Wednesday 15 February 2017

Heisenberg, Kendo and fear – an alternative view about dan examination.


I have been very often involved in dan examinations – either as candidate or as member of jury or, even more often, as coach and trainer for examinees.
Passing my rokudan and nanadan involved a lot of training and conscious changing of my Kendo, in order to shed a number of attitudes that were not in keeping with the grade. I found myself doing LESS, not MORE, as an effect of preparing and passing my exams – and of course I do not refer to the amount or frequency of keiko. I have been very grateful to process of fail/change/try again I went through, which allowed me to finally achieve what I was really looking for: not the grade itself, but a new step in the evolution of my practice. On this basis, I can continue my quest with renewed energy.
In retrospective, failed examinations (which I experienced only after passing every exam till godan at the first attempt) taught me more than successful ones. I can also recognise that someone might take frustration with less aplomb than I did – I know kenshi who simply gave up trying or, even worse, quit Kendo altogether. I believe there are no bad reasons to start Kendo and only bad reasons to stop, but, as a teacher, I strive to find the words or the actions to help those who are going through a sometimes painful process of failure.
The first consideration I offer comes from a gentleman called Donald Keene. Professor Keene was a world-renown scholar who came once to Bologna to give a lecture to my Japanese language class. I had the honour to listen to him and the topic of the lecture was How to Learn a Foreign Language. He said that in order to conquer a seemingly impossible language (like Japanese) the most important factor was Not to give in to Frustration. Only those who can take the blow, feel the pain and endure the frustration will in the end be able to learn, retain and express themselves. It was not about Kendo, but these words rang so true to me, that I never forgot them. Of course, feel the frustration and DO SOMETHING WITH IT, was the obvious conclusion. Insist, adapt, discover new methods that work for you – this would be true in any learning endeavour. So giving up and hiding under a rock will not help. As the immensely wise Okamura sensei once answered me, when I asked, Should I go take my dan examination?, IF YOU ARE STAYING IN BED FOR SURE YOU WILL NOT PASS.
A category of failing candidates is particularly close to my heart: those who suffer of stage fright. Straight, fast, impeccable in the dojo, when exposed to the examination they turn either in senseless hitting machines or in peevish clusters of fear. What a waste, I think every time. Then I listen to the usual lithany of excuses: I am not good at exams, I get too nervous/agitated/passive/confused, I was not ready otherwise I would have been calmer/more concentrated/more reactive etc etc etc. From here it’s easy to pass to endless discussions about the process of the examination: the fairness, the usefulness, the effectiveness… Why we do not receive a feedback from the jury? What is the purpose? Why am I alive?
This post is written especially for these kenshi. I would like just to offer a different perspective, it might happen this will help someone to conquer this obstacle.
There is an intriguing principle in physics, called the Observer Effect. In very blunt terms, the act of measuring a quantity alters the measure itself. It has been often paired with Heisenberg's Uncertainty Principle, which has become so popular in nerds’ memes, together with Schroedinger’s Cat, poor thing. I quote from the ever useful Wikipedia:

In physics, the term observer effect refers to changes that the act of observation will make on a phenomenon being observed. This is often the result of instruments that, by necessity, alter the state of what they measure in some manner….The uncertainty principle has been frequently confused with the observer effect, evidently even by its originator, Werner Heisenberg. The uncertainty principle in its standard form describes how precisely we may measure the position and momentum of a particle at the same time — if we increase the precision in measuring one quantity, we are forced to lose precision in measuring the other..

What has Heisenberg to do with Kendo – or with Kendo dan examinations, then? Here is my take on it.
Dan examinations are a form of measurement – and according to this Principle, they are also altering the measure itself: YOU and YOUR KENDO. Here comes the Stage Fright, the sheer panic, the mind that goes blank on the first kata and turns it in a mockery of Gohonme. This is what happens – all the times and to all. No one can truthfully state to go through a dan examination without being affected – because the exam is especially designed to achieve this effect. It will always be like that, doesn’t matter how many times the test is taken, failed or passed: it will always change the mind and the practice of the candidates.
Why then? Why not letting examinees practice supervised for some length, being observed, but without pressure or time limitation? Exactly because the measurement would not be real, since it would not affect the candidates: only under pressure, when being consciously under observation, a kenshi can express the best he/she can do.
So, stop complaining about being scared of examinations: they are exactly meant to do that, learn to live with it and show your best spirit and technique, as if you did not feel the fear – the same fear that will never go away and that also your opponent feels.

