Takizawa Sensei’s Seminar 2006

The seminar was led by Takizawa Sensei (8th Dan Kyoshi). Translation was provided by Kiriko Kamiya who we would like to thank.

The venue for the seminar was the Dukeries centre in Ollerton. This is the Kashi No Ki club’s regular venue. The facilities are excellent. Organisation and planning for the event was undertaken by Trevor Chapman and the members of the Kashi No Ki Dojo. Attendance was about 30 kendoka with levels and grades from novice to Rokudan being represented.

Sensei began by stressing the importance of REI in Kendo. If we forget how to correctly hold and control the sword (shinai/bokuto) there is a real danger that what we do will degenerate into hitting each other with sticks. In particular he talked about the way to sit down into seiza and stand up from seiza. It is important to do this in a controlled and aesthetic way. We must also be conscious of the correct way to handle the shinai and the different positions for rei (Sageto, Taito, and Sonkyo). How to stand, sit and move around the dojo are the external manifestations of REI. These must be diligently practiced if we wish to develop a true understanding of and respect for our fellow kendoka.

Suburi
At the start of each day’s training after the warm up Takizawa Sensei took us through the eight types of suburi that he uses when teaching basics in his own dojo. First was Joge buri with a very large upswing striking oneself between the buttocks before making a large overhead cut. Usually I hate this way of doing suburi as it causes students to over swing the shinai a habit that can be very hard to break. However on this occasion the reason for such a large lift was quickly explained: when we raise our shinai most people have a tendency to do so out of the centreline (often favouring the right side). If you aim to strike yourself between the buttocks this tendency can be corrected (a most useful exercise I think).
Next we cut with just the left hand. Sensei stressed the importance of fully extending the left arm and ensuring the left hand remains in the centre throughout the swing. At this point he also stressed the importance of not swinging the shinai too far back (i.e. no farther than the Jodan position). Not over swinging the shinai was a theme that we returned too several times over the coming practices.
The third suburi was with just the right hand. Again points were made about keeping the hand in the centre and not lifting past the Jodan position. Once again sensei stressed the importance of fully extending the cutting arm.
Suburi number four was Renzoku shomen. If both arms do what they are supposed to do then the cut will be perfect (think about this).
Suburi five was renzoku sayu men. Sensei stressed the importance of fully extending the arms and also most important of all correct hasuji (orientation of the sword’s edge in relation to the swing). This was a point that he mentioned many times during the seminar, lamenting the fact that many attempted cuts are actually strikes with the side of the sword. This is a very important point for referees to consider when awarding points during shiai.
Suburi six was a variation on renzoku men where we took two steps forward and then two steps back.
Suburi seven was ten cuts forward followed by ten cuts backwards.
The final suburi was Tonde or Haya suburi (Jumping). Sensei said that you can easily measure the ability of a kendoka by looking at the footwork and timing of this exercise. More experienced kendoka can do this very fast without losing posture or the ability to apply correct footwork and maintain ki ken tai: something to strive for.

Uchikomi Bo
The next set of practices were designed to develop ki ken tai and involved us in striking an opponent’s shinai. We practiced men cuts with both hands and then with only the left and only the right. We tried kote men at various speeds. It is important to do all the exercises as perfectly as possible. Keep posture, don’t raise the shinai past the Jodan position, fully extend the arms, really work on ki ken tai.
Finally we practiced in lines of six with one person cutting down the line trying to keep their feet going and still achieve ki ken tai. Those receiving were encouraged to change the distance between cuts or to give a moving target. In the last of these practices we all put on kote (to protect the hands) and the last cut in the sequence was Do (received on the do).
This set of exercises got everyone breathing hard and really made people use their feet. It is a great low pressure way of working on the cutting action and developing ki ken tai. It’s also great fun to do.

Side to Side Suburi
On day two after completing the 8 types of suburi we went on to do this cutting across the dojo suburi. It simply requires a step in (seme) followed by a men strike using stamping footwork. And followed up by sliding footwork across the dojo where you turn round ready for the next cut.
Sensei said that in his dojo they use this practice to help develop breath control. He then asked us to do two cuts: across the dojo and back again in one breathe. There were some very red faces at the end of this. Next we tried three cuts. Sensei told us that everyone in his dojo can do four cuts across the dojo in one breath. Some can do more.
He explained that when we are breathing out or holding our breath we are strong. We are able to strike at the opponent or defend against attacks. When we run out of breath we become weak and have to separate in order to take a breather. A strong opponent will use this moment to attack. Breath is energy/power. Whoever can control their breathing and concentration of energy for the longest gains an advantage and generally wins the match or point.

