Japanese Sword 101

Is the pen mightier than the sword?

by Dana Abbott Sensei

The pen is mightier than the sword, but then again, a well executed sword cut using the same strokes and patterns as a calligraphy pen offer a complete set of angles and patterns used in most all sword styles throughout the world.  There is a basic set of rules or boundaries a student must digest before they can truly learn basic patterns that physically and mechanically exist.

Before one embarks on a path of perfecting the mastery of the sword, one must recognize that years upon years of practice and discipline are required before one can effectively and efficiently wield a weapon.

We were lucky enough to have Japanese swordsmen pass down their national and cultural aspects of the sword, which we use today.  People today often ask the question, "What can studying the sword offer me?" Many tend to think that practicing swordsmanship would have no practicality in today's society.  On the contrary, the ability to defend one's self in any situation is very desirable. Preparing the student to deal with any combative situation in the shortest amount of time, if one is accosted, is worth its weight in time spent studying the sword.

This article will help cut through the mystery and bring the reader to a closer understanding of sword movement and manipulation. Therefore, no matter where you are in your quest for sword mastery, the following will only enhance that journey in the art of the sword.

Let's start with the 8 basic stances.  These are very important for moving from one executed technique to another without telegraphing.  If you cannot get to your target fluidly your strike can be seen and easily countered against.  Even though we will discuss the 8 basic stances, most sword techniques involve only 3 to 4 stances (i.e., chudan, jodan and hasso) while the remaining are used only on occasion.

The 8 basic stances are: 1) chudan-center stance 2) geidan-lower center stance 3) hidari jodan-left upper stance 4) migi jodan-right upper stance 5) hidari hasso-left middle stance 6) migi hasso-right middle stance 7) hidari waki-left lower stance 8) migi waki-right lower stance. 

You may not always recollect these terms, but these 8 basic stances cover all the possibilities when engaged in combat for defending and attacking at different heights, angles, areas, and sections of the body. These basic stances should be ingrained into your muscle memory.

Also, there are 8 basic cutting patterns using the never changing placement of numerals as shown on the face of a clock. The international community uses the face of a clock to teach the basic angles and directions of cutting. These cutting patterns are as follows: 12 to 6 o'clock, 1 to 7 o'clock, 11 to 5 o'clock, 7 to 1 o'clock, 5 to 11 o'clock, 9 to 3 o'clock, 3 to 9 o'clock, and a thrust to centerline.

In Japan, the basic 8 cutting patterns resemble the strokes of a calligraphy brush as when used in writing kanji.  The patterns used for the sword and the pen are very similar in many koryu (ancient) and gendai (modern) sword systems. Cutting patterns used in conjunction with the 8 stances offer the swordsman hundreds of options, variations and techniques to be used either in battle or sparring for practice. 

In the study of the sword, the 8 cuts or their variations are influenced by history, geography, and culture.  In battle, only a few basic cutting patterns are employed due to needed brevity. Superfluous cutting patterns might take two beats to achieve the strike thus resulting in a counterattack and/or telegraphing your intentions.

Before attempting the basic 8 stances and cutting patterns one must achieve holding the sword handle correctly.  There are dozens of methods and teachings on how to hold a sword.  They are all correct and viable requiring months or even years of training to grip, place and hold the sword in such a manner that it becomes second nature. 

From the end of the Edo period Japanese Guntai or military personnel were required to learn how to effectively manipulate a sword in a relatively short amount of time. They had to create a fighting machine with the least effort for the time given. 

To accomplish this they simply created a method to mold one's grip correctly around the sword's handle.  This was done by teaching the following:

    a. Grasp one's hand as if to shake in greeting.

    b. Slightly loosen the grip so the hand can easily slide out while retaining the formed grip.

    c. Replace with a sword handle. 

With some personal adjustment you will have a strong, dependable and safe grip of the sword.

You probably have noticed many pictures of martial artists and their hand positions in various martial art publications.  There are hand positions for war and positions for drama. Through practice you will come to understand that continual adjusting your hands along the handle while executing various cuts and technique is imperative. Over time you should be able to manipulate the handle without telegraphing your intentions.

Here is a point for future reference. Never point your fingers when grasping the sword. Pointing your fingers might offer you some mystical or spiritual approach, but in seasoned battle technique, pointing one or more fingers results in losing up to 20 percent of your power and sword steering abilities.  It might be vogue, but not to be used in a serious conflict.  And, never in a kendo match!  Try this out for yourself. Pick up a sword; grip the handle correctly while executing several complete strokes cutting through the air at full speed.  Now, point your fingers like seen in some publications and perform several full cuts or strokes.  Did you feel a good percentage of your grip and steering were compromised?

When one has a good solid understanding of the importance of the grip and how to wield the sword they can begin to study test cutting known in Japan as tameshigiri.  Tameshigiri should be viewed very seriously as it could have dangerous consequences.

Correct test cutting is of the utmost importance. In actuality test cutting is simply execution of the sword in a clean and crisp manner following correct cutting patterns as provided by the 8 basic strikes and cuts. Test cutting takes minutes to learn but years to master. 

Swords come in all sizes, weights and lengths.  Each sword has a different application.  The basic sword mostly used in tameshirgiri should be around 1000 grams of weight and about one meter in length.  The larger or heaver the sword the easier it can sever pieces of rolled rice mats or stalks, goza or tatami mats which represent the density of arms, legs and necks when rolled and soaked in water. 

To cut an object that feels atomically correct with the human neck requires a fine woven goza mat that is used as the top layer of a tatami mat.  Tatami mats are used in Japan like carpeting is used in the Western world.  The tightly rolled and woven goza mat offers excellent resistance when test cutting.  It is customary in Japan to insert a length of bamboo to represent bone.  This bamboo should only be used when the stalk is green and not brown since the brown one would be too hard and dry to cut.

In North America bamboo is difficult to obtain in many of the states and can be expensive if purchased. Therefore a ¾ to 1-inch hardwood dowel is used to represent bone. Inserting the dowel inside the goza mat offers the swordsman a close match to what it would be like to sever a head from a body.  Even with heavy swords this cutting action can be challenging.

Beware, do not be overly impressed by pictures or videos you have viewed which many times show unearned expertise in test cutting. This is because of the use of inferior grade mats sold as wall hangings and beach mats.  Those mats have no substance, provide no resistance and give false confidence. Yet, to the untrained eye it is drama.  Therefore, when you see a swordsman make cuts look like they are cutting through butter...they are!

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