Zen Nippon Kendo Kata


Recently Hajime and I sat down with the Zen Nippon Kendo Renmei's kata book. Hajime read off some of the points that they discuss in that book while I furiously scribbled notes. With a few exceptions our kata is going in the right direction, however there are some corrections and some fine points that we discovered during this project. This article is a more readable representation of that work. In each kata, I provide a short description of the kata for reference. It is important to note that this description is mine, not drawn directly from the kata book. The points which follow each description are drawn directly from the book.

Tachi kata:

Kodachi kata:

General comments

This section describes general comments about kata which do not relate to a specific kata. Included are comments about the opening rei and kamae toku.

Reigi

In the opening formal rei, prior to the standing bows, there is a seiza rei. In this seiza rei, both participants should be about 3 steps apart. When the kenshi sit down for this rei, the shidachi should be sure to place the kodachi to the inside of the katana.

After the rei from seiza, the participants go towards their starting positions. The shidachi places the kodachi 5 small steps diagonally to the right of his or her starting position. The blade of the kodachi should be inward and the kissaki (point of the sword) should point back.

Each standing rei is at a different angle. The bow to the kamiza is a 30 degree bow. The bow to the partner is a 15 degree bow. Note that neither of these bows is as deep as you think it will be.

Kamae toku

Kamae toku is the position that is taken prior to and between the individual kata. It is a lowered position of the sword which indicates a lack of fighting intention for the moment.

In kamae toku, the point of the sword (kissaki) should be one or two inches below the height of the opponent's knee. The point should be slightly outside the frame of the opponent's body.

In moving to kamae toku, keep in mind the following key points:

  • Try not to move the left fist down or even worse up.
  • Don't roll the arms too much.
  • Don't point the insides of your arms upwards, they should remain inside.
  • Don't extend the right wrist, but keep it bent inward at lest a little.

 

Ippon-me

In Ippon-me kata, the uchitachi is in left jodan while the shidachi is in right jodan. Both partners advance 3 large steps to the middle. The uchitachi strikes a deep men. The shidachi steps back (nuki-waza), raising the arms out of the way and then steps inward striking the uchitachi's shomen.

The uchitachi then steps backwards a small step and the shidachi'slowers his sword to the center of the uchitachi's face. The shidachi steps back one more small step and the shidachi steps forward into left jodan exhibiting zanshin.

The shidachi then steps backwards to chudan kamae as the uchitachi resumes chudan kamae. Uchitachi leads to kamae toku and the shidachi simultaneously follows.

For the Uchitachi

  • Always look at the shidachi's eyes.
  • The men should be fast strong and must circle out and down.
  • The men cut should stop slightly below the gedan kamae level.
  • Uchitachi must set the pace and tempo of the kata, the shidachi must never move before you, therefore be sure to set the timing for each action clearly.

For the Shidachi

  • Make your nuki men with the legs, the body and the arms.
  • When you come back in to hit the uchitachi's men move both feet, not just the leading foot.
  • When the uchitachi takes his first step backwards, move the kissaki down to the center of the uchitachi's face. The uchitachi makes this move backwards and you move the sword simultaneously. Do not move prior to the uchitachi
  • When you move to jodan as the uchitachi takes the second step back, move forward with the feeling of thrusting at the eyes and then go to jodan with the feeling that if the uchitachi takes one more step you'll hit immediately.
  • Shidachi will never move before the uchitachi. The uchitachi will move first and then the shidachi will move simultaneously.


Nihon-me

In this kata, both participants are in chudan no kamae. After taking three large steps forward and searching for a chance to strike, the uchitachi cuts to the shidachi's kote.

The shidachi responds by stepping diagonally backwards to the left, lowering the sword out of the way of the cut. The shidachi then steps back in cutting a large kote to the uchitachi.

After the shidachi demonstrates zanshin, the uchitachi steps backwards from the left foot returning to the position from which kote was struck and simultaneously, the shidachi steps from the left foot to the right back to the center. The uchitachi leads to kamae toku and the shidachi simultaneously follows.

