Martial arts

Timing and Opportunity Within the Late Medieval Sword Arts of Japan and Germany.

In my last piece concerning Japanese and European late medieval swordsmanship, I sought to cast a wide net, drawing comparisons and highlighting similarities.  I also sought to identify some of the most obviously contrasting elements.  A net so wide could only lead to disaster and endless research and writing so I cut the piece and highlighted only some of the most basic aspects of each tradition.  I further narrowed my comparison by choosing only the Long sword in the Meyer tradition and the Katana in the styles Eishin-ryu and with the help of a good friend and teacher, Katori Shinto ryu.   While the actual tools employed by the practitioners of the arts differ in many substantial ways, the two traditions share many common principals.  We found that the foundational guards or kamae are also shared in common.  In this piece I will further narrow my focus and address the concept of timing in these amazing and complimentary dueling forms.  I will also include some examples from kendo to allow for closer tactical analysis as many styles of Japanese swordsmanship practiced today do not include fencing as part of their curriculum.

Timing in personal combat is always measured in relation to the opponent.  Both systems of swordsmanship measure engagement time in terms of initiative though the language differs slightly.  There are essentially three states of initiative. The opponent can take the initiative and attack first, the combatants can attack simultaneously, or the swordsman can take the initiative and attack the opponent first.  The Japanese call these states Mitsu no Sen naming each state of initiative individually, Go no sen (opponent initiative), Sen no sen (simultaneous initiative), or Sen sen no sen (advance initiative).  The Meyer system acknowledges these initiative states but tends to discuss them in terms of movement in the Vor (before) and Nach (after) and in terms of Gleich (simultaneously) and Indes (instantly).  As with most tactical and strategic concepts that apply to personal armed combat, there are strong parallels that can be drawn between these related disciplines.

During the onset of a contest swordsmen square off against each other closing distance evaluating the opponent and taking attack or defensive postures, somebody has to make the first move.  When the opponent attacks first, he has taken the initiative.  There are several possible responses to opponent initiative or being in Nach.  A response might be to receive the cut for parry and counter or move out of the path of the oncoming blade into a position to counter or perform Oji waza.  Japanese sword arts call this sort of response Go No Sen and it can be seen in kendo nuki waza or avoiding techniques.  Nach reisen or traveling after would be a European equivalent and can be seen in an execution of krumphauw from Nach in response to a cut. The European systems break the potential actions down further to include Indes Fechten or overtaking the opponent’s initiative after his attack has begun and beating him to the cut.  This can be seen in the “holy grail” of kendo technique, Debana waza which is an attack initiated after the opponent has begun his attack that overtakes initiative.

If both fencers attack at the same time we have simultaneous initiative.  Sen No Sen can be described as a situation where to prevent the opponent from gaining the initiative a fighter will attack in the instant that the opponent begins to execute their technique.  Debana waza is by definition sen no sen.  This simultaneous initiative or simultaneous attack is within Meyers longsword system Gleich Fechten.  It seems that with the Japanese systems we have some overlap here with the opponent initiative from the perspective of the German Swordsman.  Debana waza fits securely within Sen no sen for the Japanese but is from a longswordsman’s point of view clearly Indes Fechten.  Meyer describes Indes as being a state of quick judgment and refers to a commonly held belief that in refers to “inside” or within combat dealing with actions taken when actual combat is engaged.  Debana waza certainly fits this definition but being an action taken as an overtaking attack, is also Sen no sen for the kenshi.  Kendo is often thought of as an overly aggressive form of fencing because beginning students are strongly discouraged from any form of defensive action be they with the sword or by simply moving out of the way.  This is actually an attempt to instill within the kenshi sutemi or an aptitude for taking or overtaking the opponent’s initiative and committing to the attack.  Defensive actions, especially in a new student, will tend to train a more passive attitude during a match and unnecessarily limit a fencer’s arsenal and place them in a position where they will always have to react rather than respond.  This is why defensive techniques or Oji waza are taught later in kendo practice.

