Too much advice!

When people come over to make the final one-to-one rei at the end of a practise session, there is always the expectation that the more senior kendoka is going to say something useful about their keiko. This is not always easy as the teacher or sempai might be thinking:

1. No change since last week, so nothing to talk about.
2. I did not really notice what you were doing, I was just enjoying the practise.
3. You are still doing what I have been telling you not to do for the past 2 years, so what is the point.

On the other hand and more likely, he or she may have some useful advice to give you. The only problem may be, that it sounds completely different to the advice you got from the guy you bowed to 30 seconds before. In this case you need to remember that different people see things in different ways. One teacher may tell you your feet are too slow, and another that your hands are too fast. If you think it through, it is clearly the same point made differently.

You do though often get conflicting information. I regularly visit a club where I invariably suggest to a number of members that they make a bigger men attack. The resident instructor urges the same people to make smaller movements. The reason behind my advice is not because I particularly like big techniques, but because there is a tendency for them to cut only with the right hand, which will limit future progress. My colleague on the other hand, wants them to make small attacks so that their kendo becomes quicker. Who’s right? Why me of course:-) , only joking, but the real issue for the student is which advice should you take.

I believe the solution comes back to the concept of shu ha ri. When you start, you should find a teacher you trust and follow his or her advice exclusively. Later when you have the basics established, you can benefit from the knowledge of other instructors, but evaluate the information thoroughly. Either that, or you can start cutting big in a small way, whilst moving your hands slower and your feet quicker

Kendo for beginners

I was asked this week about the qualities I look for in kendo students and the answer is persistence. I seriously believe that without this quality, nobody would get to the end of the average 6 or 8 week beginner course without throwing in the towel.

I would hate to be a beginner again. With hindsight, I only managed to progress through that stage myself because of an inflated sense of my own ability and bloody mindedness. Unlike other martial arts where you learn a basic technique on day one and can sort of manage to throw or punch someone immediately, with kendo you have to do months of drills, (years in some dojo), before you can put on bogu and have a decent scrap.

Of course I understand the reasons why. To start gigeiko without good basics will hamper a kendoka’s future development and it would be just plain dangerous for his or her training partners. Still I take my hat off to anyone who can survive months of suburi and footwork practice, without having looked through the bars of a men.

You have probably gathered that I do not often teach beginners. I much prefer working with people who have developed the basics and want to move on. On the occasions when I have taught new students, I have been astounded to learn that not only have most of them not tried kendo before, they have never actually seen it. Instead their inspiration has come from manga or samurai movies or even the light saber moves in Star Wars. No surprise then, that after a few weeks of “mae, ato, migi, hidari”, when the realization dawns that they are not going to turn into Tom Cruise or Luke Skywalker, they hand back their shinai and join the Salsa class.

Whatever the motivation to start, there are a small percentage of like minded lunatics who survive the initial tedium and keep going long enough to be bitten by the kendo bug. If you are one of them, you can now be officially classed as kendo kichigai , (kendo crazy) – congratulations!

E-Kendo

I am really warming to the subject of kendo teaching, so thought I would give it one more burst. I noticed that a dojo in the Mid West is offering online kendo tuition. This may be a great idea, but it reminded me, and perhaps it will my older readers, of the advertising in the back of bygone  boys comics for postal courses on “jiujitsu” sic. and bodybuilding. One of these famously elicited the reply, “Dear Charles Atlas, I have completed your course, please send me my muscles”

Seriously, I do not know if you can learn kendo online, or from books or videos, for that matter.  I have always thought that the traditional Japanese teaching approach of demonstration followed by the individual constantly repeating the action until everyone is satisfied, as being the easiest way to commit kendo techniques to muscle memory. I am also wary of over analysis and thinking too deeply about kendo in that we are aiming to react to opportunities instantly in a state of “no mind”.

