Posts Tagged ‘Ichi-byoshi’

3_Shikakewaza_Men2One of the most common errors that I see from beginners, and in some cases from more experienced kenshi, is the habit of putting an extra step into their approach and attack. What I mean is that they start outside of striking distance; take a step towards their opponent, take another step whilst raising the shinai and another one when bringing it down. This is often compounded by using walking footwork, alternating the forward foot in in this three stage step, raise, and strike routine.

The correct action is of course to step into range maintaining chudan kamae then raise and lower the shinai in a continuous movement, simultaneously taking a second step to strike the target. This sound simple but some people find it difficult, particularly if they have become used to attacking in a one, two, three rhythm.

Raising the shinai whilst you are outside striking distance gives your opponent early warning of your intention. It also leaves you open to tsuki and dou, particularly if you spend a long time with your shinai raised. It also means that your technique, should you manage to strike the target is likely not to have correct ki-ken-tai-itchi, as it is difficult to coordinate hand and foot movement.

There are numerous ways however to correct this fault. A good start is to practice suburi, concentrating on making the up and down movement in the timing of one (ichibyoshi). You can also practise men drills stepping into your own uchima distance without lowering or lifting the point of your shinai and then raise it as you push off from the left foot and bring it sharply down on your opponent’s men as your right foot hits the floor. You should ensure that before pushing off you bring your left foot up to the correct position and that the ball of the foot has strong contact with the floor.

Once you succeed with this drill you can develop it using smaller strikes just powered by your forward movement and tenouchi.  Then with your partner’s co-operation you can work creating and breaking pressure to build a basis for debana men.

If you do suffer from the “one, two, three” syndrome, it is worth correcting the habit as early in your kendo career as you can. Having good basics makes it much easier to learn advanced techniques.

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I was asked to suggest a theme for this weekend’s Watchet seminar and I decided on braking and acceleration. No I have not started giving driving lessons, but based on observation of high quality keiko compared with the kendo of less experienced kenshi, I am convinced that what sets the two apart is the ability explode into action from a standing start and to stop in a similarly short interval.

Shiai are won in the blink of an eye. As soon as an opportunity is created, we need to push-off and hit in the timing of one. Once we have achieved ippon we need to stop our forward movement and assume correct zanshin equally instantly. For many people in the early stages of their kendo career the pattern of their attack is along the lines of – lift the shinai, step forward, hit and run through, building momentum only after the strike. Most people have heard the expression ichi-byoshi , this means to lift and hit in one smooth motion. The ability to achieve this relies not only on correct footwork and posture, but also on accurate breath control.

The ideal sequence is to take a deep breath whilst still in safe distance, release some of it as kakegoe whilst retaining the remainder in your abdomen as you step into you own preferred striking distance. Only when you see the opportunity to attack should you expel the rest of your breath by way of kiai as you strike the target. Your furikaburi and strike should be in one smooth motion as you push off from the left foot and make fumikomi with your right, smartly bringing up your left foot in hikitsuke. In the case of a men attack, where your opponent obliges by stepping aside after you hit, the explosion of your waza should allow you to smartly move through to a safe distance to turn and assume zanshin.

With kote or tsuki this is not always possible; you need to stop in front of your opponent in a strong kamae, without “running on” and potentially putting him or her in danger. This is where the brake comes into play. Stopping when you are in full spirit depends on good balance and posture. You need to ensure that your weight is between your feet and that you have a straight back and a low centre of balance. If you lean forward you will lose all control.

Get these two elements right and you move from being the kendo equivalent of a three wheeler van to shaping up like a sparkling new Lamborghini.

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