Finally, we come to the case of advance initiative or Sen Sen No Sen.  A preemptive attack made the instant the opponent commits to the attack but before they actually initiate it.  Among the Asian sword arts and the philosophies that have become associated with them this concept can take on a very esoteric feel.  The more utilitarian language of the Europeans can be of assistance in interpreting this concept.  Vor Fechten or attacking before the opponent can initiate their attack can be as simple as striking first but is in fact more a more complex action.  The initiative in a duel will constantly drift back and forth from one fighter to the other.  Meyer states that indes admonishes a fighter to have a sharp lookout and to read the opponents body language to gauge which techniques he will use.  This is the foundation of Sen Sen no Sen.  It is not so much a supernatural foreknowledge of the opponent’s intentions, but a knowledge born of experience that given what can be observed of the opponent the best course of action in to make a particular attack.  To properly demonstrate advance initiative, the opponent should be confident that they are about to make a valid attack on their chosen target.  This can be set up by the fencer in advance.  The fencer can take up guards that leave the opponent limited choices of attack or even subtly offer targets to the opponent in the hopes of setting up a chain of events that will lead to being able to make the preemptive strike.  Regardless the outcome should be that the opponent, having become confident in their coming attack does not see that they have lost the initiative until it is too late.

It should be understood that timing is fluid and that it is always measured in relation to the opponent.  Both the German and Japanese late medieval sword masters clearly understood and interpreted this in the best way that they could and explained their interpretations in the best manner available to them.  It should also be understood that despite having only three states of timing that the potential actions available within these states of timing are only limited by the system into which a fencer limits themselves.  For as we are not all of a single nature, so we also cannot have a single style in combat, yet all must nonetheless arise and be derived from a single basis.

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Martial arts, Uncategorized

Iaido and the Ronin Dojo Pro

Last night I was packing up my bags for another night of iaido practice.  Into the bag went my hakama, gi, and juban along with my obi and tenegui to mop the perspiration from my face and hands.  I check my sword bag for bokken, and sword cleaning kit.  Then I look to my sword rack and start to ponder, what blade do I take tonight?  Each one has its place on the rack and each will eventually be reviewed here.  Two iaito sit in the lowest rungs of the rack.  My trusty Minosaka basic series iaito is always a good choice.  I call it tombo and despite its basic style and fittings, it has held up to hundreds of hours of kata practice.  It is light and nimble but I haven’t used it in practice for some time now.  Next up is my Sword Store Iaito.  It’s a long 2.55 shaku blade and was the result of a very fortuitous craigslist purchase.  Poor fellow bought a very expensive iaito just to turn around and sell it to me for pennies on the dollar.  It is a spectacular practice tool.  I’ve named it Bean Pole due to its length and bean pod menuki.  It is my go-to blade for seminar and testing having struggled with me through several years of dedicated practice.  Tonight, however, my hand drifts higher on the rack to the shinken that occupy the higher rungs.

The shinken, or sharp sword, sit higher on the rack. Not because they are used any less than the iaito, but because they demand a higher degree of presence to wield than the iaito.  I question myself each time I take one up just as if it were a firearm. My hand gently flows from one tsuka to the next until it comes to rest on my oldest and most reliable of sharp swords.  My Ronin Dojo-Pro Yama Kuma, purchased through Sword Buyers Guide, has been with me since 2008 and has been through enough suburi and kata to rival my old bokken in terms of usage and familiarity.  This was my first shinken and has served me very well for the last 8 years.  As I took it into my hands I realized that this sword is truly exceptional at least from my point of view.  It is an old friend and I can trust it as I trust myself.  In this unconventional review, I’ll tell you why.

The first impression of my Ronin Dojo Pro was good.  In fact, I was ecstatic when I first held the sword.  I had owned a couple of lower priced swords of various makes that never quite felt like a real pillage and plunder sword.  As for exact measurements and details, I’m not going to put you through all that.  If you want that info, go to the manufacturer’s web site as they have it all there in its boring and tedious glory.  What I will give you are my impressions and experience in the actual, daily use of this blade for my practice of Eishin Ryu Iaido and cutting from various other ryuha.

