Good day, Soldiers! As they say: “No matter how much you ram the bucket, you will have to carry it out.” To paraphrase this folk wisdom ;) we can say the following. It's time to lay out the groundwork knife technician and not only because there is clearly increased interest in this sport(?) among the people in our time.
But also for the reason that the ability to act correctly lays the professional foundation of martial art and helps to reach a completely different level of understanding of it, which consists, among other things, in conscious training.
Why is it necessary to study such a specific work: after all, not everyone is going to carry it with them, much less use it? But here we can remember those who seriously study sword fighting: they are not interested in the applied aspect at all, but who is running around the streets with swords these days? It's just that this kind of work puts a number of critical skills needed in unarmed combat. The integral structure of the body is built - it begins to move, lining up in an optimal way to ensure maximum effort. Fine coordination skills are laid and, in particular, the correct work of the fingers is established, when they help, and quite significantly, to speed up hand movements in general, which can be successfully used both in attacks and defenses: without knife, it would be difficult to understand and master.
It also helps to expand the technical arsenal of hand-to-hand combat, since when working with him, a person very often, by analogy, begins to transfer techniques of working with a knife to unarmed combat, where they are consolidated: that is, we can already talk about the beginning of the creative process.
That is, no matter how much a person “excuses” himself, the ability to master it saves literally months of training, “several times” speeding up the development of the necessary material. And really, we can say that knife and is the very basis of all combat systems of antiquity.
Why antiquities? Because only in the systems that came from that time, there was no clear division into unarmed or armed combat, since the whole thing was one and moreover, armed combat somewhat prevailed over unarmed combat. And in fact, what is the point in spending a long time preparing for battle without the use of special equipment, if, for example, knife, the chances of survival in battle immediately increase tens, if not hundreds, times?
In our time, armed combat and unarmed combat have taken different paths and are considered as separate disciplines, practically unrelated to each other, and if they try to link them together, they try to transfer the already mastered skills of unarmed combat to completely unknown ones. moments of wielding a weapon, which leads to somewhat strange results. Someone will give you a fist blow and take it in your hand knife and he hits in exactly the same way, completely ignoring the nuances that are inherent in knife techniques! Hence, in the East, there are such strange basic knife strikes that a normal person would never study, only under the duress of some canons of fighting schools.
So you will strike them in such a “dead” manner, and even so sweepingly? And in Japan they exist because here they go from unarmed to armed training.” Judo, karate, aikido: these systems are trained to work against an armed person who is like “and will work in such an incomprehensible manner” :)
But the ineffectiveness of the mastered arsenal of counteraction, because the attacker is not working “as it should”, is the first thing that a person trained according to standard training schemes will encounter. And in the best case, they cut him thoroughly, as a result of which, after such a battle, the following options are possible: the person, if he survived, gives up studying; the person ignores and continues to train as usual (“closes his eyes” and pretends that everything is normal); the individual reviews and adjusts his or her activities to “fit in.”
So, knowing the basics and being able to use them is extremely important for a person. It is impossible to effectively defend against knife without knowing fencing techniques. In fact, how can one calculate the actions of an enemy who works in the manner of “scheduling”, if any of his actions is a “secret with seven seals”?
Where should one begin the art of countering an enemy armed with a piercing and cutting object? Attacking technique is always studied first and when working against knife this is no exception.
This basic “knife maker” course includes, in fact, a coordination base, movements, various methods of changing grips, basic knife strikes, auxiliary punches and kicks. Well, the very first thing is the simplest getting used to the knife: its appearance, weight, temperature, smell, the threat of the blade, and so on.
At first, you need to psychologically get used to knife, get used to it so much that its presence in the hand does not interfere, moreover, they forget about it. To do this, it is recommended to hold it in your hand in everyday life, to do some household work without letting it out of your hands and somewhere, even using it, for example, while eating or cutting meat. This is how you recognize the feeling of a knife entering a body, even if it is chicken or lamb - meat is meat. Also, after hanging an object, not on purpose, but simply passing by, poke it with a knife to see how convenient it is in your hand, find out if there are any unpleasant sensations in the hand from blows, which signals an unsuccessful grip.
During training, to practice blows and cuts, it is better to make a special simulator. I don’t recommend working on living trees - life must be respected in any form, the tree is even more defenseless: better, hang up some kind of log. Practice somersaults and rolls, strikes and unbalances, work in the air and with a partner - the more variety, the better and faster the corresponding skill will be developed: the skill of feeling a knife, the skill of using it, and not just for something specific, but in general.
