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Kobayashi Tadao - Iaido Hanshi 8 Dan.


Копия с сайта: ABKF Winter Seminar 2011

"Kobayashi sensei obtained his 8th Dan in 1988 and is a well renowned sensei with a lot of experience but I still feel the need to point out that he has a very very impressive kirioshi. Impressive not because it is fast or strong but impressive because you can really feel the cutting action. Using his entire body and sword in such a way that it gives the thrilling feeling the monouchi is physically slicing through matter as if the air was solid."

"Kobayashi sensei’s primary concern was for us to: execute a correct furikaburi, to use our left hand with the more power, to understand shoulders usage during kiritsuke and the Ki-Ken-Tai no itchi foot mechanic. He also developed concepts such as Kan(緩)-Kyu(急)-Kyo(強)-Jaku(弱) and Kurai (位/Level/Rank). I will now try to summarize some of his remarks."

"General remarks
– Sitting correctly
Many people are sitting with the shoulders and upper body completely vertical or leaning backward, the navel pointing upward. This position is incorrect and as the sensei stated this is a relax position to have a cup of tea, Obaastyle – Grandma style as our shishō Oda sensei would comment. The samurai way of sitting should be with the navel pointing horizontal or downward to the ground and the shoulder/upper body slightly leaning forward, ready to take any forward action needed. A good indicator of a wrong position is to check that in sitting position the tsuka is horizontal and not pointing excessively upward.
– Left hand usage in the nukitsuke
The sensei insisted that the left hand was really the base/foundation to perform a correct nukitsuke. If there is no power in the left hand involved during the nukitsuke it will not work. He gave a score to both hands giving a 6 (60%) to the left hand and 4 (40%) to the right. He then asked us to only focus on the left hand and forget about the right hand, the right hand power depending on the left. He then showed us a simple example demonstrating the importance of the left hand as a base/support to the right.
– Furikaburi action
Furikaburi should be a soft action and should be performed without putting excessive power with the hands or shoulders. Shoulders have to stay “low”/relaxed. Second point was that at the end of the furikaburi one must grip the tsuka correctly, not by gripping it on the side but properly aligned.
– Kiritsuke mechanics
Kobayashi sensei explained that the Kiritsuke action started with the shoulders action. Of course during this the kissaki is also moving but the arms extension and the tenouchi action should start a bit later when the katana is about to enter the opponent body and the hands are at the eyes level.
– Foot/cut speed bond
The sensei showed us the link between the foot speed and the speed of the cut and this for all actions involving moving right or left foot while performing a cut. He took mae and morotezuki nukitsuke as examples and asked us to perform a quicker and sharper move with the foot movement while cutting.
– Chiburi
During the chiburi the repartition of power between the left and right hand following the 60/40 percent rule should be observed. Pointing out the fact that the left hand should be powerful to have a balance in the action. He also came back on an explanation about the tomete grip (like holding an umbrella) used in the chiburi and the kirite used in cutting motion. Tomete being performed by gripping all the fingers at once compared to the kirite being obtained by tenouchi, finger by finger gripping.
– Kan/Kyu/Kyo/Jaku
Litteraly Kan (緩) slow – Kyuu (急) quick – Kyou(強) strong – Jyaku (弱) weak/soft refers to the strength and speed used in the different phases of the kata, always linking it to what is happening in the riai. Some actions have to be done softly and slowly and others quickly and strongly giving the kata a rythm also called meri-hari. The sensei cited a japanese metaphor explaining that “There is only a peak to a mountain because there is a valley. Only because there is a valley you can see how high the mountain is” seems quite logic but explains quite simply that a kata should not be all the way fast or slow but should vary to highlight: katsujinken, control the enemy with kiseme, decicive actions, check where/what the ennemy is/does, zanshin …

Some specific kata remarks
– Ukenagashi
One should perform the uke having the kissaki low and closing the distance to the enemy.
– Tsuka-ate
As ate is performed to suigetsu the ennemy is not direclty moving back, you need to push him away keeping your metsuke on him during the drawing of the sword. Feeling the enemy being and surpising him one should switch to the rear enemy quickly following by the tsuki. After the tsuki first look at the opponent and then cut.
– Morotezuki
Furikaburi action should be performed softly relacing fingers and hands going up directly keeping the blade aligned with the center line of the kata.
– Soogiri
Soogiri is not men kirikaeshi and should not be performed too fast but focusing on a proper kime on each cuts."



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