I appreciated the Spartan aesthetic of the all iron koshirae and the soft but warm buffalo horn accents on the saya that combine to produce a shinken that I was truly excited to use in kata.  The only out of the box imperfection I could identify being that the ridgeline that runs the length of the mune deviates slightly to the right and does not continue all the way to the tip but veers to the right just a centimeter or so from the tip.  Also the saya, while very pretty, leaves a lot to be desired.  There is a lot of rattle when the sword is sheathed. Worse, it came practically filled with sticky grease that despite multiple cleanings with various implements, never seems to end.  It’s like the saya is a cosmoline fountain that was intended to house a monkey wrench.  It is the only truly inferior aspect of the sword and needed to be replaced if I intended to use the sword in my practice.  After several frustrating attempts to work with the manufacturer, I replaced the saya with one from Cheness Inc making the system fully serviceable as a kata sword.

To date this sword has been through the performance of many thousands of kata and even more suburi.  The koshirae has never loosened or been any cause for concern.  I haven’t even had to deal with the tell-tale rattling that occurs where the tsuba and tsuka meet that seems to affect most swords used in iaido.  While each of my iaito has developed the faint click that is usually an indication of substantial use, my Dojo Pro remains silent as I complete my cuts.  The ito wrap has taken the use well and hardly seems worn.  The only indication of the actual age and use to which the shinken has been subjected is the discoloration of the tsuba and fuchi where my fingers make contact and the faint scratches on the blade that are evidence of my learning to cut dry bamboo.  The sword has cut dozens of tatame mats, dozens of bamboo poles and more pool noodles, rolled newspaper, and water jugs than I can count.  My last cutting took place several months ago with a few good friends where it met with some North Carolina bamboo for the first time.  It cut very well and still produces good cuts and has a keen edge despite my developing technique.

In regards to Iaido kata practice, the sword feels very much like my Sword Store Iaito.  The weight is nearly identical although it is shorter by about 3 inches overall.  The point of balance is slightly forward making it very eager to cut but also responsive to tenouchi and very agile.  The slim, wasted tsuka is double pinned and wrapped with silk or silk like ito, is very comfortable in the hand.  I never flinch while considering a two to three hour practice as it is as comfortable a sword to wield as any after a long night.  There is no bohi or fuller in the blade making it more ideal for cutting but as a result there is very little audible feedback for cuts.

When I purchased the sword it was with the idea that I would use it as an aid to my Iaido practice and eventually learn to cut tatame and bamboo with it.  The construction of the Dotanuki style 1060 carbon steel blade was supposed to be rather forgiving of botched cuts, which it has thankfully been.  What has surprised me to no end is the fact that after all these years and after thousands of kata and suburi, that the simple iron fittings and silkish tsuka ito have remained solidly attached and only slightly worn with use.  This sword which nearly didn’t make the cut while I was shopping has never failed to impress and even when inspected by those practitioners who aren’t fond of Ronin Swords or their management,  has always comported itself with grace and a razor sharp edge.

If you are on the market for a good low cost shinken for iaido that can do double duty as a cutter, and can deal with the need for a new saya, the Ronin Dojo Pro line of Dotanuki style shinken may be just what you are looking for.

 

 

 

 

 

 

 

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Martial arts

Saya Biki

I recall hearing the term saya biki quite a bit when I began my practice of Iaido at Doshikai.  Eventually, I came to accept that the term referred to the movement of the saya during nukitsuke.  Over time, my perception of saya biki has come to also include the movement of the saya between nukitsuke and kirioroshi as well as the movement of the saya during noto.  These saya movements serve multiple functions and are often integral to being able to properly perform correct waza.  Within the framework of Zen Nippon Kendo Renmei Iai, saya biki and its proper application is fundamental and myriad.  As such,  a narrow examination of saya biki in Ipponme Mae will serve here as indicative of the system in general.

