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CHAPTER 1

Introduction

This book is written expressly with the objective of helping you make your kendo training more effective. It is aimed both at people starting to climb the kendo ladder and more advanced students who want to ensure they are making the most of their time in the dojo. Without attempting to delve into kendo’s lineage and history, I have peppered this book with elements of its philosophy—simply because you cannot divorce physical actions from the reasons for doing them. Whether your objective for practicing kendo is to train your mind to achieve a state of mushin (no-mind), or be a winner in competition—or simply to keep fit—it helps to know why things are done a certain way.

I do not claim to have invented a secret formula for success. All the ideas here are “out there” and have repeatedly been impressed on me by a number of senior teachers over my forty-plus-year kendo career. There are no short cuts in kendo, but there are ways to ensure that you do not waste time doing things that are useless or counterproductive. When I started kendo in the UK in the early 1970s, we were pretty much cut off from the pool of knowledge that existed in Japan. Despite the efforts of one or two pioneers who knew more than the rest of us, a lot of technique was self-taught. I went on to live and work in Japan where I had access to some of the great second generation sensei. I did however, have to spend my first year unlearning my bad habits and starting again from scratch. Clearly the most effective way to improve is to start by doing things correctly and to conscientiously continue the correct practice of basic techniques throughout your kendo career.

This or any other guide is in no way a substitute for a good instructor. While we now have access to print and online resources from some of the world’s best kendoka, it is important to train with a teacher who can monitor your progress and make suggestions that are relevant to you. Your choice of instructor will have a major effect on your progress, so do put some thought into your selection. If you live in a major city, then you will probably have a choice of dojo. Go and watch some sessions before committing to join. Not all technically skilled kendoka are good teachers and vice versa. It is also worth talking to other members of the class.

If there is not a choice of dojo in your area, you need to make the best of what is available. In some cases you may have to work with a junior instructor or even train with your peers, taking turns to lead the practice. My only word of caution is that in these cases everyone should be aware of their own ability level and seek opportunities to attend seminars and club visits and invite senior instructors to visit whenever you can. In this way you get exposure to new ideas and can all improve together. I have seen a few rare cases where an inexperienced club instructor has forbidden students to train with other teachers. This is perhaps forgivable of very highly ranked teachers if students are going through the basics stage, but coming from lesser kendoka this smacks of conceit and cultism.

As a last resort you can train alone. I have included a section on hitori geiko, however these exercises should ideally to be practiced in addition to the work you do in the dojo. Kendo is a social and sociable art and is best done with others.

Readers’ note

International Kendo uses Japanese terminology extensively to describe equipment, techniques, and training methodology. I have therefore used this Japanese labeling throughout the book. In most cases I have done so without the customary italics. In line with Japanese grammar rules on compound words, I have made some consonant changes, so for instance kote becomes gote and futon becomes buton.

The Purpose of Kendo

In 1975 the All Japan Kendo Federation (AJKF) developed and published “The Concept and Purpose of Kendo” which is reproduced below.

Concept

“Kendo is a way to discipline the human character through the application of the principles of the katana.”

Purpose

To mold the mind and body.

To cultivate a vigorous spirit,

And through correct and rigid training,

To strive for improvement in the art of Kendo.

To hold in esteem human courtesy and honor.

To associate with others with sincerity.

And to forever pursue the cultivation of oneself.

Thus will one be able:

To love one’s country and society;

To contribute to the development of culture;

And to promote peace and prosperity among all peoples

Kendo for Life

Kendo is unusual in that it allows the generations to train together. Children from five upwards can enjoy kendo practice. At the other end of the scale it is possible to continue to enjoy keiko at an age when most other martial artists have hung up their boots or donated their dogi to the charity shop. Numerous sensei continue not only to be great teachers, but also remain formidable opponents into their 70s and 80s.