For the Uchitachi

  • Only cut just below the level of the shidachi's right hand.
  • You will lead the zanshin timing, but the shidachi will follow at the same time.

For the Shidachi

  • Shidachi must step backwards and diagonally to the left. During the step, the body facing changes to stay pointed towards the uchitachi
  • The shidachi should draw a half circle with the sword during the nuki action.
  • When going up for the swing, make sure that the sword does not go past the half circle end point (e.g. not to the right of center).
  • Make a complete step when hitting the uchitachi's kote, don't just step with the right foot.
  • Don't open your body prior to the uchitachi's cut.
  • At zanshin, the spirit should be that of going to the uchitachi's chest, but there is no actual physical action in that direction.
  • Let the uchitachi lead the timing of the zanshin but you should be simultaneous with that lead.

 

Sanbon-me

In this kata both participants take gedan-no-kamae. Both parties move to the center with three large steps.

Once in the center the uchitachi begins to raise the sword towards chudan and the shidachi follows simultaneously. The uchitachi looks for an opportunity and when he finds it thrusts tsuki to the shidachi's suigetsu. The suigetsu is the point just below the sternum.

The shidachi turns the sword blade out to the right and, using the shinogi, steps back drawing the uchitachi's sword down and to the right using the technique iyasu. The shidachi then thrusts to the uchitachi's chest. The uchitachi steps back with the right foot and parries on the left side of the sword.

The shidachi thrusts again using the whole body but not the arms. This action has the spirit of tsuki but is not really tsuki. It leads into the section which follows. The uchitachi again parries, this time on the right side of the sword. The shidachi then chases the uchitachi down two or three steps to the uchitachi's rear.

At the end of this chase, shidachi's sword is in the center of the uchitachi's face. After the shidachi shows zanshin, the two return to the center in chudan-no-kamae.

For the Uchitachi

  • Make sure your tsuki is to just below the sternum of the shidachi not the throat or chest.
  • Do not raise your left fist during the thrust.
  • At the point of the shidachi's first thrust, the level of the sprit should be 50-50 At the point of the shidachi's second thrust, the level of the spirit should be 60-40 in favor of the shidachi.
  • As you parry the shidachi, at the end of each parry, the kissaki should point to the shidachi's throat.
  • All of the parries of the thrusts should be made with the shinogi at the depth of the your mono-uchi.
  • The Uchitachi will need to turn the body facing away from square on each parry. Do not turn as far as hanmi (half turned). On the first parry, you face slightly to the right (the right shoulder pulled back. On the second one the facing points left (the left shoulder pulled back).

For the Shidachi

  • At the point of the shidachi's first thrust, the level of the spirit should be 50-50 between the uchitachi and the shidachi. At the point of the shidachi's second thrust, the level of the spirit should be 60-40 in favor of the shidachi.
  • In countering the Uchitachi's thrust:
    • Don't turn your left wrist outside, but keep it broken in. If you point your left wrist to the outside, it will become dead.
    • Squeeze the sword as you receive the tsuki (Shibori).
    • Start with a relatively loose grip which tightens as you receive.
  • Your thrusts should be directed to the uchitachi's chest.
  • The second thrust is done with the spirit of tsuki but is not actually a full tuski. It leads into the section that follows (the chase).
  • The chase part should move at a faster pace than the tsuki part. In the tsuki part give yourself time to "complete" each tsuki.
  • The blade does not tilt during the tsuki.

 

Yonhon-me

The uchitachi steps forward into Hasso-no-kamae. The shidachi steps back into Waki gamae. Both move in three steps (not so large as usual).

The uchitachi sees the opportunity and moves through Jodan to cut the shidachi's men. The shidachi responds simultaneously by moving through Jodan and also cutting to the men. Both strike simultaneously (aiuchi) stepping forward with the right foot. The two swords wedge in the center of the cut and stop.

Both parties lower the sword back to chudan kamae in good distance (see below). The uchitachi then thrusts to the right lung of the shidachi.

The shidachi steps forward and to the left with the left foot. The shidachi raises the left and right hands high above the head leaving the sword blade pointing back and point downwards (Maki-kaeshi). As the shidachi completes his step by placing the right foot behind the left, he moves the sword over the center of his head and strikes the uchitachi's shomen.