In the scenario presented in the All Japan Kendo Federation English version of Zen Nippon Kendo Renmei Iai, for the kata Ipponme Mae, “Detecting the harmful intention of the person in front of you, forestall it by using the sword tip to cut his/her temple in a horizontal action and then bring the sword downwards from above the head in a vertical action.”  As part of the instruction for the kata, saya biki is noted but never specifically named or explained.  It is only with practice, proper instruction, and correction does the importance of saya biki begin to reveal itself.

At the opening of the kata, the sword is drawn and rotated to cut horizontally across the opponents face at the level of the temple.  This drawing cut is nukitsuke.  Drawing a properly sized sword from the scabbard would be awkward if not impossible without the rearward movement of the left hand.  The drawing motion is two-fold; the sword is drawn from the saya while the saya is simultaneously drawn off the blade.  The long, broad muscles in the back are engaged as the core is thrust forward adding authority to the cut.  The left hand on the saya and the right hand on the tsuka continue in a single movement until the completion of the horizontal cut when they end in unison.  The result is that the saya ends its motion pulled sharply back with the kojiri pointing to the right.

During furikaburi, the sword is raised over the head in a thrusting motion directed behind the left ear and up.  The left hand on the saya moves as one with the right bringing the saya forward to a position in front of the navel and then grasping the tsuka at the level of the chin/ear.  The kata continues with both hands on the tsuka from the completion of furikaburi, through kirioroshi, and into chiburi.  At the completion of the vertical cut, kirioroshi, both hands are on the tsuka.  As chiburi is initiated, the left hand moves to rest flat against the hip where the saya passes through the obi.  The left hand remains there until the end of chiburi.

Iai Goshi is a demonstration of Zanshin or awareness and is a prescribed element of the remainder of the kata.  During noto, sheathing the sword, this awareness is demonstrated through proper saya handling.  The sword is sheathed rather than the sheath being sworded.  The practitioner must be aware of the position of the sword as it is drawn across the top of the left hand between the forefinger and thumb.  As the blade passes over the opening or koiguchi the left hand grasping the saya around and a little past the opening of the saya is moving back along the line of the obi until the tip of the sword falls into the saya opening.  The muscles in the back and chest are engaged in this motion and reverse direction to bring the saya and sword together ending with the tsuba in a position in front of the navel.  The thumb of the left hand comes to rest on the tsuba and the practitioner assumes taito shisei and completes the kata.

Saya biki is integral and persistent throughout this and all of the ZNKR kata.  It is necessary for proper and correct waza and as an expression of awareness and bearing giving balance to motion and allowing a better economy of motion in the performance of kata.

 

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Martial arts

Metsuke in ZNKR Kyuhonme-Soete Zuki

Metsuke as it applies in Iaido is where the eyes focus during kata and the intention expressed in the gaze.   Per the scenario presented in the All Japan Kendo Federation English version of Zen Nippon Kendo Renmei Iai for the kata kyuhonme-soete zuki, “You are walking along, when a person suddenly appears from the left with the intention to attack you.”  The kata begins with three steps starting on the right foot.  The attacker is noticed at the initiation of the second step.  The eyes lead the head and start to turn as the hands take hold of the tsuka and the body begins to turn left towards the attacker.  The third step is only a half step used as a pivot to continue the turn.  The initial cut, a kesa cut from the right shoulder to left abdomen initiated during the turn and is completed when the left foot steps back.  The gaze that initiates the turn and precedes the cut must be strong enough to support the seme or pressure that is being applied on the attacker and focused directly on the imminent threat while still being wide enough to see the entire situation and not give away the intended target.

After the initial cut, the attacker is directly in front with the blade in their gut just above the left hip bone.  Metsuke is still directed forward at the attacker, focused in a wider way on the entire threat while still intense and pressing.   The right foot pivots slightly and steps back half a step into soetezuki no kame with the sword grasped with the left hand between the thumb and forefinger.  This is done with the hand held horizontally along the omote side at a point about midway up the blade.  The hand and sword are parallel to the ground.    Metsuke is still supporting seme which is forward despite the rearward movement.  The sword is then immediately thrust into the attacker’s abdomen as the left foot steps forward past the right.  The motion ends with the blade thrust into the attacker and parallel to the ground at the level of the navel.  Metsuke is still forward on the attacker who is standing with the blade deep in them.