Slowly, some experience, some knowledge and skills will appear. All the time, working “in a circle” with the same exercises in training and in everyday life, the student will do them at a higher level each time, due to growing personal experience. In addition, you will develop the skill of working “for yourself”, as it is convenient for the student, based on his constitution and physical capabilities.
The experience gained in the future, so that there is no stagnation in progress and the technique grows all the time, will develop and improve in various diverse tasks: one on one, one against a group, on the ground, etc.
Well, in parallel, purely specific work is going on, for example, coordination. It is necessary for many reasons, if only because it will be easier for a person to navigate the existing sections of knife fighting. Look how many of them have divorced: you can’t even count them right away! And at first glance it seems to a person that they are all completely different, but this is only “at first glance”. No matter what they do with weapons, no matter how the fighters move, and no matter what techniques of defense and attack they practice, all the same, the basis of this whole thing is the same and its name is movement according to universal patterns.
Yes, yes, I have already mentioned these universal motor schemes many times, but what can I do: I really like them;) I like the time savings, the creative process when working on them, and the constantly opening prospects in their use. So, I highly recommend starting to study the art of combat with them, with coordination development!
There seem to be enough of these schemes; The primary skills of applied work with a knife should begin to be mastered by movements along the eight-petalled figure, which is located directly in front of the performer, with the center located approximately at the level of the solar plexus. Here is the corresponding video (I respect this citizen!)
The video, of course, weighs well and lasts almost fifteen minutes, but it describes in detail coordination work and various subtleties, lack of knowledge of which greatly reduces the effectiveness of combat work knife. When working with a knife, this figure can be modified in space, lengthened or shortened, both in length and width, and also bent behind the performer’s back or towards the enemy, as a result of which absolutely any blows are born knife and types of protection. A well-developed coordination body, the ability to move in space, as well as well-developed manners of releasing force such as “whip” or something else, allow us to establish a base, the level of which will be unattainable for standard training methods.
By the way, we first learn any physical exercise with our left hand, so the time for learning is reduced several times. As a percentage, approximately 65-70% for the left hand and 35-30% for the right. In terms of time, the training lasts approximately 45-60 minutes.
The knife grips are standard, there is nothing new here: straight, reverse, diagonal. There is no point in arguing about which type of grip is better - each is good for its own situation and by preferring one to the detriment of another, we risk being defeated and, moreover, we will never learn the correct blows with a hand without a weapon. Once you have mastered them, you can also learn non-standard grips so as not to be caught off guard if your opponent uses them. The work itself knife can be either linear (with strong extensions of the petals towards the enemy) or circular. The line work resembles the manner of a fencer, and the figures that the knife draws resemble various geometric shapes. This style of fighting can be used with a small number of enemies, because... it does not have the ability to quickly adjust during the battle. Again, a lot of idle movements and standard movements - only a forward thrust, a backward movement mainly as a defense. Those who work in this style always disguise or distract the enemy in order to deliver the final blow. The advantage of this manner is the ease of preparing a person.
The circular manner is a manner of continuous movement, painting, reminiscent of a figure eight, a living figure eight - constantly changing its size. Here attack and defense merge into one. The movements easily flow around the enemy's limbs, conducting standard defenses and creating a striking sphere. The main striking zone here is even closer to the performer’s body.
It is necessary to be able to work in two manners when working “on the petals of a figure.”
A well-trained person can easily work at a speed of 5-8 beats per second, and in addition to this, he must be able to move in the planned direction and hit with his limbs. But here it should be noted that the goal is not in the number of blows delivered per unit of time, which are often delivered senselessly, without any thought at all into the process, but in developing the ability to work outside the box knife, be able to use it to carry out absolutely any kind of techniques, and also be able to build a “bridge” from actions with a knife to actions without a knife, but, nevertheless, based on it.
Having developed basic coordination movements, you can begin to build your system of work on its basis and begin to work out the physical component so that the movements are strong, and here I want to give several such exercises that help to form a strong vector of the blow (when stabbing with a knife) and trajectory (this is when circular work).
Straight path development. The partner folds his hands with his palms in front of him, with a knife between them. The person developing the trajectory takes the knife by the handle and slowly moves the knife back and forth. The force of the release can be developed by pressing the palms together forcefully. You can make a special simulator consisting of two planks and fastened with something, but in such a way that a blade can be inserted between them. We strengthen it as required by this or that situation and begin to work.
Developing knife grip strength by pulling. Taking an iron model of knives in each hand with a direct or reverse grip, try to pull yourself up or at least hang on the horizontal bar.