As Horibe sensei taught me, Examination is a play. It is meant to be for the Observers, the jury. You must have a script, you must have rehearsed, you have to show your best profile – but still the moment to get on the stage you might be terrified. I wish to say: It is normal – don’t let yourself be distracted by the circumstances, act as if you know what you are doing – and this play will bring you to be better than you think. It is the greatest teaching you can bring from kendo into your life: by acknowledging your fear, you can become wiser and stronger. Not bad as a takeaway.

Wednesday 30 November 2016

Of Tsuba and Tsubadome



In the world of Kendo equipment there is not  a lot of room for variety - we wear either indigo or white, the bogu can be here and there colourful, but not beyond a certain limit (and even that is considered by someone controversial), There is constant discussion even about the allowed colours of the tsuru - white or yellow, they say, no more.
I have my personal conviction that some of the limitations that we consider sacred rules are no more than metropolitan legends, that have been traded year after year from dojo to dojo - I am not for outrageous outfits, but the resistance against wearing white or kinari kendogi and hakama or, even worse, the idea that beginners should not wear high quality bogu, because it would be immodest and inappropriate, sound to me as evident aberrations.
Tenougui can be colorful and there are millions of possibilities available, but in a sense they are meant to stay hidden and they are not noble parts of our weaponry, as the humble tsuba and tsubadome instead.
I say humble, because we all started with the rather unattractive pieces of brown or yellowish plastic that came with our first shinai - the first shinai is long gone, but possibly that first plastic donut is still around and has been used times and times again. Till we realised that also for tsuba there is an ample degree of choice and improvement.
My first "improved" tsuba was everything but refined. It was made of plain, coarse leather and it was a present from a girl named Sayuri, who was captain of the Kendo team at Osaka College of Physical Education. I met her at the Kenshinkyorai seminar in Marseille and she carved her name on it. I admired her so much I kept that tsuba as a real treasure: it is still with me today. I decided never to revert to plastic.

I love objects that show a degree of craftmanship, so I bought many more leather tsuba, more elaborate ones - but the ones I wish to write about today are particularly attractive - and labour intensive.
Trum Miklòs Olivér makes leather tsuba under the name Keiko Studio (this is also the name of the Facebook page). They can be purchased on Kendo24.com or on Bujindesign.com.
I could see, touch and try them: they are definitely objects of beauty.
They are built with lovely precision - and given the hardness of the leather, they must cost a lot of gruelling work for the shaping and the stitching. They are really sturdy: mine are flower shaped and finely stitched - on the website many types are available, with a number of different decorative patterns.

Keiko Studio makes tsuba both for shinai and bokuto - and in my opinion bokuto really need a bit of love and consideration, given the still very few noble alternatives to plastic available. I actually think that my bokuto looks more elegant and dignified, with a tsuba and tsubadome that are little masterpieces in themselves.
Keiko Studio is all about leather - also discreetly decorated chichikawa are available - and for iaido kenshi an interesting way to protect the koiguchi. I was never so sofisticatd in my iaido years, but still the little disc has its use - and it is, again, a beauty.
In case you look for a Kendo present, be it for Christmas, a birthday or, even better, a successful dan examination, well, it is difficult to find a better decorative and affordable choice!


www.Kendo24.com

www.Bujindesign.com

Keiko Studio FB page








Wednesday 2 November 2016

Sae - anyone?

Has anyone an idea about the way to develop sae? Do you feel sae is an important component of a kendo technique? Am I the only one to obsess about it?

First of all, what is sae? I checked the definition in the Japanese - English Dictionary of Kendo published by All Japan Kendo Federation. 
I quote word by word:

sae (n.)
The skilfullness of a waza, or the sharpness of its function of feeling. When striking, one moves the right and the left hands cooperatively, and tightens the te-no-uchi (way of gripping the shinai) instantaneously. This gives the striking sharpness known as sae in kendo,

By the definition itself,  it is immediately clear that it is not an easy concept to describe - but the presence of sae in any strike is one of the elements that make it a yuko-datotsu, although sae is not explicitly named in the definition of yuko-datotsu itself (valid strike) - referee's word!
Mmm, the plot thickens.
If i were to try a different description, surely I would retain the word SHARPNESS, but I would mention BRILLIANCE or SNAP or STING... 
In the Manga Way to Kendo (I hope someone already wrote that book...) sae is what makes an ippon sound like POK! instead than SPLAAAAK...