Metsuke and the intention of the act remain with the attacker as the blade is withdrawn   The left hand does not move as the right hand withdrawals the blade first slightly rearward then by raising the right hand to chest height blade rotated over the fingers of the left hand with the point down and the edge facing down and to the right.  At this point Metsuke broadens in focus as it follows the body to the ground.  The gaze should be far away but present to support zanshin.  It remains thus through migi ni hiraite no chiburi, and noto.

Metsuke changes when taito Shisei is assumed.  The gaze is raised back to forward head level and does not change as the three withdrawing steps are taken.

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Martial arts, Uncategorized

Ki Ken Tai Ichi: Unity in the Midst of Chaos

Ki-ken-tai-ichi or “spirit, sword, & body are one” are the essential elements to a yuko-datotsu (correct strike). This means that all three elements of the strike happen as one element and make the perfect strike. The ability to do this is the ideal which all practice should strive for as a goal.

– Kendo Promotional Exam Study Guide, auskf.info

When I started practicing kendo at Doshikai Kendo and Iaido Dojo, I heard the words Ki Ken Tai Ichi often enough to understand that this was a fundamental concept to the practice of Kendo. It has taken a great deal of time, effort, and dedication to reach this point where I feel that I can address the subject and be confident that my treatment of the topic will be relevant. Ki Ken Tai Ichi is a state in which the mind/spirit/intent is unified with the shinai and body during the performance of a valid strike. A strike without proper demonstration of Ki Ken Tai Ichi will not be considered valid and thus will not be awarded a point.

On a practical level there are certain identifiers that will indicate that the kenshi is demonstrating proper Ki Ken Tai Ichi and has achieved yuko-datotsu.   To have properly demonstrated Ki Ken Tai Ichi, the kendo player must synchronize the impact of the mono-uchi with the landing of the leading foot. This is simultaneously accompanied by a strong kiai to express whole hearted intent and dedication to the cut. While this sounds like a simple matter of timing, the reality is that it involves a complex series of events that bring the body’s center into harmony with the movement of the limbs, breath, and shinai resulting in a cut that occurs in a single beat and is punctuated by a resounding kiai. This is the essence of the ideal strike and the only strike that will be considered valid for the purposes of scoring. I might hit my opponent over the head all day but without proper Ki Ken Tai Ichi, I will never score a point or win the match.

On a more esoteric level, Ki Ken Tai Ichi takes on a more all encompassing aspect. When we break the concept down into its individual components, the idea of a supreme unification between an individual’s KI, Ken, and Tai is very intriguing. The mind/spirit complex which tends to maintain a constant dialog in relation to the environment struggles against focus. The internal dialog is chaotic and spends most of its time over thinking and analyzing what the senses feed it. The shinai is at first an alien body in relation to the self. Initially, the student has to exert a great deal of conscious effort in controlling the shinai. This effort is confounded by the erratic internal dialog. Constant practice breeds a close, personal relationship with the shinai while repetitive training creates instinctual action that releases the conscious self from its responsibility to control and direct the shinai. The chaotic conscious mind is put to rest as it switches from the discursive mode, talking its way through the match to an objective focus on the shinai and the task at hand. The present moment is the only time in which valid strike can occur. The body, which always exists in the present moment, is the foundation that when rooted into by the mind/spirit allows the newly present and aware kenshi to manifest Ki Ken Tai Ichi and achieve yuko-datotsu.

The concept of Ki Ken Tai Ichi serves a very valuable and foundational role in the way of the sword. It is a tool that allows the kenshi to develop a capacity for mindful, correct action and nurtures a sense of calm even in the midst of chaos.

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Uncategorized

The Art in the Way

Art, can be defined as the creative expression of thought and emotion through intimate knowledge of one’s perception of the self. It is the truest form of communication. To create art, one must know their medium so intimately as to be able to express the nature of your soul through the act of artistic manipulation of your raw materials. The nature of the medium must be understood to be no different from that of the artist. Communication through a medium takes place when the illusion of separation is set aside. To be a Martial artist, martialist, or martial athlete  is nearly the same thing. However, the act is as important as the effect for the artist. For the martial artist, continuation of the practice is the goal.  This may lead some to believe that artistic skill cannot be effective when confronted by technical skill.