Developing the power to grip knives by moving them across the floor. With a knife in each hand, we take a position similar to before push-ups - pointing the tips into the surface. Perform a variety of movements and push-ups. You can change the emphasis from the tips to the blades themselves.
If training takes place in an open space, you can also develop trajectory strength in this way. Lying on the ground, on our stomach, we stretch our arm forward and stick a knife into the ground and, as it were, pull ourselves up to it, then we stick another knife and pull ourselves up to it and in such a cunning :) way we crawl along the ground.
To develop the skill of constantly feeling strength in your hand, the ability not to lose it, when changing positions in battle, sticking exercises are practiced, the essence of which is that a person rests a blunt model of a knife or a short stick on the partner’s body, and he begins to move away and change his position. Pressure can be released through any part of the weapon. It is necessary to ensure that the power that is taken from the earth is constantly poured into the partner without clamps or interruptions. The skill is developed well and the necessary feeling appears in the hands quite quickly. 
Increasing the power of a knife strike. A person practicing with a knife in his hand stands in a fighting stance. The knife has a scabbard. The partner takes the knife by the blade. The practitioner begins to imitate a variety of blows, while the partner resists the movement of the knife. It takes a little work with each other, but then everything goes very well. This exercise cannot be practiced alone, only partially, using the methods described above.
Speed increase. In principle, speed will be developed in previous exercises, but you can increase the effect if you work through the rubber for speed. To do this, you need to attach a rubber band to the knife and imitate combat movements. It was also discussed how to increase speed.
Let's move on. Also, the basic training for mastering work with a knife includes: the manner of hand movement, finger interceptions, movements, auxiliary strikes using a knife, as well as auxiliary strikes with an unarmed hand and legs.
A little has already been said about contact control and intuitive work in the article dedicated to. There was a little talk about how to twist a knife (by the way, very soon 3D animated training videos will appear on my blog, so under no circumstances miss the unique material: subscribe to updates updates by email).
We will definitely talk about auxiliary strikes with an armed hand, knockouts and self-tapping screws in the future; finger grips of a knife are based on manipulations with a pen, which any office worker can do, but now I would like to focus on the intuitive development of protection. Such training is often ignored (I don’t know, but how it is now: the situation seems to have changed somewhat), but they have their own logic. The partner is an attacker, works without clamps, as it requires the body, taking into account the current situation and inventively, to touch the person. The defender needs only one thing - to prevent contact if possible and to make sure that the attacker loses the knife or cannot use it. As a result, the defender begins to work intuitively, escaping from the pain that the weapon model causes, the “” itself stops, as a result of which emerging battle situations begin to be resolved by the subconscious. Of course, this work is still dirty, not yet polished, but in conditioned battles, slow battles, situational battles, these created situations must be worked out. And, since they are fundamentally different from the contrived ones, from what is taught in the halls, it is impossible to carry out any memorized patterns of response actions, but high adaptability and speed are required, along with the developed ability to instantly perform the required technical element.
Having studied these five points, you can move on to polishing them, but first, in static conditions: not in motion, but in certain situations, for example, simulating a threat knife. Then there is work at slow speeds and fast ones. Alternation is necessary so that the body positions taken in fights at slow speed correspond to the positions in high-speed fights. This is precisely the point that many people miss, as a result of which the technology and dynamics developed here and there turn out to be different, and this leads to the inoperability of the system in street situations. A striking example of this is the Kadochnikov school, where they do not know how to work at speed, and as a result they lose.
When working in pairs, it is necessary to use a variety of layouts knives- wooden, iron, sharp, blunt. So the defender will have to constantly adapt to the knives, and “not sleep” during training. A little pain is also needed - this is the only way to shake the body and activate its instinct of protection. I especially want to focus on iron mock-ups of knives. These are just mock-ups, but they look impressive, and a missed blow is very painful, so the practitioner begins to work more conscientiously.
And only after undergoing initial training in the possession knife and having acquired primary skills, you can move on to the art of counteracting a knife.
Sword fighting - katana
The sword has always been a status weapon. In all countries, commoners could not carry a sword. And therefore sword fighting has always been the privilege of the highest nobility and the elite.
The common people carried with them long knives, clubs, spears, flails, axes, halberds of all kinds, and heavy staves. But only the sword was the status weapon of a warrior. The sword is not suitable for any kind of household work. The sword is intended for only one thing - to kill.
The art of sword fighting is one of the most ancient martial arts in human history. This type of battle required considerable dexterity, courage and skill, and it was skill that was most in demand. Without the ability to wield a sword, sword fighting is a disastrous task for the unskilled.