To quote the famous Taisho period 10^th dan, Mochida Seiji sensei:

Until you are 50 years old, you must endeavor to practice the fundamentals of kendo and make it a part of you. It has taken me 50 years to learn the fundamentals of kendo by body. It was not until I became 50 years old that I started my true kendo training. This is because I practiced kendo with all my heart and spirit.

When one becomes 60 years old, the legs are not as strong as they once were. It is the spirit that overcomes this weakness. It is through a strong spirit that one can overcome the inevitability of the body becoming physically weaker.

When I became 70 years old, the entire body became weaker. I found that the next step is to practice the concept of not moving one’s spirit when practicing kendo. When one is able to achieve the state of an immovable spirit, your opponent’s spirit will manifest itself to you. I tried to achieve a calm and immovable spirit at this stage in my life.

When I became 80 years old, I achieved the state of the immovable spirit. However, there are times when a random thought will enter my mind. I am striving to eliminate these random thoughts.

Cross generation Kendo—the late Oshima Hideharu Sensei with his grandson

Very few of us will come close to Mochida sensei’s level of accomplishment, but we can take comfort in the fact that kendo does not need to be abandoned as we get into our later years. In fact for many kendoka, their kendo career really takes off after retirement.

For people who take up kendo after they reach 50, it is still possible to advance into the higher dan ranks. A sensible approach to how hard and how fast you train is essential, as is correct warm-up and cool-down exercise. Nevertheless, good strong technique can be developed that works against younger, faster opponents and if you can come anywhere close to developing Mochida sensei’s state of “the immovable spirit” or Fudoshin you become invincible.

Fudō Myō-ō,the Buddhist guardian deity that personifies Fudōshin

Equipment and How to Choose and Wear it

Kendo requires more equipment than many other sports. Over basic clothing of hakama and keikogi we wear bogu (armor), consisting of men, dou, tare, and kote. In addition we need at least one shinai (bamboo sword) and a tenugui (men towel).

Chakuso

Chakuso or the way we put on our equipment and present ourselves in kendo is an important indicator of our attitude to training and our technical ability. Bogu is expensive, so there is no problem in using old, well worn equipment. It should, however, be kept in good repair. Hakama and keikogi should be clean and pressed and wherever possible should retain the original color. I was given a lesson on the importance of good chakuso as well as one on Japanese tact early in my time in Osaka. My dojo’s shihan explained that the cut-down judo jacket I used had been “stolen” and that I would have to wear the purpose made keikogi that he gave by way of “consolation.”

Keikogi

Keikogi is the kendo jacket, a thick kimono style garment. Most people wear blue (indigo or synthetic indigo dyed) keikogi, although white is also common. The original reason for using indigo as a dye was because of its antiseptic qualities should the wearer be wounded. The color of the keikogi has no real significance, but children and women sometimes wear white. White is also the preferred color of The Imperial Palace Police. Keikogi come in a wide range of qualities and thicknesses, from thin summer weight to double thickness. Double thickness keikogi tend to last longer and give more protection against off target hits.

Keikogi are simple to put on, just ensure that you wrap from left to right and tie the munehimo in a horizontal bow. The keikogi should fit so that the collar does not show a gap at the nape of your neck and the back of the keikogi should be smoothed down so that it is free from wrinkles. Keikogi sizes vary from maker to maker, so it pays to take the advice of your equipment supplier. It may sometimes be necessary to move the munehimo, or tabs that hold the keikogi closed at the front, to ensure a close fit at the collar.

Hakama

Kendo hakama also come in blue or white. The hakama has five pleats at the front and one at the back. The five front pleats are said to represent the Gojo or five virtues Jin-Gi-Rei-Chi-Shin

Jin - Humanity

Gi - Truth and Justice

Rei - Courtesy

Chi - Wisdom

Shin – Faith

The pleat at the back of the hakama symbolises Makoto or sincerity.

Hakama are available in tetron, polyester, or cotton. Cotton hakama are available in various weights designated by a thread density number ranging from 5,000 to 10,000. As a rule cotton is preferable to synthetic materials as it is absorbent and the weight makes it hang better. It is also wise to buy the heaviest quality cotton you can afford as it retains its pleats better. When you buy a hakama the pleats are normally tacked with cotton. It will never look as good again, but the cotton has to come out before you use it.

