More Basic Swordsmanship
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- Опубліковано 15 лип 2024
- In this video I talk more about some of the small details of swordsmanship that are often overlooked or neglected. I think a good understanding of these basic ideas of swordsmanship will dramatically improve the practice of those who study the sword.
Music: Nickk Dropkick- is jazz a gateway drug?
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That wasn't boring at all, that was excellent and to the point (pun intended).😁👍🏾
I think Aikido's aproach to sword and jo and the way in which Aikido integrate these into grappling is one of the most underrated contributions in martial arts, because what Aikido does with Ken and Jo is just awesome.
Please, make a part 3, 4, 5 and more of this topic!
Thank you!
There is also dropping your center. This lowers your shoulder so that your reaching line isn't such a high attack. In fencing this is often done during a lunge, but there are many ways to execute without moving forward.
In Chinese swordmanship, the blade is categorised in 3 parts. The tip is for stabbing, the middle is for slicing, and the portion closest to the guard is for chopping. I don't know whether this applies to Japanese swords, but I guess it could be the same.
Very good fundamentals to teach. There are always exceptions to these rules of course, but you first need to learn the rules to break them!
Fantastic details, clear and concise! Love your channel!
Thanks so much!
I have heard about you for quite some time now but never watched a full video. I did two and really like them. I hope I have the chance to train with you at some point. Keep up the great work!
I hope so too! Glad you're enjoying the videos!
Love the realistic perspective you put out on Aikido. I have been doing Aikido on and off for several years, but it's almost impossible to find this kind of information. Keep it up!
Kind of you to say, thanks!
Thank you deeply for sharing this valuable knowledge!! 🙏
Thank you for watching and commenting!
Thanks for sharing!
Absolutely! Thanks for watching!
Thanks for very informative video, really appreciate your content, looking forward to hearing your thoughts about ni-no-kumitachi.
Leg attacks for Saito Sensei's Aiki Ken is in 2nd Kumi Tachi and 5th Kumi Tachi. The point of it being a good or bad strategy is not so much the point. The Kumi Tachi is teaching how to respond to high, middle and...low attacks.
I understand what you're saying, but those response examples should be shown in a strategically sensible place in the forms. I believe the 5th kumitachi has good reason for the strike as it comes as a response to the close quarters situation created after the turn- however in the 2nd kumitachi, it is poorly positioned and breaks the rules of most other fencing styles that I am aware of.
@@ChuShinTani Point taken and is well made about reach and arc of the strike. But as far as designing a set of Kumi Tachi that is to address the main principles of "Taking Line and Awase", different levels of attacks need to be address, whether good or better.
1 and 2 Kumi Tachi came from an older school, Kashima Shinto Ryu, which O'Sensei borrowed from. Whether a leg attack is the good or not, 600 years ago the school and other (Katori Shito Ryu) felt it was a strategy that needed to be studied.
On another note Saito Sensei never changed the Kumi Tachi as it was passed down to him. This was out of respect for his teacher, not to alter the form.
I have heard this many times about the similarities between the first and second form of Kashima Shinto Ryu and the first and second forms of Saito Sensei's kumitachi- and while I know very little about Kashima Shinto Ryu, I think the forms are pretty different and are showing some pretty desperate ideas. I understand what you are saying about Saito Sensei's desire to make unchanged the work of O'Sensei- but that is a tall order of anyone- especially living in an era where recording movement systems was so limited.
For example with the first form of the Kashima Shinto Ryu Kumitachi- the first counter from the first attack are different and for differn't reasons. KSR, is attacking the wrists from below, Saito is attacking the chest in the opening. Another huge difference in these forms is that the Uke and Shi rolls are switched, this makes the conclusion of the forms different. While you could argue that these are very small differences- they are still differences so to say that they have been kept the same for over six hundred years is a bit of a stretch.
Heinz, what do you think about using winding your strong against his weak when fencing with sword that has such tiny guards like the katana tsuba ?
I don't practice japanese swordsmanship but i started playing around with the katana recently while using Liechtenauer's art.
It really depends, winding can include a lot of things. With a Katana there is only one edge, so if we were working stuff that used the "false edge" it might be much less effective because of the one sided nature. Ive never found lots of problems with the Tsuba, I had more difficulty with I first started doing longsword with the crossgaurd I kept hitting my forearm- It was about a month before I got used to it. The length difference between your average Katana and long sword also makes some of the windings less interesting. That said I've incorporated several into my sword work.
@@ChuShinTani Thanks for your answer. Before playing around with the katana i also have a handful of time with a single edge kriegmesser so i treated the katana the same way (minus the cross guard and way shorter reach). I found out a "hack" that you can do all false edge plays by modify them into thrusts by pulling the sword back a little bit before hitting with the spine, that way my point will be online when my "false edge cut" is finished.
The only thing i'm concerned about is that could the tsuba control the opponent's blade while winding into upper opening like when using the crossguard, or it will slip pass the guard and cut my forearm. The tsuba of a shinai i'm having right now is too floppy so it doesn't protect anything. I'm thinking about getting a synthetic one for my next sparring session (not wood obviously)
You don't have as much control over their blade with a tsuba as you do a crossgaurd. If you look up tsuba zeriai, you will find discussions on dealing with tsuba's locked up- but you really don't get a large amount of control. There are stories of old time swordsman adding giant tsuba to their katana (almost buckler sized) to gain advantage. I believe that the katana never really evolved as a dueling weapon- nothing compaired to a longsword and certainly not a rapier.
@@ChuShinTani man, i would like to own one of those giant tsuba myself, sounds like something that will boost my confidence while fencing just like a basket hilted sword.
Explain this to basher rokus and mma funatics.
Does neutral stance do anything for you defensively?
I always feel like it doesn't really protect anything. Is it just so you have a shorter distance to change to Inside or outside?
It's more comfortable to stand in, and as you said it's quick to shift your sword to either side. I don't know if anyone has done any serious research into this subject- but if I find anything I'll put it out!
@@ChuShinTani Yeah, it would be interesting to find out if you're more or less susceptible to feints as well from that neutral stance.
I guess the ultimate question would be ...
Is always defending one of your sides by default by holding an Inside/outside guard better? Or to be versatile from neutral?
Alfred Hutton offers his perspective on some of the advantages of the middle guard (i.e. neutral position) in Cold Steel. The argument is more or less that one can quickly cover most angles from there while still keeping the opponent away at blade’s length, making it less protective but more responsive. Cold Steel is often seen as Hutton’s version of sport fencing, and in his earlier manuals he prefers either tierce (third position - point up, covering the outside line) or high seconde (second position - point down, covering the outside line).
With regards to hand-and-a-half swords (longsword, tachi, katana, etc), guard positions can be seen more as transitional positions relative to the action performed rather than closing a particular line. For instance, a downright blow from the right will start in some version of the high guard, pass through a version of the middle guard, and end up in a version of a point forward guard on the left.
I would obviously die WTF xD
hahahaha
Do you practice Kendo?
I did for a short time. Beautiful art, just not what I was looking for.
@@ChuShinTani Proper Kamae of Kendo would be very important for hand to hand technique, too. Many people who do Kenjutsu underestimate importance of Kendo. I hope you will find it out in the future.