Exhibit zanshin, and then as the uchitachi steps backwards one step, the shidachi draws the sword down to eye level and steps back to the center line (right foot, then left foot), and chudan kamae.

For the Uchitachi

  • Hasso-no-kamae should feel just like hidari-Jodan, however the right fist should be down towards the right shoulder and the tsuba should be even with the mouth. The tsuba should be one fist to the right of the mouth. To make this kamae, step forwards with the right foot to Jodan and then slowly lower to Hasso.
  • Make certain your three steps to the center are quite a bit smaller than the usual three steps.
  • The ai-uchi cut is delivered from a far distance (to-ma) where you see a chance and must act on it immediately.
  • As you go through Jodan to the ai-uchi cut, your jodan should be only 'tall' enough to allow you to view the Shidachi under your arms.
  • The cut for men should feel huge not small (just like Ippon-me), both arms must be fully extended at the end of the cut.
  • Since the cut is huge, and the distance is large, you must finish the cut completely extended. You must be very careful about the distance from which you make the cut and the distance you move in during the cut.
  • As you lower to chudan after ai-uchi, feel like the shinogi of the swords will be scraping each other.
  • If as you lower to chudan, you feel the distance is too close, you may adjust backwards to proper ma- ai.
  • Your tsuki should be to the uchitachi's right lung (your left side).
  • For the tsuki, slant your blade slightly by turning your right palm on top a bit.
  • During the tsuki, look into the shidachi's face.
  • After the maki kaeshi is applied to your thrust, your kissaki will droop a bit.
  • You must lead the way back to chudan. Do not wait for the shidachi to move.
  • Step back to ai-chudan first with your left and then your right foot.

For the Shidachi

  • In Waki-gamae, the point of your sword should be slightly lower than gedan. Your body facing is hidari hanmi (left shoulder half turned forward). The cutting edge should be diagonally downward to the right.
  • Make certain your three steps to the center are quite a bit smaller than the usual three steps.
  • As you move, don't let the shidachi see your sword.
  • The ai-uchi cut is delivered from a far distance (to-ma) where you see a chance and must act on it immediately.
  • The cut for men should feel huge not small (like Ippon-me), both arms must be fully extended at the end of the cut.
  • As you lower to chudan after ai-uchi, feel like the shinogi of the swords will be scraping each other.
  • Do not adjust the distance as you go down into chudan. Only the uchitachi may move to adjust distance at this point in time.
  • In the maki-kaeshi, make sure that the blade is pointing to the rear.
  • Make the maki-kaeshi very large by raising the left fist high over your head.
  • The zanshin is like nihon-me feeling, but not motion.
  • As you step towards chudan, draw down to chudan through the uchitachi's eyes.
  • Wait for the uchitachi to begin stepping back before you go back to chudan. The uchitachi leads the way and you move simultaneously.
  • Step back to chudan with right and then left foot.
  • Keep Zanshin until you both return to chudan.

 

Gohon-me

In this kata, uchitachi takes left jodan. The shidachi raises the chudan to point to the uchitachi's left fist or kote. Both parties take three big steps to the center and look for an opportunity.

The uchitachi strikes towards the shidachi's shomen. The shidachi steps back and executes suri-age, stepping back in to strike the uchitachi's men.

Next the shidachi steps back. First drawing the sword down to the uchitachi's eyes and then immediately up to left jodan (step is left right left-recover).

As the uchitachi begins to come back to chudan, the shidachi steps back again into chudan. Both parties take three small steps to return to the center (uchitachi starts with left, shidachi with right foot).

For the Uchitachi

  • Your cut should feel like it will cut to the depth of the shidachi's chin.
  • Do not feel like you're cutting the shidachi's sword. Make sure you cut to the men.
  • At the point in time where the shidachi's suri-age is applied to your sword. Your sword dies falling to your right and downwards.
  • After reaching ai-chudan again, lead the way back to the center with exactly three steps.