Putting on the hakama takes some getting used to. You should always put your left leg in first and take it out first when taking off the hakama. The only rationale I have heard for this is that if you are attacked, you can easily drop the hakama and move forward with your right leg.

When you have both legs in you should pull up the front of the hakama so that the top edge is just under your belly button. You then pass the long tapes from the front of the hakama around your waist and cross them under your abdomen at about six inches (15 cm) below the top edge of the hakama. As you do this, turn the tapes over so that they “lock” in place. Then keeping the tension on, take the tapes round to your back and tie in a bow. At this stage, pull your keikogi down so that it does not bunch up at the back. Once the front is in place, you should find a plastic tag on the inside of the hakama below the koshi -ita. Push this inside the bow and then take the rear tapes and cross them over and take the top tape under the point where the front tapes cross. Tie a flat knot and tuck each tape over the tapes at the sides of the hakama, ensuring that they are pushed down tightly. When worn, the front of the hakama should come to just above your toes and be slightly higher at the back.

Both keikogi and hakama should be folded after practice as per the diagrams. Before first use they should be soaked in cool water with the addition of either a cup of salt or white vinegar to help set the indigo dye. Even when this is done they will continue to bleed color, so they should be washed separately by hand in cool water. A useful tip to keep in mind is that if you pull them into shape immediately after washing and hang them in sunlight it will minimise the need for ironing. You should hang the keikogi inside out to avoid sun bleaching and use a clip type hanger to keep the hakama’s pleats in place.

How to fold a hakama

First straighten the back pleat and then turn over to ensure that the front pleats are in place. Fold in the outside edges so that the hakama forms a rectangle. Make two even folds, taking the hakama to a third of its length. Now double up each of the long rear obi ties to form an even X shape the size of the folded hakama. Take the two short front obi ties over and under the center of the X and loop over the ties nearest to you. Finally secure by pulling the loose end on the left through the top right loop.

Folding Keikogi

Bogu

Selecting bogu or armor is even more baffling. The choice of styles, qualities, and brands is enormous as is the price range. You can buy hand-stitched, machine-stitched, even machine-stitched to look like hand-stitched bogu. Dou are available with traditional bamboo dou plates covered in leather and lacquer or made from synthetic material. So you need to think long and hard about what quality bogu you need and how much you are prepared to pay for it.

The two main types of bogu are hand-stitched and machine-stitched. The former is vastly more expensive and a top class handmade bogu may take several years to make and equates to the price of a new car. Both hand-stitched and machine-stitched armor is classified by the closeness of the stitching. Machine stitching normally comes in.24 inches (6mm),.16 inch (4mm) or .12 inch (3mm) whereas hand stitching uses the traditional Japanese measures of bu and rin and ranges from 1bu through 1bu 2rin to 1bu 5rin to 2bu.

The more space between stitches the lower the price, so.24 inches (6mm) bogu is less expensive than.12 inch (3mm) and likewise 2bu is less expensive than 1bu. It is worth bearing in mind that loose stitched bogu needs to be thick, because it works by absorbing impact. Tight stitching deflects, so it is as much a case of personal preference as to which is best. A new type of 2bu hand-stitched armor is enjoying a boom at the moment as it is soft and light.

What you buy is up to you and your bank manager, but the only advice I would give you is to check what material goes into the construction of the bogu. Ideally it should be made from compressed wool felt and cotton, whereas some cheaper quality sets are padded with foam rubber which breaks down inside the covering and leaves the wearer more susceptible to injury. It is also essential to ensure that your bogu fits correctly, particularly your men and kote. Badly fitting bogu will be uncomfortable and make keiko more difficult. Your men should be a good fit for the size of your face and should be deep enough to finish level with the back of your head. Your eyes should line up with the space between the 6^th and 7^th bars from the top. Kote are made to fit your hand in the grip position so need not be measured against an open hand; instead they should fit comfortably when your hand is in grip position. Fingers should not be compressed and there should be no excess room in the atama or hand part of the kote. The protruding bones in the wrist itself should be protected by the kote buton “the main sleeve” and not the softer tsutsu.

