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| Tachi-dori
Kiri-age |
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Many
classical and classical-styled systems
of kenjutsu incorporate a variety
of weapons and unarmed techniques.
In older usages of the term, jûjutsu
was not just a category of unarmed
techniques, but rather any supplemental
technique or weapon employed to cover
the gap in response between an attack
and the moment the primary weapon
could be brought into action, or to
cover instances in which the primary
weapon was lost.
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The jûjutsu in schools of kenjutsu may
encompass waza related to nuki-dome (stopping
a draw), kiri-dome (stopping a cut), tachi-dori
(sword disarming), and tedori-gaeshi ("returning
a grab" - methods of releasing a grip
on one's wrist, so that a draw can be completed).
These sets of techniques are somewhat generic,
and may be rather crude compared to analogous
techniques in arts like aikijutsu.
This article focuses on the tachi-dori waza
Kiri-age. While it could be considered a relatively
simple technique, Kiri-age is by no means
easy to execute properly. In fact, the technique
is fully representative of the aggressive
spirit and control of the engagement demanded
by all the tachi-dori waza.
It seems likely to me that Kiri-age - at least
as it is practiced is this version - originated
in the dôjô, rather than on the
battlefield. I base this supposition on the
consideration that while a sword might (with
a great deal of luck and advantageous circumstances)
be taken away from an armored opponent by
means of Kiri-age, the kusazuri (the "skirt"
of yoroi-style armor) would interfere with
the finishing cut. Likewise, in a Tokugawa-era
street fight, an enemy in kimono and hakama
would have been vulnerable to the technique,
but only if he was sufficiently clumsy or
unskilled to be disarmed by a method that
incorporates no atemi (striking).
In the context of a dôjô, however,
then or now, there are obvious benefits to
the practice of tachi-dori. The first thought
to pop into our heads when hearing the term
tachi-dori should be maai (distancing). Because
of the critical disparity in reach and lethality
between two opponents when one is armed with
a katana and the other unarmed, all of the
tachi-dori waza require absolutely correct
perception of, and strict control of, the
distance separating the combatants. Practicing
tachi-dori against opponents of varying heights,
armed with different styles and lengths of
bokken will greatly enhance a student's ability
to judge and exploit maai.
The sense of timing and the ability to fill
a suki (a gap in the opponent's attention)
with a technique are also developed by tachi-dori
practice. Timing is cultivated by a process
of "bracketing," in which we experiment
with slight variations in the moment of entering
against the attack, in order to determine
the instant the opponent commits to his cut
and cannot readily react to our entry, while
the ability to fill a gap is boosted by the
student practicing his technique as an organic
whole, in which each component action is seamlessly
connected and unfolds with equal commitment.
If we imagine an attack from the perspective
of the swordsman, I think many of us would
admit we'd likely be surprised to find our
intended victim stepping forward to evade
and counter rather than attempting to escape
the descending blade, and that surprise could
conceivably yield a suki prior to our initiation
of a follow-on cut.
By consistent attention to moving through
the momentary gap in the attacker's ability
to continue his assault, the student learns
to recognize and capitalize on suki, and the
process of blending the components of the
waza also serves as an analogy to the physical
blending with the attack that must occur for
the waza to succeed.
Entering against a strong, focused attack,
while maintaining balance and composure is
difficult enough. It's even harder to step
to the exact spot from which to dominate the
engagement, but with each success a student's
confidence and spirit grow, making success
on the next repetition even more likely.
There are also appreciable risks associated
with the practice of tachi-dori: namely, the
danger of being struck by a bokken or shinken,
either of which is eminently capable of spoiling
one's day. Without an element of real danger,
however, the practice of tachi-dori would
be pointless. Just as an infantryman is subjected
to live-fire exercises to build confidence
and help insure performance in combat, a student
of the sword needs to clench his belly and
step forward against a reasonably realistic
attack to build credible skill in tachi-dori
waza.
Uchidachi (the attacking swordsman) approaches
from an open maai, as shidachi (the swordsman
responding to the attack, although in these
techniques unarmed) waits in migi sankakudai,
chudan-gamae.
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Uchidachi attacks with nissoku, kiri-oroshi,
aiming his cut for shidachi's forehead.
Shidachi holds his position until the last
possible moment, when uchidachi is absolutely
committed to his cut, and then enters by turning
his hips to the right and advancing with his
left foot. The principle embodied in the entry
is hito-e-mi (single-ply body) - making the
body as thin as possible in profile, relative
to the line of attack. Shidachi must enter
as close to the blade as possible, while insuring
all parts of his body remain clear of the
cut (while entering, it's all too easy to
swing a hand into the path of the descending
sword).
Before uchidachi can regain the initiative,
shidachi takes control of the weapon. Shidachi's
right hand grasps the sword from the top by
the mune (back of the blade), while his left
hand comes up from beneath to grasp the underside
of the tsuka (handle). It's very important
that shite avoid locking his grip, because
too much tension will permit uchidachi to
resist. Shidachi's grasp should be firm but
light.
Without pulling against uchidachi's hands,
shidachi steps back with his left foot to
kokutsu-dachi - this brings the blade into
contact with uchidachi.
Zanshin occurs, shidachi having cut uchidachi
from groin to sternum.
by
©
Robert
Wolfe all
rights reserved
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Many
thanks to Robert Wolfe for his
generous contribution
to MI Magazine.
www.ittendojo.org
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