The AJKF's definition also gives a hint about the way to achieve sae: coordination between right and left hand - with the precise aim to increase the speed of the shinai tip, I would add. It seems an easy task, but we all know how difficult it is. Te-no-uchi evolves all along our Kendo career and we all recognise how clumsy it might be for a beginner to coordinate the action in order to achieve a correct, sharp strike.

In these lucky years, there are all sorts of aid - although nothing replaces constant, gruesome, repetitive, boring action (sorry, it has to be said....). One of the latest, I am certain everyone heard about it, is the Men-nari.



I tested it and I had it tested, too. There are two lengths available, the shorter one being the easier to master. But what is the Men-nari about? Below you might find the promotional video by Tozando:


Many friends of mine were immediately attracted by the possibility to practice suburi in a confined space, with an instrument shorter than a shinai: nothing better than training in the living room, without threatening lamps and other hanging decorations, and keeping marital bliss
The added bonus of Men-nari, though, is the SOUND: when the movement is performed correctly and the right sae is achieved, the reward is loud and clear.
The inner working of the tool is pretty simple, but rather addictive - actually, it is really daunting not to be able to achieve the right CLICK, if not after a good number of tries!
The longer version of the Men-nari is more challenging: the right acceleration has to be reached when the arms are being fully extended, or the the little sphere in the shaft will bounce about and the sound will be muffled and broken. It requires a certain amount of concentration - and it definitely makes sae more than a vague concept: it is actually a good tool to grasp it to the full.

I am still working to master all the secrets of this puzzling thing: for the time being I would advise to use it both as practice tool (for beginners and advanced kenshi) AND as dojo conversation piece!

Tuesday 18 October 2016

The irresistible rise of the Tsuki

The technical level of Kendo worldwide is constantly rising.
I am pretty sure about this statement, since I could appreciate how new nations are joining the international community of the kenshi - and differently from what happened to the pioneers, the quality and the quantity of information, equipment and practice available are incredibly high.

Nowadays the average practitioner has access to high level sensei who are more than happy to share their experience and who are extremely encouraging with the most talented kenshi. The results, even in terms of self-confidence, are amazing. The variety and the complexity of the waza that can be observed even in very local tournaments is constantly growing: in particular, tsuki waza became more frequent than in the past.

It is already history, that some of the WKC finals have been decided by a well executed tsuki (in Glasgow, the unforgettable katate tsuki of Eiga against Kim, or the morote tsuki in the WKC in Novara). Actually, even on the internet, tsuki attacks are the most "liked", for their fearsome effectiveness and sheer spectacularity.



Inevitably, in every dojo comes the time to start teaching how to strike correct tsuki. And as any teacher knows, any technique takes time to be perfected. Unluckily, in the case of tsuki, mistakes can be pretty painful for motodachi - and also the simple awareness of this risk impairs the confidence of kakarite. It is difficult to practice tsuki on a mechanical dummy - on the long, it can even be counter-productive, since the the dummy cannot give a feedback regarding the strength of the strike, that has to be controlled, but sharp. The dummy would never complain and it could be dangerous to have the student develop an unncessarily violent attack.

The answer could be the human motodachi - with a twist. At least for tsuki oriented practice, the IBB Safety Guard is really a valid support.
Developed by high level sensei, on the basis of their wide teaching experience, it can be fastened to the menbuchi (buttons must be applied) and provides and extra layer of padded protection. It works wonders both for motodachi, who is well protected and can receive the strike without fear, and kakarite, who can develop the right amount of strength in all safety.
It could even be possible that in the future all Men will be provided with the buttons just out of the hands of the craftsman who assembles the bogu: I had my Men adapted by Tozando (who patented it) and I tried the IBB Safety Guard during a normal keiko session.
The protection is really effective, it really absorbs the hit comfortably. I would not recommend wearing it at all times though, since it obviously reduces the room between the Ago and the throat - it might feel awkward at the beginning. However, since the IBB Safety Guard is removable with ease, it would be ideal for teachers and senpai when they offer their students the opportunity to practice intensively all possible tsuki waza.
It is a simple device, but it might be responsible for making tsuki more precise, more frequent and, surely, safer.

Demo video by Tozando