For the Shidachi

  • In your kamae, do not angle the blade to the right but keep it pointing downwards (although the point will be out of center.
  • Be sure that your suri-age waza contacts the uchitachi's sword above the level of your head.
  • Don't raise the sword too far back as you continue your suri-age into the back swing. The proper height is just high enough so that you can see your partner below and between your arms. If you swing too far back, then your grip and cutting will become too soft.
  • The pull back towards the Jodan zanshin goes through the center of the uchitachi's face, to the same point as for Ippon-me.
  • Return to the center with exactly 3 steps.

 

Roppon-me

Uchitachi takes chudan kamae. The shidachi takes gedan kamae. Both take three steps to the center.

At the center, the shidachi raises the sword point towards chudan looking for an opportunity to attack. the uchitachi attempts unsuccessfully to hold the shidachi's blade down.

When it becomes clear that the shidachi will be able to come up into a dangerous position, the uchitachi steps back into left jodan. The shidachi pursues pointing the kissaki towards the uchitachi's left fist.

This pressure forces the uchitachi to step back again into chudan. The shidachi adjusts kamae back to chudan but does not step in again.

At this point, the uchitachi cuts a small kote. The shidachi counters with suri-age kote, stepping to the left (left foot then right foot).

The Uchitachi steps back diagonally to his left. The shidachi follows stepping forward with his left foot and then assuming left jodan kamae. Shidachi exhibits zanshin. The shidachi then steps back (right foot, left foot) to the center (diagonally back to the left), and the uchitachi returns to the center (right foot, left foot) as well (diagonally forward to the right).

For the Uchitachi

  • In your initial kamae, do not lower the sword to respond to the shidachi's move to gedan.
  • As the shidachi comes up towards chudan you now lower a bit to try to hold this move down.
  • The movement up to Jodan and back down to Chudan should be done rather quickly due to the seme pressure applied by the shidachi.
  • Just as you do for Gohon-me, cut the kote straight down to just below the wrist. At the point in time where the shidachi applies the suri-age waza, your sword dies and falls off down to your left.
  • You must lead the move to zanshin. Do not wait for the shidachi to push you back.
  • After your kote is hit, when you step backwards do not turn your body facing towards the shidachi, but instead straight forward. This will mean that your chest will be angled so that the left shoulder is somewhat further away from the shidachi's body than your right shoulder.
  • After you have moved backwards following the shidachi's strike to your kote, the point of your sword will be a bit to the left and the blade will be a bit to the right of vertical since your sword is still dead.

For the Shidachi

  • As you come up from gedan to chudan, your seme should be directed between the fists of the uchitachi.
  • When the shidachi steps back to Jodan immediately pursue and assume the same kamae that you do in Gohon-me (point of sword pointing to left fist, but blade straight up and down).
  • Do the suri-age by drawing a small counterclockwise semi-circle to the right with your sword.
  • Make certain that your waza is suri-age and not harai. In particular, do not beat the uchitachi's sword downward, but use the semi-circle to stroke it upwards.
  • Make sure that in following from the suri-age to the kote you do not make too large a motion. This is a small kote, and you should always see the uchitachi from above your arms rather than below and between your arms as in other kata.
  • The Uchitachi leads the timing for zanshin by stepping backwards. You must simultaneously follow feel like you thrust to the Uchitachi's face prior to assuming Jodan.
  • At the time when you do the Jodan/zanshin, your left heel is at the original center line (front to back center line where the swords originally crossed).
  • Following the Jodan/zanshin, step back to the original position from first your right foot and then your left foot, finally recovering your right foot.

 

Shichihon-me

Both partners assume chudan kamae. After stepping into the center look for an opportunity to attack.

The uchitachi makes a thrust to the shidachi. The shidachi receives this thrust by stepping backwards and pushing the sword forwards and upwards keeping contact between the shinogi of his sword and the uchitachi's.

Both partners resume chudan-no-kamae. The Uchitachi makes a large shomen and the shidachi responds with men nuki do moving diagonally forward to the right and finishing the cut on his right knee.

After finishing the cut, the shidachi turns to face the uchitachi and, while remaining on one knee, assumes waki-gamae. The Uchitachi turns to face the shidachi and the shidachi moves to chudan-no-kamae by way of jodan.