Putting on bogu

Bogu should be put on sitting in seiza. First on is the tare which should line up with the top of the hakama. The tare obi should be passed around the waist and tied under the front flap. The dou follows with the longer himo taken over your back and crossed over the opposite shoulder. The himo should then be pushed through the chichikawa leather at the top of the dou and a loop made around the main part and the himo. The loop should lean towards the outside of the chichikawa and the remaining end should be pushed inside the dou. The other long himo should be tied in the same way, aiming to keep the dou level. Finally the short himo at the bottom of the dou should be tied across your back in a horizontal bow. The dou should sit just above the bottom of the tare waistband.

Dou and tare can be put on either in the dojo or the changing room depending on the dojo custom.

Placing men and kote

Men and kote are put on in the dojo at the command “Men wo tsuke.” We will again touch on this when we look at reigi.

Your men and kote should be placed together by your right knee in line with those of the rest of the dojo members. Men himo should be folded neatly and placed inside the men. The positioning of kote and tenugui varies from dojo to dojo. Some favor the kote in a straight line from your body; others stipulate a 90 degree angle with the left kote in front. Some dojo drape fresh tenugui over the men; others keep it folded and place it inside.

Tying tenugui

There are various ways that the tenugui can be worn. Two require the tenugui to be tied as you put on your men. The other uses a clever origami technique to prefabricate a tenugui hat.

Method 1

Holding the two rear corners, pull the tenugui tightly against the back of your head bringing the left hand corner across to the right and cover the resultant flap by repeating the process from the right. You now have a triangular flap made up of the two tenugui ends in front of your eyes. Pull this straight back, tucking the tail end under if necessary, so that it does not protrude from the back of your men.

Method 2

Hold the center of the lower edge between your teeth. Pull the left and then the right edges of the tenugui around the back of your head and tie the two top corners in front of the top of your forehead. Release the lower edge and pull backwards.

Method 3

Double the tenugui lengthwise, fold ends in to form a triangle. Turn inside out and place on head. This is particularly useful for young children.

Tying Men Himo

Here are two ways of tying a men, from the top with long “kansai himo” or from the bottom with shorter “kanto himo.” The second method is simpler and more usual, so we will stick with this. The himo are tied at the fourth from bottom bar and pre-threaded through the top bars of the men and placed inside. After tying the tenugui we take out the ends of the men himo and hold them in our left hand while pulling open the himo which are already in place at the back of the men. Holding the men from the tsukidate, push your face in chin first. Pull both himo tight from the top then tie a half knot at the back, turning it into a bow which should sit in the groove at the base of your skull. You should ensure that the loops and tails of your men himo are of equal length and that they do not exceed 16 inches (40cm). For some obscure reason, even short himo are made a fraction too long to achieve this, so if you want to get it right, be prepared to get the scissors out. Kendo himo if cut will fray, so it is necessary to retie the ends as shown above.

Kote

With kote, the futon or wrist part should be laced tightly enough so that it does not move too much when it is hit, but it should also be loose enough to get your hand in easily. The futon should retain its tubular shape and not be allowed to open at the end like a cone. If laces are too long they should be cut, sealed at the end with vinyl tape, and retied as shown. The hands of the kote should be big enough for you to move your fingers comfortably and cover the whole of your palm.

Shinai

In modern kendo we use yotsuware shinai made from four strips of bamboo. These bamboo (take) are held together with a leather cap (sakigawa), a leather strip tied at a quarter of the shinai’s length (nakayui), and a leather handle (tsukagawa). The leather fittings are held together by a tightly tied string (tsuru) which represents the back of the blade. Inside the shinai, a sakigomu supports the kissaki and a metal plate or chigiri the handle.