This is a false assumption that is held by many today. Obtaining technical skill is a precursor to any artistic endeavor. An artist must know his tools well enough to communicate with them. What many martial sports have lost is a firm base in a martial philosophy. This philosophy would demand that victory over an opponent be sought as an end to any martial action. However, technical skill applied to obtain victory is not Art unless there is a component of honest self expression applied as part of that victory.  Understanding that your opponent and the self are in fact part of a single whole is the first step.  To obtain a victory The martial artist will understand that no aspect of their practice can be divorced from any other.  Separating form from function and function from intention will result in something other than art.

Art is communicative by nature and requires a deep understanding of one’s own perception and intentions. This knowledge need not be conscious but must exist all the same. This is why the truly great among athletes can be said to be artists as well. They communicate their intentions through their actions without conscious effort and thus obtain what the artist seeks. This is an accident and is rare. Even war can be an artistic endeavor under the right circumstances.

Art has no material substance outside of the minds of practitioners and admirers. Paper is paper and paint is paint. Sound is just noise until emotions and ideas are expressed through it. Only the communicative value assigned to it makes paper and paint into art and sound into a force that can move a person to tears. Thus, it cannot be owned by anyone but the individual artist and those who receive the information being communicated. The student learns from the teacher. Under the instruction of a good teacher, the student will be brought to the edge of understanding. He will learn not only the physical skills necessary to perform the techniques of the art, but he will also learn the philosophical beliefs of his master as they relate to the art. The student will also be encouraged to form his own philosophy after preconceptions have been eliminated. If the student is ready, he will make the art his own. At this point, the art becomes the possession of that student; for good or for ill, that student owns his art. He is free to do with it as he pleases.

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Uncategorized

Shinken, Practicing Presence at the Tip of a Sword.

When I asked my teacher if I could use shinken (sharp sword) during practice in the dojo he agreed immediately.  It surprised me.  He didn’t have a great deal to say on the subject but gave me the best advice I think was possible.  He said, “Don’t feel like once you start bringing shinken to practice that you have to practice with shinken every time.”  This advice, while simple and to the point, shows my teachers understanding of the internal struggles that all people following a “way” have to contend with.

Months later, it’s Friday and I am at home for Lunch, checking my Practice bag.  Everything appears to be here. Hakama,Gi,Juban, obi, and Knee Pads are all neatly folded and tucked into my bag along with two spare Tenegui to mop the sweat from my brow. I check my sword bag. My boken and two shinai are there as usual. Attached to the sword bag via a small carabiner is the small, zippered bag that once held a calibration gauge for respiratory therapy equipment. Now it holds oil and sword cleaning supplies. I look at the sword Stand. Resting there silently, unobtrusive, plain but beautiful is my Shinken. My eyes dart to the sword rack on the wall.  Eight other examples of these ancient weapons sit on the rack. Most are in the Japanese style.  Two are different; one being a European inspired blade while the other is Chinese.  All but three are razor sharp. My iaito (practice sword) sits in its cradle, third from the bottom. Despite the fact that it’s not a sharp sword and never will be with a zinc/aluminum alloy blade; I have to admit, I love that sword. It’s long to match my stature with a high degree of curvature (sori) and simply furnished. I call it “Bean Pole” for its length and because of the bean pod menuki (ornament) tucked beneath the silk that wraps the handle. The silk is well worn from thousands of suburi and kata.  I knew the instant I held this iaito that it was for me.  It is an old friend by now.