The samurai did not remain aloof from this. Swords appeared in Japan in the 8th century AD - in 710 the prototype of the katana - a sword with a curved blade - was used in Japan by the swordsman Amakuni. According to legend, this first katana blade was forged from several 
iron plates. Since then, sword fighting has undergone considerable changes in Japan.
Let's make a reservation right away - sword fighting, and even more so a fight with a katana, has never happened the way it is usually shown in films. Numerous repulses of blows, turns, a fight with a dozen people, cutting a gate bolt with a katana (Shogun Assassin) - this is from the realm of cheap myths about the katana. The reality was much more prosaic. A sword fight is usually one or two, or rarely three, blows, after which one of the opponents is incapacitated. Of course, we are talking about an unarmored enemy.
Cutting your opponent in half is another tale of sword fighting.
Generally speaking, cutting someone into two halves is an almost impossible task, but even cutting a skull completely is not an easy task. The hardness and sharpness of the blade, by the way, are not particularly important here. The harder the blade, the more fragile it is; with a good blow, it easily becomes unusable, especially if it is used to chop skull bones. Zone hardening of the blade will not help either - the blade will crumble just along the hardening line, encountering a solid obstacle.
At all times, in Europe and Japan, the most affected parts of the body were the hands, wrists, head, and thighs. This is confirmed by archaeological excavations of old battle sites. As in Europe, the sites of mass graves from the times of the War of the Roses in England, the times of the Danish-Swedish War in the 16th century, and the times of the warring provinces in 
Japan.
Characteristic injuries on skeletons were found everywhere - severed hands, chopped shin bones and incised skulls.
Such damage indicates the choice of targets for striking with a sword, the priority of targets.
In general, these silent evidence should be taken seriously. For correct assessment of the target gives victory in battle. Which, of course, professional warriors remembered. It is not superfluous to remember this in modern fighting with swords and katanas.
At all times, a fighter with a bladed weapon - be it a sword or a knife, must, firstly, either disarm the enemy, or seriously weaken and slow down his blow. This is achieved in the simplest and most effective way - by hitting the enemy's wrist. Such a blow, even if it does not cut off the hand, still makes it impossible to continue the fight with the blade. A severed hand with damaged fingers cannot hold a weapon and certainly cannot strike an enemy.
The second most important blow is to the leg. To deprive the enemy of the ability to move in battle means to defeat him. By chopping or trimming his leg, you get the opportunity to fight at the right distance and at the right pace; if the outcome is unfavorable, in the end, you can simply leave.
I dismiss all the talk about how a person runs and jumps on an injured leg just like on a healthy leg as completely unfounded. A blow even with a knife to the thigh, without cutting the hamstrings, not only slows down, but also debilitates the fighter. Not to mention the fact that a person becomes weaker from blood loss. This is from a knife blow. When a sword strikes even the soft part of the thigh, the muscle damage is so severe that the warrior will not be able to stand on the wounded leg.
In addition to the hip, there are also vulnerable parts of the leg, such as the hamstrings, patella, ankle, damage to which is fatal to the ability to walk.
An equally effective target is the enemy's head.
However, you need to understand that you will never get into your head just like that. You will have to first get the enemy's blade out of the way before 
there will be a chance to hit you in the head.
Accordingly, this is done either by striking the hand or by blocking the enemy sword.
The first option is generally preferable for starting a battle. If the technique is carried out correctly, you practically do not risk anything, but you may get the opportunity to try to either remove the enemy blade from the defensive position, or hit the hand.
A blow to the leg can generally be combined either with a blow to the hand - performing a classic deuce, or with a blow to the leg.
In the second case, the first blow is delivered directly to the face, slightly upward, and when the enemy recoils, defending himself with the sword, you hit him in the leg as he retreats. This technique is the same when performed with a knife and a sword.
In general, it is important to understand the very principle of the deployment of combat as such.
There is little point in starting a fight without testing the enemy with quick blows to the wrists. In each fight, there is a distinction between the beginning of the battle, the central part and the end. And those techniques that are suitable for the middle and end are not necessarily suitable for the beginning of the fight. If the enemy is not familiar to you, his fighting style is unknown, then at the beginning of the battle you should probe him, see how he holds the sword, what is his speed of attack and defense, his manner of walking and speed. He himself, of course, will not show you, and therefore for this purpose reconnaissance techniques are performed - quick strikes, probing the enemy’s defenses and his fighting style.
