Kendo. Geoff Salmon

      CHAPTER 1

      Introduction

      This book is written expressly with the objective of helping you make your kendo training more effective. It is aimed both at people starting to climb the kendo ladder and more advanced students who want to ensure they are making the most of their time in the dojo. Without attempting to delve into kendo’s lineage and history, I have peppered this book with elements of its philosophy—simply because you cannot divorce physical actions from the reasons for doing them. Whether your objective for practicing kendo is to train your mind to achieve a state of mushin (no-mind), or be a winner in competition—or simply to keep fit—it helps to know why things are done a certain way.

      I do not claim to have invented a secret formula for success. All the ideas here are “out there” and have repeatedly been impressed on me by a number of senior teachers over my forty-plus-year kendo career. There are no short cuts in kendo, but there are ways to ensure that you do not waste time doing things that are useless or counterproductive. When I started kendo in the UK in the early 1970s, we were pretty much cut off from the pool of knowledge that existed in Japan. Despite the efforts of one or two pioneers who knew more than the rest of us, a lot of technique was self-taught. I went on to live and work in Japan where I had access to some of the great second generation sensei. I did however, have to spend my first year unlearning my bad habits and starting again from scratch. Clearly the most effective way to improve is to start by doing things correctly and to conscientiously continue the correct practice of basic techniques throughout your kendo career.

      This or any other guide is in no way a substitute for a good instructor. While we now have access to print and online resources from some of the world’s best kendoka, it is important to train with a teacher who can monitor your progress and make suggestions that are relevant to you. Your choice of instructor will have a major effect on your progress, so do put some thought into your selection. If you live in a major city, then you will probably have a choice of dojo. Go and watch some sessions before committing to join. Not all technically skilled kendoka are good teachers and vice versa. It is also worth talking to other members of the class.

      If there is not a choice of dojo in your area, you need to make the best of what is available. In some cases you may have to work with a junior instructor or even train with your peers, taking turns to lead the practice. My only word of caution is that in these cases everyone should be aware of their own ability level and seek opportunities to attend seminars and club visits and invite senior instructors to visit whenever you can. In this way you get exposure to new ideas and can all improve together. I have seen a few rare cases where an inexperienced club instructor has forbidden students to train with other teachers. This is perhaps forgivable of very highly ranked teachers if students are going through the basics stage, but coming from lesser kendoka this smacks of conceit and cultism.

      As a last resort you can train alone. I have included a section on hitori geiko, however these exercises should ideally to be practiced in addition to the work you do in the dojo. Kendo is a social and sociable art and is best done with others.

      Readers’ note

      International Kendo uses Japanese terminology extensively to describe equipment, techniques, and training methodology. I have therefore used this Japanese labeling throughout the book. In most cases I have done so without the customary italics. In line with Japanese grammar rules on compound words, I have made some consonant changes, so for instance kote becomes gote and futon becomes buton.

      The

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