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Basic Concepts (Kihon)
Kihon, the fundamentals of kendo, is based on the following elements:
Rei-ho refers to the doctrines or concepts of courtesy and respect.
Rei-ho is related to rei-gi,
and includes the following elements:
- Chaku-so:
the manner of wearing keikogi, hakama, and bogu.
Chakuso is considered a good indicator of one's kendo abilities
and attitude.
- Rei: bowing. Rei demonstrates
courtesy, honor, respect, humility, and gratitude.
There are two basic rei positions:
- ritsu-rei: standing rei
Ritsu-rei is performed from
shizentai, the natural standing
position. Stand relaxed but straight, with the heels barely
touching and the toes slightly spread apart.
The chin is slightly tucked.
The arms hang naturally at the sides.
The left hand holds the shinai at the
sage-to position.
Bend forward from the waist to bow, keeping the chin slightly
tucked.
The shomen-e-no-rei is a
ritsu-rei toward the shomen.
The angle of the upper body is about 30 degrees and the eyes
look down.
The sogo-no-rei is a
ritsu-rei toward the opponent. The angle of the upper body
is about 15 degrees, and eye contact is maintained with the
opponent.
- za-rei: seated rei
Za-rei is performed from the
seiza, or formal sitting, position.
When sitting in seiza, the knees are close together, the
shins and tops of the feet are on the floor, the big toes
are touching, and the rear end is on the heels.
The back is straight and the chin is slightly tucked.
The arms hang naturally at the side, and the palms are placed on
the upper thighs with the fingers together.
The shinai is on the floor on the left side, with the tsuba
even with the left knee.
To perform za-rei, move the hands directly from the upper thighs
to the floor about one fist away from the knees, with the
thumbs and index fingers forming a triangle.
Bend forward from the waist to bow, without raising the rear
end. The nose should end up centered over the triangle.
The chin stays slightly tucked so the eyes end up looking at
floor, however awareness always remains forward.
Note: when taking the seiza position, put the left knee down first.
When rising from the seiza position, raise the right knee first.
When raising or lowering yourself, keep your back straight, and
do not use your hands to assist.
- Drawing and returning the shinai
To draw the shinai: From shizentai, perform ritsu rei with
your opponent.
Bring the shinai to the
tai-to position and take
three big steps forward starting from the right foot.
Draw the shinai with the tip following a diagonal path from
the opponent's right shoulder down and ending in
the chudan no kamae position. While drawing the shinai,
simultaneously go down into the sonkyo position.
Keep your back straight and look forward at all times.
To put away the shinai: from the chudan no kamae position,
go down into the sonkyo position, then return the shinai
to the taito position.
Keep your back straight and look forward at all times.
Stand and take five small steps back starting from the left foot.
Return to shizentai and perform ritsu rei.
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Mokuso (meditation) is also
performed from the seiza position. Mokuso is performed
at the beginning and end of practice.
The left hand rests on top of the right hand, both palms up,
with the tips of the thumbs touching.
The oval thus formed is centered in front of the
tanden.
During mokuso, focus on abdominal breathing, which involves
use of the diaphragm and awareness of the tanden.
The command to end mokuso is "naore."
Shisei is very important in all aspects of kendo, from rei to
kamae to footwork to striking. Shisei is more than just posture,
it also reflects one's physical presence and mental attitude.
Kamae is the stance from which one is prepared to strike or
respond to the opponent.
There are five kinds of kamae, the most basic being
chudan-no-kamae (middle stance).
In chudan-no-kamae,
the posture is upright and the shoulders and hips are
square to the front. The right foot is forward and the toes
of the left foot are in line with the heel of the right foot,
Both feet are pointing straight forward, and the left heel is
slightly raised. The weight is distributed between both feet, i.e.
one foot is not "floating".
The shinai is held with the right hand just below the tsuba
and the bottom of the left hand even with, or slightly overhanging,
the tsuka-gashira.
Both hands are angled (not perpendicular) to the tsuka. The hands
should be between one and one-and-a-half fists apart; if not the
tsuka/shinai are not the right size.
Hold the shinai with the left hand in front of the tanden, about
one fist away from the body. The extension of the kensen should
point in the range between the opponent's throat and eyebrows.
The kensen should be kept at the centerline of the opponent.
Metsuke (use of the eyes) is very
important in kamae.
When looking at
the opponent, one is looking into the eyes but is also aware of
the kensen, hands, and entire body of the opponent.
One should be able to see through to the opponent's abilities and
state of mind.
Other forms of kamae include:
- jodan no kamae (over the head)
- gedan no kamae (pointing down)
- hasso no kamae (at the right shoulder)
- wakigamae (at the right hip)
Ashi-sabaki is used both when attacking and evading an opponent.
Shisei (posture) is very important when performing any kind of
footwork. There are four types of footwork, the most basic being
okuri-ashi.
Okuri-ashi may be used to travel in any
direction. The feet always start and end in the basic kamae position,
with the right foot in front and the toes of the left foot even with
the line of the right heel. First move the foot closest to the
direction of movement, i.e. the right foot when moving forward or
to the right, or the left foot when moving backward or to the left.
As soon as the first foot has moved, immediately move the other
foot as if to send it into the first foot.
It is important to use
suri-ashi so
that the center of gravity does not shift up and down. In suri-ashi,
the feet do not lose contact with the floor, so the body glides
smoothly, providing a stable base for striking and countering.
Other forms of ashi-sabaki include:
- ayumi ashi (the right and left feet alternate)
- hiraki ashi (side to side)
Uchi-Kata (Way of Striking)
includes suburi, basic strikes, tenouchi, kirikaeshi, taiatari
More than just loudly shouting, kiai means the showing
of your spirit and courage through your voice.
This includes kake-goe (the vocalization before the strike)
as well as calling out the point as it is struck.
Literally, to decide. Kime means to strike without hesitation and,
more importantly, to finish the strike with decisiveness and
conviction.
Correct mental and physical posture after completing an attack.
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