Back in when I used to train diligently in Shotokan I used to keep a rather detailed training log. It allowed me to digest the lessons I had been working on and the issues that needed reviewing. The log also allowed me to keep a great set of notes to come back to when I had forgotten the small but key points that make a performance great. Rather than simply logging my experience and recording a diary of my impressions for my own personal use I thought perhaps publishing it on the forum might provide me with greater feedback and reflection, and may be a useful kick off point for a number of discussions.

Training Session Monday 20th October, 2009

The primary focus of my training was on five kata’s staring with Mai, followed by Yaegaki, Ukenagashi, Tsukekomi, and a kata from the Batto Ho set . With each of these I kept the focus on integrating some subtle but key points that Nick and Bjorn have been highlighting for me on the last few weeks. Each one of these seems to focus on one of the four key elements of Iai.

Starting with the opening cut, nukitsuke, a stress point of late is maintaining depth in the cut. All too often I have flicked the wrist of my right hand to create the cutting effect. This in turn leads to a shallow, unsatisfying cut that lacks power and emphasis. Nick made a great point in keeping the right hand in central position, not letting it wander to out and in turn shortening the cut. Ideally this makes the tip or kissaki of the blade cut into the opponents shoulder much much earlier, and finishing the movement earlier than I had been, thus keeping focus and pressure, seme, on the opponent, while simultaneously protecting myself form further attack. While I’m at I’m also trying to time the movement of the saya with the cut and finishing both together.

The next focus point for me has been in furikaburi, or the direction of the right hand as I bring it over head for the kirioroshi, or downward cut. I seem to have developed a bad habit whereby I let the sword tip drift far too much to the left side and over the centre line. Not only does this ruin the aesthetics of my iai, but also weakens me tactically as the blade is no longer ready for swift action should it be needed. I’m over exposed and off balance. In attempting to correct this I’m scooping which is equally incorrect as this takes pressure of the opponent and leaves me open to attack. To rectify this I need to make the movement smaller and the angle steeper. On the rare occasions I’ve pulled this off I’ve noticed the subsequent cut to be much more satisfying, straighter and fuller. I’ve also found my balance stays more central and I don’t fall into the cut overbalanced.

From here my chiburi has also been to brief, too flicky, relying more on wrist action then on the full movement of the arm. I think I’ve gotten better at this but still need to make sure it’s a full motion of the arm, extending the blade with the right and then naturally letting the arm and wrist re-align in the downward movement, not forgetting the balancing pull of the saya. I still have concerns about the angle and plane of the cut but I’m confident that will improve as I become more comfortable with the extension and timing of the move.

The final factor I have been trying to integrate of late, is the step back before noto. Trying to maintain the level of the hips has proved difficult, especially when I have an unhealthy tendency to try and counter balance myself by pitching my head forward. And that’s what it comes down to, balance. Bjorn suggested an excellent tip to help with that, in over compensating the rear foot in making sure the toes point forward. In over doing this it seems to land where it should and helps make balance easier. Still I find this uncomfortable and it requires more diligent practice.

Finally a couple of shorter notes brought about by today’s session, that I’ll expand on in a later entry after some thought –
Keeping the butt of the sword, Tsukagashira, low and at the same level as noto makes for a much stronger, pivoting block. It’s far easier and feels much firmer.

My timing at the opening of needs more work; I still feel it’s stilted and un-flowing. I also need to focus more on turning the sword and body together and at the same angle for the downward cut. The synchronicity of the stamp needs smoothing out and I have to remember to take a wider stance for noto to make sure that the angle of the blade, Tsukagashira, and saya is the same.

Was introduced to a smoother and must nicer version of the 4th Batta ho kata the name of which escapes me at present. A longer entry on that is much needed. Bullets points include the movement of the blade prior to the cuts and the footwork.

Finally loved the introduction to the 2nd Batta Ho level. Some sweet upward cuts there I tell ya.

All in all a good, informative training session.

And yes Bjorn I do over analyze, and yes Nick, I will try to keep my head up more.

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In Search of Hejoshin

Iss hogai