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awkwardness is inevitable at first but if no effort is made the position cannot be achieved with
ease at a later date.
Nigiri (the hand grip)
The method of gripping the hilt is the foundation of the cut and the movement of the
Shinai. If the hands are incorrectly placed it is impossible to deliver a correct stroke, especially
with regard to the left hand. Because of the gloves, this is difficult to see clearly but the position
is the same as in the plate.
The left hand is always at the very end of the hilt, regardless of whether the student is
left, or right-handed. The hilt lies transversely across the palm of the hand along the line of life,
crossing under the base of the index finger and the butt lies in the heel of the hand. The three
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smallest fingers curl back over the hilt to point back at an angle of forty-five degrees to its
length, and tighten firmly to pull the butt into the inner palm which we call Tenno-uchi (inside
hand). The fore-finger and thumb just curl about the hilt in a comfortable position.
The Tuska-gawa (hilt leather) of modern Shinai are constructed with more length and the
right hand is placed with an inch or so clearance below the guard. This is to avoid the excessive
wear of the glove constantly rubbing against the guard.
The wrists are snapped well inwards so the hands lie along the top of the hilt and the
knuckles of each fore-finger should be aligned with the edges. The Shinai should form a natural
extension of the arms and the hands be in the ideal position for maximum control. The correct
grip will only be possible if the wrists are supple and again this is a question of practice.
The Tenno-uchi (inner palm) of the left hand is the main cutting source and the placing
of the left hand most important. The right hand does almost nothing, merely supporting the
Shinai and guiding direction. Once the correct grip is understood the left hand is aligned with
the Chushin (body centre) and thrust about four inches forward.
Students should avoid grasping squarely since this stiffens the arms and shoulders, or
allowing the hands to slip around the sides of the hilt. In this case it is impossible to control the
cutting and movements of the Shinai.
Shintai Dosa (basic footwork)
If it is understood that Shisei (fundamental posture) is the foundation of all techniques it
will be equally clear that the only way to preserve this position is by footwork. All footwork is
designed to preserve Shisei and generally speaking to maintain the advanced position of the right
foot to facilitate instant attack at any moment. The basic aim is to step forward and strike the
opponent in a special way and the only method of closing this distance without loss of Shisei or
balance is by the correct step.
In the basic waiting position the left heel is lifted clear of the floor and the right knee
slightly bent so that the body is inclined forward and some seventy per cent of the total body
weight falls on to the ball of the right foot. In Kendo we are not concerned with attacks from the
side or rear. There is only a single opponent who will always approach from the front. The basic
posture is rather weak to the sides and backward movement is also less efficient but the whole
body is poised for forward attack when required.
The right foot is advanced about the distance of its own length. There is just sufficient
room for the left leg to pass in front of the right if necessary and the toes of both feet point
directly forward. If the left toes are allowed to point sideways (a common fault) or if there is too
much lateral distance between the feet, the thrusting action of the left foot will tend to throw the
body over to the right and balance will be lost. The left foot should be as close to the centre-line
as possible, but not so much as to cause loss of balance or awkwardness. Balance is greatly aided
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by turning the toes slightly inwards, which has the effect of steadying the body inwards to the
centre-line, rather similar to the result of Shibori, as will be seen later.
Fumikomi (diagram I) shows the actual attack step and in all illustrations the starting
position is shown as shaded whilst the number refers to the sequence of steps. Fumikomi means
'jumping in' and this is the only occasion when the feet leave the floor. By studying diagrams 1
and 2 this may be clearly followed. The left foot thrusts the body forward and the right knee
punches upwards, the right foot strikes vigorously into the floor as the cut lands. This is followed
almost simultaneously by the left foot, which is drawn up into its original position. As the cut
lands the body is virtually travelling forward in the original Shisei position. At this moment the
direction of body-weight is direct forwards and downwards at an angle of forty-five degrees to
assist balance. There is a very brief pause as the cut lands. Then a series of smaller steps are
made until the forward momentum is dissipated. This follow-through, or Tsuzukete, continues to
maintain the right foot in advance whilst the left foot constantly pushes. The result should be that
the feet slide smoothly across the floor in a fast 'shuffling' action.
As will be seen later, a full Fumikomi (attack step) means that some three feet to three
feet six inches must be covered and so the Tsuzukete not only aids balance but also gives a
smooth finish to the technique. It also has the extra function of avoiding any retaliation by the
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