Following Tesshu and Ittosai’s guidance on repetition leading to mastery, kendo has developed on the principle that you should train exhaustively until each technique becomes an extension of yourself. However on the basis of “garbage in garbage out” it pays to have a qualified teacher watching over you and ensuring that you get it right from the start and continue to make it better.

Do books and visual aids work?  I am sure they do, but not in isolation. Books, web sites and blogs offer theory, history and discussion, but are not ideal to learn technique. Video whether online or DVD gives you the opportunity to watch techniques carried out by experts.

Chiba sensei’s latest book incorporates a DVD which shows each technique in full motion and correlates to the relevant page. Information of this kind is a valuable supplement to your normal dojo training, but would not work on its own for a raw beginner.

My own favourite instruction manual is Youtube, which has some great video footage of kendo. If you seek out the semi-final and the final videos of this year’s eighth dan holders’ competition, you will see a master class of how men and kote should be done in shiai. However as for learning exclusively from the screen or books, I am not so sure. As always please don’t, and I am sure you won’t, take my word as gospel, as I may be biased. My last experience of e-learning cost me a laptop, when I knocked a glass of wine into it whilst trying to learn a guitar solo.

Kendo Teachers ii

Matsumoto sensei

My last post was to remind people like me  – the fifth, sixth and seventh dans around the globe who are charged with encouraging others to improve their kendo, that we need to lead by example. I would not even presume to address my thoughts to the daisensensei , hachidan and hachidan hanshi.  They have worked it out for themselves a long time ago.

Herge Sandsleth sent me a great comment saying that I am on my way to becoming the Rob Redmond of kendo. I take that as a compliment, but certainly do not want to be known as the “grumpy old man” of kendo.

Yesterday I attended the official farewell practice for the BKA National Coach, Matsumoto Jumpei, Kyoshi  Nanadan and as the Chairman of the BKA, for most of the period that he was with us, was asked to make a speech in his honour. My speeches, like my blog tend to be spontaneous, so I cannot remember my exact words, but I tried to convey the following points.

Matsumoto sensei, has been the ideal role model, not just by invariable showing correct kendo technique but by constantly demonstrating the meaning of kendo through his attitude. He shows humility by always referring to others as sensei, whether or not they deserve the title, if there is any doubt as to seniority – by grade, age or position in the Association, he sits to their left.  

His kendo is correct and honest and his attitude in keiko is always 100% committed. “Shinken kendo” best describes the way he approaches keiko with everyone whatever their grade. His fighting spirit is obvious, but he never compromises his posture to avoid being hit and never begrudges a point to his opponent.

I will miss practising with him in the UK, but am sure I will catch up with him the next time I visit his hometown, Kyoto.

Matsumoto sensei okini.

Kendo Teachers

My teacher, Matsumoto Toshio 9 dan

It is often said in kendo that you can recognise the teacher from the student’s bad habits.  I believe that there is a lot of truth in this statement. It is therefore essential that new kendoka do their homework in selecting an instructor and more essential that those of us that teach do not get complacent and sloppy.

Kendo teachers should ensure that they spend as much time as possible learning from more senior sensei and treat every practise with students as if it were a grading examination or an enbu. That is not to say that they should not get hit, but should ensure that even when they give an opportunity, concentration, spirit and zanshin is not lost.  It is too easy to let concentration lapse in keiko with a less experienced player and if an instructor just walks away after an attack or does not maintain an attacking spirit, it is likely that a student will think it is the correct way to behave.  “Kendo begins and ends with rei” and reigi entails treating seniors and juniors with equal respect.

For students in search of a teacher, grade is of course a good indication of an instructor’s kendo ability and knowledge.  Whether or not their coaching style works for you is up to you to decide. Unfortunately it is hard to make that decision without some kendo experience and points of reference. Another thing to remember is that an instructor who is seven or eight dan grades above you might be the ideal person to demonstrate or describe what you should be doing, but may not be your ideal keiko partner. You also need some strong, encouraging sempai, who at a dan or two’s distance can set a good example and inspire you to reach your next kendo goal.