Shinai weights are regulated for competition as follows:

FIK Specifications for competition use of one Shinai (Itto).
Specification	Gender	Junior High School (12-15 yrs)	Senior High School (15-18 yrs)	University students and Adults (18yrs+)
Maximum length	Male & female	45 inches (114cm)	46 inches (117cm)	47 inches (120cm)
Minimum weight	Male	16 ounces (440g)	17 ounces (480g)	18 ounces (510g)
Female	14 ounces (400g)	15 ounces (420g)	16 ounces (440g)
Minimum diameter of sakigawa	Male	1 inch (25mm)	1¼ inch (26mm)	1¼ inch (26mm)
Female	¾th inch (24mm)	1 inch (25mm)	1 inch (25mm)
Minimum length of sakigawa	Male and Female	2 inches (50mm)	2 inches (50mm)	2 inches (50mm)

FIK Specifications for Competition use of two Shinai (Nito).
Specification	Gender	Daito (long shinai)	Shoto (short shinai)
Maximum length	Male & female	45 inches (114cm)	24 inches (62cm)
Weight	Male	16 ounce (440g) minimum	10-11 ounce (280-300g) maximum
Female	14 ounce (400g) minimum	8-10 ounces (250-280g) maximum
Minimum diameter of sakigawa	Male	1 inch (25mm)	¾th inch (24mm)
Female	¾th inch (24mm)	¾th inch (24mm)

These lengths are however generally referred to by the old Japanese shaku and sun measurement; 3.7, 3.8, and 3.9 equate respectively to 45 inches (114cm), 46 inches (117cm) and 47 inches (120cm). Although there appears to be no regulation banning longer or shorter shinai for practice, these sizes are used universally in everyday training. In competition it is acceptable to shorten a shinai given that it still reaches the regulated weight.

Although length and weight are regulated, there is still a wide choice of shinai styles. The two main types are dobari and koto. Dobari shinai are shaped with a bulge below the tsuba and tend to feel lighter than the traditional koto shinai, which has a straight blade or jinbu and where the balance is more toward the tip.

Shinai styles

Other options are based around handle size and shape. Round handles are the norm but koban or oval handles are also available. These feel more like using a katana and tend not to accidentally slip round in your hands. The obvious disadvantage is that as the individual take are of uneven sizes, it is harder to repair a koban shinai by substituting a single take.

There is also a wide variety of grip diameters. Many shinai makers have started to make a variety of “fat handles” to fit bigger hands. Some of these are a little too big for all but the most ham fisted. It is best to choose a grip size that comfortably fits your hand but leaves room for you to maneuver with your tenouchi.

The length of the handle or tsuka is important as this can affect your cutting action. The tsuka should fit in the crook of your right arm so that when you grip it your index finger should be just below the tsuba. Many shinai come complete with leather fittings, but in cases where the bamboo and the fittings are bought separately, many kendoka will purchase a 3.8 tsukagawa for a 3.9 shinai. The tsukagawa tends to stretch in keiko and may need shortening at some stage. In some cases this can be done by turning the front of the tsukagawa back, but in others it is easier to cut and reclose the hilt end.

Depending on source of the bamboo and whether shinai are machine or handmade there is a wide variety of price. The most expensive can be 10 times the cost of the cheapest. Japanese grown madake shinai command a premium price as bamboo grown in colder climates tends to be denser and stronger than that grown in hotter Southeast Asian countries. It is sometimes possible to tell the source of bamboo by the number of ridges on the shinai as cold climate bamboo grows slower.

Unfortunately there is no guarantee that an expensive shinai will last longer than a cheap one.

If, on the other hand, you need a long lasting shinai, you can always purchase a carbon fiber version. These are comparatively expensive but seldom break or go out of shape. The potential disadvantages are that they are less flexible and responsive than bamboo.