In fact, in sword fighting there are three main stages - the beginning, the course of the battle and the end. The ending is always associated with victory over the enemy, or with leaving the battle without losses or with minimal losses. We briefly described the beginning of the sword fight. The progress of the battle is not at all a long phase, as one might think. This is a reliable defeat of the enemy with one or two blows, possibly with preliminary
Fencing with a katana - sword fighting for a samurai
At all times, the katana was considered the symbol of the samurai. Katana is a purely civilian version of the samurai sword. The military version of the samurai sword was called tachi and was never used in civilian life, although in fact it was a copy of the katana. It hung from the belt rather than from the belt, was less sharply sharpened and its sharpening angle was greater, since it was designed for cutting through armor, where the razor-sharp blade of a katana would wear out after a few blows.
However, it was the samurai sword - the katana that rightfully became the symbol of the samurai.
Katana fencing has undergone many changes and improvements before it has reached its current highest level. The main flowering of Japanese fencing began during the Sengoku period (Japanese 戦国時代 sengoku jidai “Era of the Warring States”) - a period in Japanese history from the second half of the 15th to the beginning of the 17th century, when the power of the shogunate weakened and wavered and Japan entered a period of feudal unrest and internecine wars. This era only ended in the 17th century with the establishment of the Tokugawa shogunate.
It is in the era of endless wars between everyone and everyone that the Japanese art of katana fencing flourishes.
By this time, or rather by the 16th century, the formation of the oldest fencing school in Japan - Shinkage-ryu - dates back. It is considered the oldest school of katana fencing in Japan, marking the beginning of the modern art of swordsmanship.
The founder of the Shinkage-ryu school, the samurai Ise-no-kami Nobutsuna, was himself the most excellent swordsman of his time. He personally received training in three schools of fencing - Nen-ryu, Katori Shinto-ryu and Kage-ryu. Having chosen the best, the most progressive at that time, from these schools and united their principles into 
a single indivisible whole, Ise-no-kami founded his school - Shinkage-ryu, which laid the foundations of Kenjutsu - that is, fencing with a sword in Japan at that time. Ise-no-kami took the fencing techniques of the Kage-ryu school as the basis for fencing with a katana.
The founder of the school, Kamiizumi Ise-no-kami Nobutsuna, trained in three schools that are called the origins of Japanese kenjutsu - nen-ryu, katori shinto-ryu, and Kage-ryu. Ise no Kami improved the techniques of these schools, paying special attention to the techniques and principles of the Kage-ryu school. The result was the creation of the Shinkage-ryu school.
Participating in numerous battles, Ise no kami actually proved the effectiveness of the school he created, which later became very popular in medieval Japan. Shinkage-ryu was popular until the time of the Meiji restoration, when its decline and oblivion began, which lasted until the 50s of the 20th century, when the school was actually revived and found a second wind.
The goal of developing katana fencing was not only to master the skill of wielding and fencing a sword, but also the moral component of a warrior. One of the truths of the samurai was “If I strike the Sword Master with my sword at the moment when he is admiring the cherry blossoms and is not expecting an attack, then even the Sword Master, who has no equal in the art of swordsmanship, will not be able to repel the attack (Sugawara).
Therefore, the moral aspect of katana fencing is whether to stab a samurai in the back when he is not ready for battle or not. And the technical point is to always be ready for battle so that you are not taken by surprise under any circumstances. And this will prevent you from getting into a shameful situation. Fighting with a sword is a continuous concentration of body, spirit, and thought.
“Most people prefer to look their opponent in the eye. In this case, the eyes should be narrower than usual, but the mind should be broad. The pupils should be motionless. When the enemy is near, look as if you were looking into the distance. And then you will be able to see not only the opponent’s face, but also his entire body, which will allow you to predict any attacking attack on his part...... In fencing, you can allow your eyes to express utmost determination, but never let them betray your mind.” (Miyamoto Musashi). 
In general, in katana fencing, there were three types of stances for striking: Dzedan - a position with the sword raised high, Chudan - a position with the sword raised in front of oneself, and Gedan - with the sword lowered down. These are the main types of stances for sword fencing. Samurai sword fighting meant using all three types of stances in conjunction with one another.
There are eight main blows in katana fencing, as well as three basic defenses - upper, middle and lower.
Of course, there can be countless combinations of all attacks, defenses and their variations. Defense can move to the left or right, from different types of stance, with different angles of bringing the sword forward. As well as the blows during an attack - there are countless numbers.