Kendo for senior citizens

Mochida sensei

Many kendo clubs advertise kendo as “suitable for people of all ages”. Whilst I do not disagree with this, I think there are some serious caveats. Those lucky enough to start at a relatively young age, have had the luxury of adapting kendo over the years and to paraphrase Nakakura sensei, allowing physical speed and strength to be replaced by technique and later by kizeme, based on strength of mind. For people who take up kendo in late middle, or old age it is more difficult. There are exceptions of course, but in most cases, late starters lack the strength and flexibility to start with “young kendo” and it is impossible to cram decades of experience into a short beginner’s course. Even seasoned kendoka can have problems after a long break from training. I recently met an experienced Japanese player in his 30’s who returned to kendo after a 10 year interval. Within minutes of reverting to university level footwork, he experienced Achilles tendon problems. So what should the more mature kenshi do to get the most gain without too much pain. Firstly find a sympathetic instructor who understands the limitations of his students. Work on correct technique and cutting and keep your posture correct. Try to make good fumikomi, but do not take such big steps that you strain your Achilles tendon. Always bring your left foot up quickly so the toe is in line with your right heel. Above all relax. If you feel any sudden twinges stop! Being prudent however does not mean you should not practise with full spirit. It is not all bad news for us oldies. Someone told me about his dad who started at 60 and reached 5th dan without failing a single grading. I also have a friend who restarted after a 27 year break and reached 7th dan. So give it your best, but do not overdo it.

Sensei!

A friend who teaches Kendo in the UK’s West Midlands told me about another local martial art (not telling you which one), instructor who has the word sensei tattooed in large gothic letters on the back of his bald head. To my mind not a good move. As well as the potential problem of a permanent redundant label if he gives up, (a bit like tattooing a lovers name before you get chucked), it demonstrates a complete lack of understanding of what the word means.

Sensei is a courtesy title, so you can’t apply it to yourself without looking at best, confused. The literal meaning is “born before” and in normal Japanese society it is reserved for doctors, teachers, lawyers, politicians etc. If you are inside one of these groups, then you would use the sensei title for senior or more experienced colleagues, whilst using san or kun as appropriate for juniors. In Japanese, sensei is a suffix, so the correct usage is after the person’s name. It is Smith sensei, not sensei Smith. In kendo sensei is usually reserved for 6th dan upwards and even then infers that he or she is older or more experienced. Fighters in the Kyoto Taikai are announced as such and such sensei, whereas younger elite kendoka are announce as so and so senshu in the All Japan Championships.

Sempai too gets a great deal of misuse. In its natural setting it indicates someone older, your senior at school or perhaps someone who started kendo, or at the dojo before you. In the UK the term, is applied to the person at the head of the student line who shouts instructions. Within the original meaning of sempai and kohai (the junior member of the partnership), relationships are fixed on a lifelong basis, regardless of eventual status changes. I was unfailingly amused to regularly hear an 80 year old addressing a 79 year old as kun and kimi (honorific normally used for young boys and “you” form used for children). Of course both sides of the partnership have their own responsibility. The kohai normally packs and carries bogu bags and the sempai softens the blow of regular criticism by buying the drinks

Getting Hit!

How not to not get hit

I am back in the UK and am chasing Kendo practices where I can find them, as my own dojo is closed for August. At the weekend, at the end of a practice in London, I was asked for general advice for everyone and the first thing that came to mind was that many people were prepared to compromise the integrity of their kendo to avoid being hit.

By this, I mean that they were obviously blocking an attack without the intention to respond, or breaking there own timing mid-attack to avoid a counter attack. Whilst I understand the motivation behind this, even in shiai, it is not a good idea. Firstly an experienced opponent will have ability to hit another target, so if you block men, he will attack tsuki or dou, secondly you deprive yourself of the opportunity for your technique to flow forward to become renzoku waza and most importantly you sacrifice your own posture and balance.