The uchitachi steps backwards drawing the shidachi up to both feet with the right foot forwards in a normal chudan kamae. both parties circle back to their original positions moving clockwise five steps.

For the Uchitachi

  • Go into the center with a strong ki the level is 50-50 with the shidachi.
  • Make the tsuki with a feeling of scraping the shinogi of the shidachi.
  • The cutting edge should be pointed slightly to the left and down when you make the tsuki.
  • Don't let your wrist or arm rise too high during the tsuki.
  • When you return to chudan after the tsuki, the level of the ki should be 50-50 between the Uchitachi and Shidachi.
  • Cut men with a do or die attitude. Throw your life completely away as you cut. Raise your sword as you step forward with the left foot and cut as you step forward with the right foot.
  • Cut straight down. It is easy to accidently cut towards the right.
  • As you complete the cut, you will momentarily lose sight of the Shidachi. Immediately look back to your left rear at the shidachi after you cut finishes.
  • As you complete the cut, your body posture should break slightly.
  • When you turn to face the Shidachi again, pivot on the right foot, first raising the sword to roughly jodan as you turn and then lowering to chudan as you complete the pivot.
  • The shidachi pushes you back as they stand up into chudan. Don't lead the shidachi back.

For the Shidachi

  • Receive the tsuki by extending out with the cutting edge turned down to the left.
  • The feeling when receiving the tsuki is almost like ai-tsuki, but don't lift your arms or fists too high. The contact point should be shoulder height when you complete the extension.
  • Receive the tsuki on the shinogi of the mono-uchi. The kissaki should be slightly higher than chudan.
  • Returning to chudan, the level of the ki should be 50-50
  • The Do should be struck with katsugi waza (sword goes to the left shoulder on your first step.
  • The Do should be struck on your second step.
  • Never lose sight of the Uchitachi.
  • At the completion of the Do (Zanshin), both arms should be extended and the sword is almost pararllel to the ground. Blade should be facing to the right.
  • Make sure you allow enough time to exhibit zanshin completely prior to taking Wake-gamae after the cut. Don't take Wake-gamae immediately.
  • When you go to wake-gamae, your right knee is a fixed point around which that leg pivots so that both feet face the uchitachi.
  • The shidachi moves up to standing chudan first, and the uchidachi simultaneously follows by stepping backwards (shidachi pushes up rather than being pulled).

 

Kodachi-Ippon-me

The uchitachi takes left Jodan-no-kamae. The shidachi takes hanmi chudan kamae. Both move three large steps forwards.

The uchitachi cuts to the shidachi's shomen. The shidachi steps diagonally forward to the right and receives the men using uke-nagashi. The uke-nagashi-waza is completed by striking the uchitachi's shomen.

After one beat, the shidachi steps back into right jodan kamae. The uchitachi turns to face the shidachi and both come to chudan-no kamae. The shidachi steps to the left to resume the left/right center.

For the Uchitachi

  • Do not cut down as hard as in tachi Ippon-me. Cut slightly softer so that you do not risk breaking the shidachi's kodachi.

For the Shidachi

  • Your kamae in response to the Uchitachi's Jodan should have the point of the sword towards your opponent's eyes. The blade should be vertical, not slanted to the left or right.
  • Hide your left shoulder from the Uchitachi.
  • Make your kamae not a defensive kamae but with offensive spirit and intent.
  • After you cut the men, wait for 1/2 breath before stepping back to Jodan. Do not move back too quickly.
  • In moving to Jodan, it is not necessary to first draw down to the opponent's face (as in e.g. Tachi Gohon-me).

 

Kodachi-Nihon-me

The uchitachi takes gedan, the shidachi takes hanmi chudan in response. Both move forwards three large steps.

The uchitachi attempts to raise towards chudan. The shidachi points the blade slightly to the left to cover. The Uchitachi steps back into Waki-gamae to get out from under the shidachi's cover. Meanwhile, the shidachi steps forwards (irimi) pointing the kamae at the uchitachi's throat (back in the center).