Shinai Maintenance

Shinai should be regularly examined for splinters and sanded if they appear. You should also check the inside of the take for cracks and splits. If a take is damaged it should be replaced. For this reason many people buy shinai in pairs of the same size and configuration so that they can marry the take. In my experience though, these “Frankenshinai” seldom last long.

There are a variety of views on oiling and waxing shinai to prolong their life. I believe that it helps to keep the shinai for a few months before use, as this gives it time to adjust to the local humidity. As mentioned, you can buy shinai with or without the leather fittings. There are pros and cons to buying them with or without. If you buy with fittings, a professional shinai maker or bogu shop will use a machine to ensure a good fit for the tsukagawa. Buying the bamboo only, allows you to examine the shinai for uniformity of thickness. If you buy the bamboo and parts separately or take the shinai apart to make repairs, here is what you need to do to tie or retie the parts.

Tying the Sakigawa

Pull the tsuru through the left hole and loop over the top of the sakigawa passing through the right hole.

Make a loop with the long part of the Tsuru.

Pull the other end through the loop then over and under the descending string

Take back though the loop and pull tight.

Tying the Nakayui

It should be tied one quarter of the total shinai length from the kisaki.

Loop nakayui over taut tsuru by pulling through the slot cut in the end. (In version 2 you can change the nakayui without untying the tsuru by pulling the end of the nakayui through the slot in the other end.)

Wind three times around the take and pull back under the last turn.

Take backwards and forwards in a figure of eight (2 or 3 times).

Secure by tucking under the top of the tied nakayui and cut off excess.

Tying the Tsukagawa (one of several ways depending on fitting)

Make a loop in the tsuru and pull through a second loop pulling tight.

Pass loose end through “v” of leather fitting on tsukagawa. Take back through loop in tsuru taking over and under straight part of leather fitting and pulling tight.

Take under tsuru, pull up to top of leather “v,” compressing it by winding string around and continue to do so, so that it is covered.

Pull end through taught tsuru and tie in a knot, cutting surplus string and pushing the end under the wound string.

Reigi

“Kendo begins and ends with rei.”

The above statement works on two levels; we begin and finish each practice with a bow and kendo is built on the ethos of respect and courtesy.

You will hear the term reigi continually throughout your kendo career, but to clarify terminology, reigi refers to the spirit of respect and courtesy and reiho or reigi saho, its physical expression. Reigi does not just apply to our behavior in the dojo, but should be part of our day to day interaction with others. I, like many other kendo students, was taught that washing the dojo floor and packing and carrying sensei’s equipment are an integral part of learning kendo.

In order to understand kendo etiquette, it is necessary to acknowledge two principles: first is the concept of sempai and kohai (senior and junior). Sempai is responsible for the safety and well being of kohai and kohai defers to sempai by sitting in a lower position in the dojo. The relationship is one of mutual respect that must be earned.

Second is the premise that the dojo itself is a sacred place. In the past, a dojo may have been attached to a daimyos’ castle or a religious shrine; in some cases they were extensions to the home of the head of the fencing school. In Japan, many of these traditional dojo still exist, although some have been replaced by halls in sports-centers or floors of high rise buildings. In all cases they retain the spirit and the trappings of a traditional dojo. Most have a small kamidana (Shinto shrine) and many have a taiko drum to signal the beginning and end of practice. For western kendoka, it is sometimes difficult to treat an unadorned school or civic hall with the same level of respect, but floors should be swept and ideally washed before each practice session.

Dojo layout

Dojo layout and the positions where people sit in the dojo can be quite complex. While kendo is practiced around the world in a variety of sports or civic halls, layout is based on traditional Japanese dojo rules where Kamiza faces south and is often located at the furthest point from the door. Members line up in level of seniority on the shimoza side, with the most senior students closest to joseki at the eastern end of the dojo. If there is more than one instructor present, they will also line up in the same pattern on the kamiza side or in some cases with the most senior person in the center and the next highest grade to his right and the next to his left and so on.