The basis of successful katana fencing is the correct prediction of the enemy's actions and the choice of a combination of strikes and defenses that block and neutralize this action. To successfully predict an opponent's technique, what Musashi wrote about is important - to see the opponent's face and read his mind like an open book. That is, fencing with a katana is also the art of psychologically suppressing an enemy, the art of reading his thoughts and actions written in his eyes, face, facial expressions, and gestures.
The Katana Club fencing school tries to instill in its students a fusion of new and old - old katana fencing techniques using traditional Shinkage-ryu techniques, and new ones - techniques for katana developed in the 20th and 21st centuries in Japan, the USA, and Europe. This combination of all the most advanced and centuries-honed traditions makes fencing techniques with a Katana Club katana very effective. The main emphasis in Katana Club is on the versatility of techniques, both for a long sword - katana, nodachi, and for shorter, one-handed swords - wakizashi, and for knives - tanto. 
It is the versatility of movements and techniques that allows you to develop an extremely effective combat tactics - it doesn’t matter what weapon you have, what matters is how you use it and how you carry out defense and attack. The student does not have to be torn between the technique for a knife, a short sword (machete) saber, or a long sword - a katana, nodachi, or even a European one-and-a-half sword. The same technique for seemingly different weapons and mechanics bring his muscle memory to perfection. Of course, there are differences in techniques. But the basis itself remains the same.
One muscle memory for different types of weapons, studied and applied in fencing lessons, allows you to become an effective fighter with different weapons in a short time, while in ordinary fencing schools this takes many years of training.
The Katana Club fencing school is constantly improving its skills, techniques and methods of fencing in Moscow with a katana, wakizashi/machete, and knife/tanto. We are open to new techniques and try to communicate with other clubs to exchange experiences and knowledge, while at the same time creating our own unique knowledge base.
If you were looking for a tutorial on the practice of Japanese fencing, kenjutsu (sometimes written differently: ken-jutsu, ken-jutsu), then you found it here. If you need a Kenjutsu Teacher, then you.
This site has a section describing the consistent practice of Japanese fencing, kenjutsu. This section "Distance learning"(see link below) is presented by a consistent description of the practice with photo and video material.
As before, I bring to your attention (although you probably have your own even the opposite opinion) that you can study kenjutsu on your own, as well as another type of specialization and skill, for example: driving a car in an extreme situation, flying an airplane (Martial Arts is no exception here) , of course it’s possible, but studying it correctly is not possible!
If you think that BI can be studied self-taught without a Teacher, the flag is in your hands!
It is also clear that if you are away from our School, which is located in St. Petersburg, then you cannot practice with us.
In this case, you have a choice:
1) practice on your own;
2) practice with us at home with our assistance, for example, by creating a branch;
3) practice with us in St. Petersburg.
So the choice is yours, write, call, we are waiting for information about your choice.
It should also be kept in mind that there is a HUGE difference between the Japanese teaching of kenjutsu (like historical fencing) and the actual Japanese kenjutsu that we practice.
You ask: what's the difference? Read the answer to.
You should also pay attention to our 3 groups:
- kenjutsu,
- kenjutsu with its integral part taijutsu,
- kenjutsu with its integral part taijutsu.
Lesson #04
04 Section “Kobujutsu - fencing technique”. Lesson 01
Fencing technique as the basis for working with a blade. “Glued Swords.” Ken-jutsu, as an open form of combat with bladed weapons.
Ken-jutsu is the art of fencing with a katana, a universal bladed weapon that makes it possible to work as a heavy sword, a fast saber, a light sword or a short sword. The simultaneous use of several fencing techniques is a complex and beautiful art, directly related to the level of mastery of one’s own body (tai-jutsu, tai-sabaki) and “manipulation” of the enemy (tactics and strategy of heiho-jutsu).
Let's remember some methods of practice in the Traditional School:
1. Kata – formal solo and pair exercises
2. Randori – free fencing
3. Special exercises, incl. tai-sabaki, suburi
4. Tameshi Giri - cutting objects
5. Kumite – various types of competitions, as an accessible way to check results.
Kata (kajo, form), a meditative single and double practice with a sword in Japan, begins with the use of a “bokken” that imitates a real sword, a katana.
For comparison, look at two approaches to the practice of ken-jutsu paired kajo (kata, forms):
1st form of Katori style. Omote no tachi: Itsutsu no tachi
1st form of Shin Kage style. San Gaku tai no tachi. Itto Ryodan
What immediately catches your eye is the rather long kata in Katori, incl. for better entry into meditative practice (by the way, at an average and high level of training they become much shorter). And in Shin Kage - a very short kata (if you do not pay attention to the deliberately “slow” actions of the performers in this video), which can be performed in two ways:
1. due to physical strength, rough but practical
2. technically subtle and more “soft”
Question: Is it possible to study the fine and soft work of a katana in a short kata?
