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is performed by simultaneously stepping forward with Tsugu Ashi (following feet) and cutting
by throwing the Shinai upwards and outwards with the left hand. The right hand gradually
revolves as the left hand turns the Shinai to its original position, but in this case the action is
delayed so that the correct hand position is re-assumed at the exact finish of the cut. Plate 108
shows almost the final instant. The left leg is just drawing up to position and the hands are just
about to squeeze as the wrists snap inwards. The cut is halted at head or eye level.
Suburi are always made in this very wide and exaggerated action to give maximum
exercise and often the novice cuts only in this way throughout his initial training. The cutting at
head level may be varied by diagonals but it is not necessary to exercise cuts against other targets
in this way since only a matter of height is involved. This is automatically adjusted just as we
adjust to varying heights of opponent without effort.
Mae-ato-suburi are the normal form in which cuts are made forwards and backwards in
a rhythmic fashion, with the cutting action coordinated with the footwork. A more exhausting
form of Suburi for stamina training, are Tonde (with a leap) Suburi in which a jumping or
skipping action is made rather than a simple sliding step. Sonkyo (crouching) Suburi strengthens
the legs and may take the form of cutting whilst sinking and rising from this position or may
consist in bouncing up and down whilst cutting from this position, or even cutting and walking.
The most exhausting of all are Tobigaki (jumping) Suburi in which the student leaps as high as
he can and attempts to touch his buttocks with his heels as he raises the Shinai and cut as he
lands again.
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It is really true that no progress is possible without Suburi training and the keen student
should set himself a target of 500 or 1.000 cuts per days if conditions allow.
It will be noted that in the final action the right shoulder swings a little forward since the
right hand is advanced on the hilt, but the hips remain square. This swinging forward should not
be exaggerated and the student will find it occurs naturally if he concentrates rather on keeping
the shoulders square but letting the shoulder come forward a little if this feels awkward. The
student will almost certainly find his hands blister until a tough hardened palm develops.
Callouses along the forefinger show that the technique is incorrect, the areas of callous as shown
in diagram 12 give a good guide to correctness of technique. The right hand is hardly affected.
Correct footwork will also cause blistered feet until the soles harden, after which very
little trouble is experienced. The only injuries normally resulting in Kendo are a few bumps and
bruises from blows and sprains or self-inflicted dislocations. At any rate there are few serious
accidents although Kendo often appears dangerous. The student should ignore any painful blows
and never duct or show any sign of discomfort. In actual fact a blow is far more painful if the
student cringes. To ignore a blow means that it is rarely felt and normally bruises are only noted
when changing after practice.
5. Reishiki (Ceremonial Form)
Reishiki is important for self-discipline and safety during the practice, since it reminds the
students that they are there to study seriously. The details of laying out equipment and the precise
form Reishiki takes will vary from Dojo to Dojo but that given here is fairly typical. The student
when visiting merely follows the particular form of that school. A training session without
Reishiki will be casual and lacking in form, which prevents the development of united spirit
among students and also leads to accidents. The effect of Reishiki is that from the moment of
entering the Dojo all outside thoughts are to be put aside until we leave again and to create a
proper atmosphere for serious study. The atmosphere should not be over strict or depressing.
Amusing incidents often occur and the students should feel free to laugh or talk providing that
this is not interfering with training. In actual fact the student is normally fully occupied during
training and so discipline is hardly a problem. Enforced discipline is of little worth. The student
must himself want to follow his own discipline and etiquette to build his character.
The correct style of entry to the Dojo is shown in plate 109, the breastplate and lower
armour have been donned in the dressing room and the head towel, gloves and loose cords placed
inside the mask, which is carried grill downwards under the left arm. The Shinai is carried in the
left hand, parallel to the floor. A Tachi-rei (standing bow) is made on entering the Dojo and the
more senior students line up in order of grade to the instructor's left-hand side.
Plate 110 shows the Seiza (seated posture). The spine and head are erect and the body sits
well back on the heels. The body-weight is dropped to the stomach and the hands placed on the
knees. The Shinai is placed to the left side with the guard level with the knee and the mask laid
on the gloves, to the front, with the towel draped across the top. The Senior student ensures all
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are ready then shouts 'Kyo-tsuke' (attention) and everybody braces up and pays attention. The
second command will be 'Rei' and the class and teacher perform Za-rei' (kneeling bow) as in
plate 111. The left hand is placed on the floor followed by the right, the elbows lowered to touch
the floor and the forehead to touch the hands.
A high ranking teacher will often be accorded the courtesy of a special salutation and on [ Pobierz całość w formacie PDF ]