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for a counter-technique but certain methods do exist.
Uke-dome (defence stop) is described later and is more or less the direct parry. There are
other methods of deflection or blocking and all avoid direct clashing with the opponent's Shinai
54
and normally attack the downcoming Tsuba-moto (guard base) which is moving relatively slowly.
The easiest method of defence is Hiraku or 'turning open' in which, for example, as the
attacking blade cuts down to the Kote the defender slips his own point to the right and the
attacking blade slides down the inside. This can be applied in other cases. The attack to Do is
almost impossible to defend against efficiently and will often be simply blocked with the hilt
section, between the hands. It should be remembered that in the cutting position the opponent's
guard will always return to the centre-line so that it is important to cover this line.
Renzoku-waza (combination technique)
Combination attacks are one or two attacks used to create an opening at another point.
It is impossible to simultaneously cover all points at once and if the defender's mind stops on
parrying, or he can be tricked to move in one direction, a clear chance is gained to attack.
The first style of Renzoku-waza is to make positive attacks which the opponent will parry
and thus expose another point. This idea can be extended by circling around so that the point
circles over the opponent's blade, as though to attack the Kote, then continues underneath, up to
its original position and thence to a Men attack. Meanwhile the opponent swings to the right to
protect the Kote. Later still just the merest gesture can cause a reaction or in the extreme a
strongly projected idea of attack in a master's mind can cause the opponent to react. Whilst we
must always call the attacks correctly, we can think strongly about another target and if we lift
the Shinai and think strongly about the Do the opponent will often catch this thought and defend
whilst we attack the Men.
Renzoku practice is extremely good for judging timing and distance as well as developing
speed of thought but all Renzoku-waza are restricted to Sandan-waza or three step techniques,
after which the match must be restarted. This is merely to eliminate scrappy play and the factor
of luck rather than correct application of technique.
There are many variations, many of which depend upon the individual opponent's reaction
against certain attacks. This is a matter of practising the basic forms, which can be easily worked
out and adapted to circumstances at the time.
Shikake-waza (initial opening techniques)
When practising, the teacher will open his attack line to allow the student to cut but this
will not hold true in practice. The opponent may not respond to Renzoku-waza and so another
method of removing the point is necessary. The majority of these actions are employed in counter
techniques as parries and are important movements of the Shinai.
55
Harai (sweeping)
Harai is performed with a semi-circular sweeping action, which spirals forward to turn
the opposing blade aside. On an advancing step the attacker's blade is circled to the right,
downwards then upwards to the left, striking the opponent's blade sharply to his own right and
opening the inside attack line. The action is made by turning the blade with the left hand, as
shown in diagram 13.
Harai-men is shown in plates 126 and 127 and can also allow for Tsuki. The outside
attack line is opened by circling over, or under, and snapping the opposing blade to the attacker's
right. This exposes the Men, Kote and Tsuki, and if taken correctly will also open the Do line.
A very wide sweep is classified as Nage-barai, or long sweep, whilst a sharp sweep caused
mainly by Shibori (wringing) is termed Hari-barai.
Osai (pressing)
A stiff opponent will instinctively swing his point back to the centre, so that in this case
the blade is pressed aside by turning the attacker's edge to his right and running down the
opposing blade, pressing the point off and controlling until the point is cleared. Rather than
pressing directly to the side, we thrust obliquely across the blade and Osai-men is shown in plates
128 and 129. Osai-dzuki is more awkward and so this technique is normally followed by a Men
attack.
Uchi-otoshi (striking down)
This is not illustrated, but will appear very like plate 128 and is employed when the
opponent adopts a low Chudan (middle posture) or Gedan (low posture). The angle of approach
is as for Osai but instead of pressing, the blade is smacked sharply downwards with the side of
the attacker's blade. A powerful form of Uchi-otoshi is often employed to disarm.
Hajiki (springing)
This is best employed against a very stiff opponent and in pressing slightly to one side
the opponent will react by pressing back and by sliding our blade off the point the opponent is
caused to swing to the reverse side. This is shown in a very wide action in plates 130, 131 and
132, this opens the outside line and instead of Hajiki-gote as shown the attack could as well have
been Hajiki-men. Hajiki-dzuki can be made by slipping the point underneath the opposing blade.
The inside line is opened by pushing from the opposite side but only opens the Men
attack line. By pressing downwards the opponent can be made to spring upwards to his left side
and expose his Do. The Hajiki principle is very useful at very close range, which we term Irimi,
or Tsubazeri-ai. The pressure should not be too obvious or the opponent will realise what is
happening.
56
Mawashi (wheeling)
This is best performed against a limp opponent and in this case the opposing Shinai is
wheeled off with a spiral action, as shown in Mawashi-gote in plates 133, 134 and 135. Although
the opposing blade is more or less 'scooped' aside the factor to concentrate upon is maintaining
the point of contact as the blades twist about each other.
These are the more important Shikake-waza and as a rule the following stroke is short and [ Pobierz całość w formacie PDF ]