Answer: It is possible if you already have sufficient sensitivity and the ability to work not harshly.
The existing differences in technology are visible to specialists with the naked eye:
– Katori uses straightforward forceful methods, simple and reliable, which explains her popularity among the army. Katori was never a closed school, and such democracy played the role of a lifeline in troubled times that swallowed up many beautiful styles.
– Shin Kage seems to be a kind of opposite, since she practiced in the ranks of the highest nobility. The techniques are rounded, “soft”, the movements are “subtle”, precisely calibrated, the emphasis is shifted towards skill rather than punching power. There is a clearly different KAGE (Shadow) strategy from Katori and the Marobashi Principle, “borrowed” from the more ancient Traditional School of Martial Arts (BI) Kage-ryu.
By the way, it is worth remembering that Traditional Schools in Japan, teaching for business purposes, divided training into at least 3 levels:
1. Omote is an open section that “hides” the true techniques that were taught only to our own;
2. Chudan – average;
3. Okuden – closed.
And although there is no need to talk about revealing “secrets” in Omote, in the first kata you can nevertheless find EVERYTHING from the arsenal of the style.
I’ll tell you a secret: it is impossible to learn “secrets” (even if they are given to you) at the beginning of training; some time must pass in developing the sensitivity of your own body, seeing the technique being taught and the ability to repeat it.
Question: Is it possible to fence without sensitivity?
Answer: It’s possible without sensitivity, but it would be difficult to call it fencing, let alone “secrets.” But at the same time, you will learn to work with a sword much faster. Therefore, we will start by practicing the Katori style along with free sparring, and after a while we will move on to the Shin Kage style.
Question: How can you develop sensitivity?
Answer: By practicing special exercises: tai-sabaki, “sticky hands”, “glued swords”, etc.
Therefore, in parallel with fencing training in the form of kata and randori practice, it is imperative to develop sensitivity with other special exercises. Continuing to improve what we started in the first lesson about tai-sabaki, let's move directly to fencing technique.
Lesson #01
01 Methodological section. Lesson 01. Study plan
Recently, on one of the respected forums dedicated to martial arts, the question was discussed: “Is it possible to learn these arts yourself, without a teacher from books and films, exchange of experience, etc.?”
Most of the discussion participants came to the conclusion that it is extremely difficult to learn fully and correctly without a Teacher. And therefore, any material (videos, books, photographs, discussions on forums) can carry information:
– or as a memory of your experience. For example, the well-known treatise “Heiho Kaden Sho” by Yagyu Munenori is a collection of sections of “Mokuroku”, copied and given to the student after completing training in these sections;
– for your own development... provided you already have a SERIOUS base.
In modern times, it is possible and necessary to use new methods of preserving and transmitting information, in particular VIDEOS, so the Academy has planned to record educational videos on the following topics:
1. Ken-jutsu - the art of the sword (katana):
1.1 Basic technique:
1.1.1 Stances, movements, strikes, blocks, parries
1.2 Katori style
1.2.1 One-time techniques (strike - displacement of the body with a return strike)
1.2.2 Kajo – forms (kata)
1.3 Shin Kage Style
1.3.1 Kata: strike - block - parry (displacement of the weapon) with displacement of the body with a strike
1.4 Muto style
1.4.1 Failure of an attacker with a simultaneous strike
2. Iai-jutsu - the art of sudden striking: strikes (uchi, kiri, tski), inserting the sword (noto), shaking off (chiburi)
3. Jo-jutsu - the art of the staff (120 cm stick): strikes, blocks, parries
4. Callie, incl. paired: strikes, blocks, parries
5. Ki in KokyuHo and Qi in Taijiquan:
5.1 By strength:
5.1.1 Through your hands in front of you at your chest
5.1.2 Through your hands in front of you from below while sitting and standing
5.2 AiKi as joining the attacker's force:
5.2.1 Aiki no jutsu
5.2.2 Aikijujutsu
5.3 Ki/Qi (AiKi and KiAi) by strength and bypassing the strength of the attacker and defender:
5.3.1 Taijiquan
6. Tai-jutsu - the art of the body, as a “hidden” hand-to-hand combat technique:
6.1 Atemi - striking technique:
6.1.1 Impacts on the spot
6.1.2 Motion strikes
6.1.3 Simultaneous strikes with a slope (hidden technique)
6.1.4 Impacts of different frequencies with movement
