions, however in budo one should practice basics and kata in a simple and honest manner until one achieves the afore mentioned "qualitative change in movement".
Unlike technique that is reliant on physical strenght, the art of budo is not something that anyone can master easily, but even simply as a traditional art form it is something that is worth pursuing.

No motion means moving so that your movements can't be read by your opponent right? To reach that state, as B-san said I think it is something that you will have to try and reach by continued training over the course of your life.
However, if the little that I am aware of is OK, I would like to give you some advice.

* Don't let your shinai move around (hold your shinai at your opponent's throad and control your opponent with your feeling)
* Take your own ma-ai and hold it. Don't enter your opponent's ma-ai and don't let them enter their ma-ai (doing your best not to move your feet). Hitting in the rhythm of your shinai or body is particularly dangerous. e.g. lowering you shinai before striking.
* Try not to carry out techniques using strenght (If your arms become tense your movements will be easily read).
High school and university students always tend to hit de-gote quickly relying solely on arm strength so try to be careful of this.
* Relax your body, hold your grip as lightly as posible, lower your centre of gravity slightly and be ready to react to whatever waza your opponent produces.

High school students tend to have a slightly distant ma-ai and need to hit with speed, so "No motion" movement is difficult.
Of course it is possible to make movement as small as possible. The most important point is "legs". If you move your legs before striking (such as in tsugi-ashi or okuri-ashi) you will be vulnerable to your opponent's debana-waza, so you should move from a position without moving your legs. I think it is important to practice this.
"Arms" are also imporatnt. There are a lot of students who straighten their elbows while hitting. This will also leave you vulnerable to debanawaza.
If you are able to concentrate on these points you should be able to go a long way to achieving "no motion".
Also, if you are able to strenghten your back muscles you will be able to cut down on "untidy upper body movement".

I like the post by B-san, point being that there are no short-cuts, just constant training.

[Nanbanjin]

Finished translating the final post from B-san.

You are only at high school for a short time. During that time you grow physically stronger day by day so you will tend to suffer from developing techniques that rely on muscle strength. Remember that basics are there to stop you falling into the trap of using a style that you have "made up".

In order to achieve the change in quality of movement that I have mentioned you first need to understand that it will take time. Basics and kata that at first seem restrictive. When these movements begin to feel natural, and moreover when you begin to understand that the movements of basics are the most effective then you will have taken the first steps to mastering the art of budo.

In all traditional arts you must travel this narrow path. As written in the book on Noh "Kadensho" when you are young you may think that to pursue physical strength is good, but developing beyond this is a matter of maintaining basics and continuing to train dilligently.

In a previous thread somebody boasted about their "lever action men cut", but do you really think that this is the type of technique you would learn through endeavouring to perfect your basics?

Taking the example of Takano Sasaburo Sensei, he would seem to simply inhale his opponents and they would be hit while being drawn in. You either have to become like this through a change of quality of movement or not become like this at all.

While you are at high school you should train basics as hard as you can. In this way your time will be well used. As I am a practitioner of koryu I will refrain from giving you concrete technical advice.
Thus finish the ponderings of an old man.　

For anyone interested in reading the original (and seeing how bad my translation was) refer to the following URL.

http://www5a.biglobe.ne.jp/~ichini/b...751390965.html

Felt guilty about making so many dumb posts recently so I felt the need to do something a little more serious.

[slidercrank]

Thank you for taking the time to do the translation for the benefit of others.

[Hai_hai]

No movement, eat fiber.

[souljah]

Thanks for the translation Nanbanjin!

No movement, eat fiber.

Hahaha!

[Nanbanjin]

No movement, eat fiber.

The original title was 無拍子 which means "no beat", beat being beat as in timing in music. The idea is that you don't hit to any rhythm, you just hit.
Nice joke anyway.