Dojo terminology too can be confusing, with some people avoiding the use of the word “kamiza” in the belief that it means god seat. In most cases the meaning is high seat, the same as the translation of joseki. Nevertheless you will often hear the high side of the dojo referred to as shomen or shinzen, both terms refer to “straight ahead.”

There are no rules for which grades sit on which side of the dojo. This depends on who teaches and the respective seniority of members and may change from session to session. For example, in my dojo individuals leading the adult practice change with those who taught the earlier children’s practice. Sometimes more senior students are placed in joseki. In the Shudokan dojo of Osaka Castle, 8^th dan and above only sit in kamiza with 7^th dan placed at the far end at a right angle.

Kendo grades

Like many other martial arts and martial sports, kendo uses a system of kyu and dan grades to measure progress. Kyu grades start at 6^th kyu and count-down to 1^st kyu. In the UK 6^th to 2^nd kyu are awarded by the students’ own dojo. 1^st kyu is a national grade and examinations take place under the national federation.

Dan grades start at 1^st dan and rise to 8^th dan. Formerly kendo used a system of 1^st to 10^th dan which was then modified so that 9^th dan became the highest grade awarded, subsequently the ceiling stopped at 8th dan. While under the current system 9^th dan is no longer awarded, there are a number of surviving 9^th dan holders, although unfortunately most are reaching an age where keiko is not always possible.

Internationally 1^st to 5^th dan is usually regulated by national federations or regional federations in Japan. 6^th , 7^th , and 8^th dan are referred to as kodansha grades and awarded by the All Japan Kendo Federation or one of the three zones of FIK (the International Kendo Federation).

The kendo grading system has undergone a number of transformations. Originally there were 5 dan grades followed by the three shogo of Renshi, Kyoshi, and Hanshi. These are now supplementary to the dan-I system and are awarded by recommendation and examination respectively to 6^th , 7^th , and 8^th dan.

Bowing

We bow when we enter and leave the dojo, at the beginning and end of each session, and to each partner at the beginning and end of each keiko. When we enter the dojo or bow to each other we should make a standing bow, keeping our back straight and arms by our side, bending from the waist. We bow to shomen and to our instructors at an angle of 30 degrees and to our opponents at an angle of 15 degrees. For zarei to start and conclude each session, we begin from the seiza position, placing both hands in front on the floor to form a triangle with the thumb and forefinger of each hand. We then place our forehead directly over the center of the triangle, ensuring that we keep a straight back and that we do not raise our bottom. You should breathe in in the upright position and slowly exhale through the mouth as you lower your torso.

When we bow we should remember that we are not only bowing to our opponent but to those who went before: those who taught us and those who taught them.

Seiza

Seiza may be initially uncomfortable but you get used to it. You should sit with your bottom in the triangle made by your feet. Big toes should be touching or overlapped. Knees should be about two fists distance apart, (together for women) and backs should be straight. Your head should be in a natural position with your chin down.

Mokuso

At the beginning and end of each session we should practice mokuso. We practice this in seiza position with eyes half closed and focussed on the floor about three feet (1 meter) in front of you. The back of one hand should be supported in the palm of the other. Which supports which, is open to debate, so it is basically a matter of choice.

This is a form of meditation to clear our minds before keiko. Mokuso is not full blown zazen, but a way to forget the concerns of the day and ready our minds for training. Some people concentrate on mental images such as the “dark side of the moon” or “looking beyond the mountain.” Others concentrate on correct breathing—breathing in quickly through the nose, holding the breath for as long as possible; trying to hold it down with the diaphragm; then breathing out slowly through the mouth.

I personally prefer this approach while thinking:

Shisei wo tadasu – Correct your posture

Kokyu wo tadasu – Correct your breathing

Kokoro wo tadasu – Correct your heart.

Sonkyo

Before each keiko we bow while holding the shinai in our left hand. Our arm should be fully extended downwards holding the shinai below the tsuba at a 45 degree angle. After the bow, we raise the shinai to hip height placing our thumb on the tsuba. This replicates holding the catch mechanism on a katana to stop it being drawn by an opponent.