6.2 Tai-sabaki - body movement:
6.2.1 Slopes, dives, squats from blows from hands, feet, sticks, balls
6.2.2 Technique of movements without shifting the feet and rooting
6.2.3 Mixing with impact input: to the shoulder in front and behind, to the chest, to the back, head, hip, leg
6.2.4 Failure of an attack into the Void - Muto
6.3 Ashi-sabaki - moving the body by shifting the feet:
6.3.1 Movement technique
6.3.2 Moving with impacts
6.3.3 "Blocking" with movement
6.4 Nage – throwing technique with and without Ki/Qi – only physical strength (Li):
6.4.1 Jujutsu, taijiquan
6.4.2 Aiki no jutsu, taijiquan
6.4.3 Aikijujutsu, taijiquan
6.5 Techniques for controlling the “enemy”:
6.5.1 Japanese osae waza
6.5.2 Chinese ting-na (qing-na)
6.6 Special exercises:
6.6.1 Jo rotation
6.6.2 Pole work alone, with a partner on the legs, on the arms
6.6.3 With a heavy ball, with metal. pipe, long pole, short stick
6.6.4 Warm-up complex
6.6.5 Tendon complex
6.6.6 Complex with jo
6.6.7 Kali rotation
6.6.8 Marobashi with wheel (off balance, throws)
7. Heiho-jutsu - the art of strategy
8. Goshin-yo-no-te - methods of self-defense
Technical information can be obtained from:
– remotely on vkontakte in our group
– as part of training at our School – on the tatami
– periodically at seminars, as well as at Open Lessons of the Academy.
In Japan, spochan is included in the compulsory school curriculum in physical education classes. It is believed that this sport instills courage, dedication and determination in children. But it’s not too late to master these qualities even as an adult!
Anna DYUZHEVA, fitness editor:
“I remember when I was a child, my dad tried to teach me basic self-defense techniques. Then I just laughed boisterously and desperately thrashed at my imaginary opponent. And now I understand that even minimal skills in this matter are important. However, in addition to the safety rules during the spochan training, I also learned how to manage my emotions and soberly assess the situation. The ability to pull yourself together in time, to cast aside fear and doubts, to correctly set tactical traps for the enemy in order to exercise the right to strike, is especially valuable in everyday life for achieving high career goals or organizing your personal life. Today you attack, and tomorrow they may attack you. You need to be prepared for any surprises. Isn’t that what the main motto of successful people sounds like?!”
Kaori KIMURA, fourth dan in kendo and pochan, instructor at the X-Fit Fusion fitness club:
“Spochan (short for “sport of chanbara”) is the modern art of fencing using injury-proof analogues of edged weapons - foam rubber swords. The sport of chanbara first appeared in 1971 thanks to the Japanese master Tanabe Tetsundo as a system of armed self-defense. In Russia, martial arts began to develop only in 2002. Competitive sparring is carried out to one point, the athlete who strikes first wins. Thanks to foam rubber swords and protective equipment (you must wear a helmet), spochan is called a simple and accessible martial art. People of any age and physical fitness can learn it. During exciting fights, reaction speed, endurance and coordination improve.”
Exercises
Fighting stance
Stand opposite your opponent, place your right leg slightly forward. The right hand is slightly bent at the elbow and holds a sword, the left hand is tense and rests on the thigh. Prepare to attack!
"Man" - blow to the head
Get into a fighting stance. Take a small step forward with your right foot. With your right hand, swing your sword wide from the shoulder and strike your opponent on the head.
To defend, step back and raise your sword above your head, perpendicular to your opponent's weapon.
"Ashi" - a blow to the leg
Get into a fighting stance. Lunge forward with your right foot and, pointing the sword toward the floor, strike your opponent's leg. To protect, lower the sword vertically down, thus ahead of the enemy's blow.
"Kote"- blow to the hand
Get into a fighting stance. Take a small step forward with your right foot and, swinging slightly, strike your opponent's right forearm.
To protect yourself, step back, moving your right arm to the same side and pressing your wrist to your body.
"Tsuki" - injection to the body
Get into a fighting stance. Take a small step forward with your right foot and attack your opponent with a short thrust to the central part of the body.
To defend, swing your sword slightly from right to left and deflect the blow by placing your sword perpendicular to the enemy's weapon.
Regular spochan training has a positive effect on both body and spirit. During the classes, all major muscle groups are strengthened, self-esteem increases and leadership qualities are developed.