Of course we are all human and therefore competitive, but keiko, both kihon geiko and jigeiko are learning experiences and as such, give the opportunity to learn from being hit as well as hitting. That’s not to say you should become an uchikominingyo type punch-bag. Of course you should start each keiko with full spirit and the intention of making shodachi, (the first strike), but whether you do or not, if you are hit, so what! Just carry on and try to take the next point.

Should you acknowledge your opponent’s strike? Yes to the extent that you should go back to safe distance and not attempt some irrelevant muri-waza directly after being hit, but unless you are teaching, overtly bowing or waving the bit that has been hit, is unecessary. This is particularly true when you are training with a significantly more experienced opponent. Telling someone who is four or five dan grades above you “that was a good men”, will generate the (hopefully not vocalised) response, in the words of Eddie Murphy “Tell me something I don’t know” .

Instead get to good distance, fill up with air, re-centre your ki and try again.

By the way, if you are competing in the upcoming 14WKC, you are allowed to duck a little bit. Good luck to all the competitors

Me and my shadow!

I am travelling on business in India and it has, unusually for me, been a week since my last practice and I have got another week to go. I understand that there is kendo in Delhi but that is a long way from Mumbai where I am currently based. Having spent most of the time sitting in air conditioned cars and offices it is difficult to keep kendo fit, so I have been looking at ways to practice on my own, without a shinai.
The answer is of course suburi in front of the mirror in my hotel room. It is not as strenuous but as the real thing but it gives me the chance to concentrate on important aspects like posture and footwork. The only downside is that without the disguise of keikogi and bogu, the mirror tells me that I have had too many beers and curries.
Nevertheless, I have tried to combine quality and quantity by working on a continuous series of 1200 suburi, starting from shomen and yoko men but then graduating through all the techniques I use. There is no reason why suburi has to be basic so I tried to simulate debana men and degote and then with dou did the same technique in both nuki and kaeshi form. I even attempted tsuki and finally tried kote nuki men.
It is certainly not the complete kendo exercise but it has made me look at my technique in detail and what’s more persuaded me that I now have room for another beer. With luck I will back for practice at Mumeishi next Sunday.

Ten rai wo kike

I snatched a tenogui from the pile in the cupboard before practice and as you do, I held it up to look at before it and my men went on. It read Ten rai wo kike, “listen to heaven’s (nature’s) sounds”
Thinking of the practical relevance of this advice to kendo in the UK was not easy, I had just completed mokuso against the sound of the air-conditioning fan and a squash ball bouncing off the next door wall. Kendo experiences in Japan were easier to connect. The rain on the roof of Uegaki sensei’s dojo in the Yoshino Mountains or the spring breeze blowing through the cherry trees on the walk through Osaka Castle Park on the way to the Shudokan are far more conducive to reaching mushin.
Regardless of environment, this chain of thought led me to contemplate why we have mokuso before and after kendo. To me it is a great way to transition from the crowded, working day “to do list” mindset that normally comes home with you after a day at work, to the calm natural mind you need to practice kendo. At the end of the kendo session, mokuso has the reverse effect, taking you from heightened awareness to a more relaxed state.
Mokuso is not full blown zazen, but just 30 seconds or so to clear the mind before and after kendo. More precisely it is an opportunity for you to let your thoughts flow without becoming attached or concerned.
This is not a technical guide, because I am not qualified to teach what is in effect a meditation technique, but you should be in an upright relaxed seiza with left or right hand supporting the other, thumbs touching, knuckles down towards your lap. (Which hand supports which is irrelevant, but one way indicates god supporting humanity and the other humanity supporting god. Unfortunately I can’t remember which is which).
Different people take a different approach, some count breaths, some concentrate on the depth of breathing, other like to project mental images, such as contemplating the hidden side of the moon.Personally I like to think of the imperative “Shisei o tadasu, kokyu o tadasu, kokoro o tadasu” (correct posture, correct breathing, correct heart)
Not quite the sound of water trickling from a mountain dojo roof, but it drowns out the air conditioner.