The handle of the shinken is also worn but not to the same degree. It is a bit shorter but slightly heavier. The high carbon, mono-steel blade has no bohi or fuller cast into the blade. This would weaken a blade that was never intended to be used strictly for Iai. This is a cutting sword. It is sharp and deadly as can be. I call it Kuma because of the distinctive cuts in the tsuba that are reminiscent of claw marks and the heavy, solid construction of the sword and its fittings.  Kuma is simple but beautiful.  It is also an old, trusted friend.  I obtained this shinken before ever attending a formal iaido class, teaching myself from books and videos for over a year before I found a dojo.  I wonder, “Can I be present enough for practice tonight to use shinken?”  If I am not present for the blade, it will remind me. It has before. Gentle nudges to be “here” during noto (resheathing) and not to let my mind wonder to the bills, work, or relationships.  I keep a supply of band-aids with me now for just such nudges.  I also have my dojo mates to be concerned for.  Swinging a razor sharp piece of steel around in a room full of people is inherently dangerous.  If I take Kuma tonight, I also take on a certain degree of responsibility for the safety of those around me.

Thoughts start to fill my head.  This thing is heavy; I’m hungry, angry, tired, etc.  I take a deep breath and notice how quickly I have started to make up excuses for why I should take Iaito rather than shinken.  I nearly talked myself out of practice all together.  Here is another small test of my integrity.  I’m going to practice tonight.  Of that, there can be no argument.  I take up Kuma.  The tsuba is cold when I put my thumb on it.  The weight is instantly noticeable. I wonder; what sort of burden could this beautiful weapon truly be?

Later at the dojo, Kuma waits for me in its plain, black cloth bag sharp and ready to help me learn.  I take the weapon into my hands and check the fit and finish of the sword. It’s clean and all the fittings secure. It’s as safe as it’s going to get.  I sit in seiza and tell myself, “Be Here.”  Being with my breathing, it becomes deep and regular.  The floor is cold and hard.  The sun’s last rays are bright as they shines through the windows.  It will be dark soon.  The sunlight is warm on my back, but does little to warm the floor.  I can hear my dojo mates as they shuffle about behind me, stretching or warming up.  The distinctive, sharp, whistle of Sensei’s sword punctuates his cuts as he practices a standing kata across the room.  Familiar smells fill the air.  The sharp smell of choji oil, the laundry detergent I washed my clothes in, sweat, dust, and other less definable scents waft by and are left to pass with each breath.  My mouth still tastes of the tea I drank before class.

I think I may have tied my obi too tight.  My foot is cramping.  I’m getting hungry and thirsty.  My knees hurt!  I may need to use the bathroom. I start to wonder why I even came.  This was a mistake.  I’m getting too old for this kind of thing.  I could be at home with a beer or tangled up with a beautiful woman or listening to live blues at the brewery.  I breath and realize how quickly and totally my mind has grasped and been carried off with these thoughts.  “HERE.”

“Here.” I let those thoughts go.  They aren’t serving me.  I’m here, with Kuma and there is only one way this evening is going to end.  I perform seated reiho and tuck the slick, lacquered saya into my belt. “Here.  Breath and be here.”  I start Ipponme Mae. The first form of the Zen Nippon Kendo Renmei kata set. The first I ever learned. I keep my mind open but aware. “Here,” I tell myself again and again. Each time my mind wanders to my achy knees or my car that is past due for an oil change, to my plans for the weekend or the other stress from the world I left outside the dojo, I tell myself: “Here,” and practice goes on. Kuma and I work well together.  No “reminders” to be present tonight.  I’m lucky to receive multiple corrections from Poitras Sensei.  More challenges. I need to make the corrections but can’t let thoughts of these corrections carry me away.  My ego wants to chime in and wants my mind to run off on vacation with it.

“Here”

Practice passes quickly just like it always does.  Tonight, like many nights that came before, I have done more than train my body. I have cultivated an energetic yet mindful state and been as present as possible for a much loved and valuable part of my life.  The additional responsibility of practicing with a deadly weapon has not only made me a better swordsman, but also a better human being.  Tonight, Kuma has been more than a weapon it has been an invaluable tool to aid me along my way.  I leave the dojo and step out into the chilly night air.  Breathing, in the soft light cast by the moon and the street lights, I can be “Here” and appreciate each moment as though that’s all there is.

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