Chasing Suburi
This practice comprises of the motodachi running as fast as possible along the dojo backwards with their shinai held above their head. The kakari te chases striking men, men, men etc striving to hit with ki ken tai and to maintain their form. This was another tiring but useful practice. It develops the ability to chase the opponent as they try to escape from your attacks

Kiri Kaeshi and Uchikomi
We practiced the Kiri Kaeshi and some basic striking. Takizawa sensei said that it is very important to look at what other people are doing. This is a great way to learn. If you see something that you like study it closely. Tell yourself that you want to be able to do it like that. Carry a mental picture into your coming practices and strive to develop your skill

Kihon for Waza in Bogu
Takizawa sensei introduced this session by saying that no one uses all of the waza contained in kendo. He himself mainly uses just five waza and this is quite enough if the techniques are well developed. However people do not all choose to use the same five waza. Since the opponent’s that we encounter will use a wide variety of different techniques it is necessary to know all of the waza that are possible and have a basic understanding of them. For referees this is essential because if you don’t understand a particular technique you are likely to miss it or not score it even though it is valid.
With this in mind we embarked on a mammoth task, going through twenty five different waza in about an hour. In fact when I sat down afterwards and tried to write down all the waza we had done I got 28 or 29? But I think that these extras must just have been variations that were also shown and discussed. Rather than list the waza here I will simply say that we covered pretty much all of the techniques that are typically encountered, and that some of the waza shown were really excellent for me and I will be attempting to incorporate them into my future practice. REMEMBER! If you like it copy it, tell yourself that you can do that waza.

I particularly liked a counter to a kote attack where the person receiving the kote cut simply remains on guard causing the attacker to cut over the top of the tsuba (this is not a valid strike) and then quickly cuts men. In this case if you move you will be hit. This is much simpler than attempting to do suriage men against the kote attack (which we also practiced).
I also really liked sensei’s take on Gyakku do but I’m keeping the mechanics of that one to myself.
Whatever waza you are practicing you must think of striking ippon. Of fully overcoming the opponent and finishing the waza off with a high spirit. Half hearted attacks are easily defended. Even when they land successfully they do not command the attention of the referees in a match. In keiko the opponent will not feel defeated by a weakly executed waza. You must effectively cut the opponent down.

Three-way Shiai
This practice was explained as a good tool for teaching shimpan to be more observant, and competitors to be more aware of their surroundings.
Instead of the usual two opponents there are three people fencing. You may not strike from behind but you can strike from the side. This leads to very hectic action with some very odd postures and approaches. Sensei stressed that due to its hectic nature it can be dangerous so don’t do it all the time. This was great fun however and the master of us all was the very young Mr. Collins who was victorious in the final

Miscellaneous Points Made by Sensei
- Cutting should always be done fast and firm but with control
- We must always strive to cut and not hit the opponent
- The angle of the blade and the line of the cut needs careful attention
- Raising the sword too high or pulling the hands too far back makes the cut slow and therefore easy to defend
- Tsuki is generally a weak waza to employ as it is too easy to defend against and too easy to counter. A failed Katate tsuki puts you in a very vulnerable position. To quote sensei “If my opponent resorts to using tsuki, I think that I have already won!”
- If you don’t practice tsuki you won’t understand when you are about to receive a tsuki or the best way to counter the tsuki attack.
- Be careful with tsuki dependent on age, sex, and size of your opponent.
- The threat of tsuki is very strong and makes the opponent become defensive
- Shinpan should not score points where the side of the shinai makes the strike or where the cutting action is circular
- When fencing a Jodan player direct your shinai at their left hand. Get in fairly close and keep them under pressure. What goes up must come down. Avoid attacking DO as it exposes your men.
- When fencing a Nito player don’t let them touch your shinai. What is up must come down. What is apart will come together. What is together will move apart
- Practice kata more often. All of kendo is contained within the kata
- When cutting by stepping in, make sure that your approach is relaxed so that your opponent can’t see your intention to strike.
- When cutting men from close distance there should be no movement of the left foot. Even if the foot movement isn’t visible it will be felt through the shinai.
- Tzubazeria means ‘competing at tsubas’. A strict shimpan will give hansoku for fist to fist contact. Shimpan have been told to encourage correct tsubazeria.

Conclusion:
This was a great seminar. I was very pleased to see Takizawa sensei back in the UK (I missed last year’s seminar). As a teacher he has great presence. He seems initially very stern but you can’t help smiling when doing the practices he has devised. The whole seminar had a feeling of fun about it, although the training was hard. He not only explains each practice but also makes sure that the benefit of doing the practice in the particular way shown is understood. His organisation of the room was excellent, as was what was taught. I think that everyone thoroughly enjoyed the two days training and left inspired to train extra hard in the coming months. They also left with plenty of things to think about and to fill their practices.

Thanks to Trevor Chapman and Kashi No Ki

G.O'Donnell - DO SHIN KEN YU KAI