The uchitachi moves through Jodan and cuts at the shidachi's shomen. The shidachi moves diagonally to the left and receives the cut using uke-nagashi. The uke-nagashi concludes when the shidachi cuts the uchitachi's shomen.

After cutting the shomen, the shidachi reaches out with the left hand and holds the uchitachi's right arm down. Zanshin is exhibited by drawing the kodachi back to the right hip and pointing it at the shidachi's stomach.

The shidachi returns to the original position by stepping first with the right foot.

For the Uchitachi

  • The attack to shomen should only lift the sword high enough to see the shidachi under the arms.

For the Shidachi

  • The initial kamae points to the opponent's chest with the sword vertical (no slant on the blade).
  • When you cover the opponent's blade as he raises, you do so by pointing the sword to your left and slanting the cutting edge to the right (think of holding down with the bottom part of the shinogi).
  • As you advance to keep the pressure on the Uchitachi after he goes to waki-gamae, your sword goes back to a centered chudan, however the height is now at the throat, not the chest.
  • As you step out to the left, shift your body facing to be square to the opponent. Do not move so that the body facing is away from them at the contact point of the uke-nagashi.
  • The final position of your body should be much less than 45 degrees out from the uchitachi.
  • When you grip the uchitachi's right arm. Grip from the top (thumb pointing down, wrist broken inward). Grip the arm just above the elbow joint, not at the joint. Pressure should be downwards.

 

Kodachi-Sanbon-me

The Uchitachi remains in chudan no-kamae. The shidachi, however moves to hanmi-gedan. Both sides take three steps into the center.

During the third step, the uchitachi attempts to strike the shidachi's shomen. The shidachi responds with suri-age followed by suri-otoshi. Sliding up the Uchitachi's blade and then throwing it back towards the Uchitachi's right rear side. This breaks the balance and posture of the uchitachi.

The uchitachi recovers balance and stepping forward with the left foot cuts to the shidachi's do. This cut is received with suri-otoshi, sliding down and backwards along most of the blade as the shidachi steps out to the left by pivoting on the right foot. The suri-otoshi is completed by sliding the kodachi upwards until the two swords are locked at the tsuba (during both slides the shinogi are in contact, however at the point when the swords lock tsuba, the shidachi turns the kodachi blade down).

The shidachi grips the uchitachi's right arm locking it in place. The uchitachi attempts to escape two or three steps backwards but the shidachi follows up maintaining this control. The shidachi exhibits zanshin by drawing the kodachi to his right hip and pointing it towards the uchitachi's stomach.

The shidachi withdraws back to the original starting position beginning with the left leg this time (about 3 steps left right left). The uchitachi returns to the starting position with a single step (right and left recovery).

For the Uchitachi

  • When the shidachi goes into hanmi gedan, do not adjust your kamae downward at all.
  • Do not swing the sword up during step two. Instead get both the up and downswing in during the third step.
  • Hit the do slightly higher than normally. This makes the shidachi's suri-otoshi somewhat easier. Do not hit the do low.
  • You can retreat either two or three steps.
  • Remember to return to the center after the zanshin is exhibited leading with your right foot. You will move only one step back (with the shidachi's 3'd step) to get to the center.

For the Shidachi

  • The first suri-age/suri-otoshi, Don't raise your right arm above horizontal (shoulder height). You will need to break your wrist upwards to reach the Uchitachi's sword.
  • In the first suri-age/suri-otoshi, catch the uchitachi's sword at your datotsu-bu. Do not catch it too close to his point, but more down at the bottom of the datotsu-bu or even further towards his tsuba.
  • Finish the first suri-otoshi with the point of the kodachi outside the frame of the uchitachi's body. The "throw" should be back towards the uchitachi more than to your left (his right).
  • When you grip the Uchitachi's arm, grip slightly above the elbow joint and from the right side (thumb on top, pointing to your right). The lock is accomplished by pressure towards the inside with your left arm to his right arm, while at the same time pressing the katana downwards with the kodachi.
  • The chase can be either two or three steps.
  • Remember to withdraw back to the center by stepping first with your left foot not your right foot. You will move three steps back to get to the center.

 

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