copyright ©
2013 Guertin-Armstrong, all rights
reserved.
Students of the Japanese ken come across many types of cutting motion along their journey. For the purposes of this inquiry, we can distinguish as a starting point three broad types of cut: 1) the awase cut used by Nishio Shoji sensei (1927-2005, 8th dan aikidoka, 8th dan iaidoka, 7th dan karateka, and 5th judoka and jodoka) and Philippe Cocconi (5th dan aikidoka, 4th dan iaidoka), 2) the small cut used by kenjutsuka and students of kobudo-type ken wielding arts such as Suga Toshiro (1950- , 7th dan aikidoka) and James Williams (Nami Ryu Aiki Heiho), and 3) the big cut used by proponents, students and teachers of Seitei Iai.
How then can one judge what constitutes a good cut if masters from various budo backgrounds cut differently? Must the cuts be awase, small or big?
In practice there is an infinite variety of cuts, depending on the characteristics of the practitioner (skill, height, strength, speed, experience, etc.), the characteristics of the weapon wielded (length, weight, single or double edged, etc.) and the characteristics of the combat situation (one on one, battlefield, multiple opponents, lots of space, narrow space, armored or un-armored, type of arms wielded by the opponent(s), etc).
As we are studying martial arts, our judging criteria must be entirely practical. I suggest two criteria. First, a good cut must be able to cut the target. Different targets require a differential use of power: cutting the kesa and cutting the kote are different. More generally, some cuts aims for flesh, others for flesh and bones, and others again for armor, flesh and bones. A proper cut thus has both adequate power and accuracy. Second, a good cut must make you win. It must be faster than or at the same speed as the opponent, depending on the type of tactic employed, whether it is awase (sen no sen) or not (go no sen or sensen no sen). A proper cut thus has proper speed.
A cut can be judged on three different levels. First, on a technical level, proper tenouchi ensures correct hasuji and a live kissaki; the cut must be made with the whole body, using kokyu power; the body and tenouchi must be used in a ju-go fashion, that is to say sequentially soft and hard. Second, on a tactical level, the kenshi must select an appropriate target, according to the situation; use proper footwork and body position so that one always has advantage; and use adequate power. Third, on a strategic level, the proper cut must be created (takemusu aiki) by the analysis of the combat situation, which include the various considerations aforementioned.
This brief analysis suggests kenshi should undertake a diversified curriculum, including not only iaido waza, but also kenjutsu and aikiken kumi tachi, as well as suemono-giri practice. Together, these practices might help build enough power, accuracy, and speed, in addition to the tactical and strategical wisdom necessary to prevail. As to the three broad types of cut considered at the start of this inquiry, they cannot be compared for they refer to different categories: awase refers to rhythm and ma-ai; choosing between big or small cuts is a trade-off between speed and power.
Students of the Japanese ken come across many types of cutting motion along their journey. For the purposes of this inquiry, we can distinguish as a starting point three broad types of cut: 1) the awase cut used by Nishio Shoji sensei (1927-2005, 8th dan aikidoka, 8th dan iaidoka, 7th dan karateka, and 5th judoka and jodoka) and Philippe Cocconi (5th dan aikidoka, 4th dan iaidoka), 2) the small cut used by kenjutsuka and students of kobudo-type ken wielding arts such as Suga Toshiro (1950- , 7th dan aikidoka) and James Williams (Nami Ryu Aiki Heiho), and 3) the big cut used by proponents, students and teachers of Seitei Iai.
How then can one judge what constitutes a good cut if masters from various budo backgrounds cut differently? Must the cuts be awase, small or big?
In practice there is an infinite variety of cuts, depending on the characteristics of the practitioner (skill, height, strength, speed, experience, etc.), the characteristics of the weapon wielded (length, weight, single or double edged, etc.) and the characteristics of the combat situation (one on one, battlefield, multiple opponents, lots of space, narrow space, armored or un-armored, type of arms wielded by the opponent(s), etc).
As we are studying martial arts, our judging criteria must be entirely practical. I suggest two criteria. First, a good cut must be able to cut the target. Different targets require a differential use of power: cutting the kesa and cutting the kote are different. More generally, some cuts aims for flesh, others for flesh and bones, and others again for armor, flesh and bones. A proper cut thus has both adequate power and accuracy. Second, a good cut must make you win. It must be faster than or at the same speed as the opponent, depending on the type of tactic employed, whether it is awase (sen no sen) or not (go no sen or sensen no sen). A proper cut thus has proper speed.
A cut can be judged on three different levels. First, on a technical level, proper tenouchi ensures correct hasuji and a live kissaki; the cut must be made with the whole body, using kokyu power; the body and tenouchi must be used in a ju-go fashion, that is to say sequentially soft and hard. Second, on a tactical level, the kenshi must select an appropriate target, according to the situation; use proper footwork and body position so that one always has advantage; and use adequate power. Third, on a strategic level, the proper cut must be created (takemusu aiki) by the analysis of the combat situation, which include the various considerations aforementioned.
This brief analysis suggests kenshi should undertake a diversified curriculum, including not only iaido waza, but also kenjutsu and aikiken kumi tachi, as well as suemono-giri practice. Together, these practices might help build enough power, accuracy, and speed, in addition to the tactical and strategical wisdom necessary to prevail. As to the three broad types of cut considered at the start of this inquiry, they cannot be compared for they refer to different categories: awase refers to rhythm and ma-ai; choosing between big or small cuts is a trade-off between speed and power.