Post by Jonathan Anderson on Jan 26, 2011 12:57:57 GMT -4
If anyone is interested, here are the Iaido exam essays I submitted for the recent shinsa:
Discuss the concept of zanshin. Describe its use in at least one All Japan Kendo Federation kata.
Zanshin is roughly translated into English as “remaining mind,” but what does this mean? It is a concept that, despite the robustness of the English language, is difficult, if not impossible, to completely describe. One could simply state that it is a condition of intense focus and awareness, but that is far too basic an explanation. After all, one could see a situation in which an insect fiercely watches the sky, all its focus scanning the air, in order to catch sight of an unfriendly bird that may snatch it up for a meal; only to be pounced upon by the spider on the ground it did not see, for its attention was too focused on one area. Zanshin, by comparison, is a more universal state of readiness. One does not simply focus on the obvious opponent that is actively attacking – they may have assistance from a seemingly innocent bystander. Further, one does not merely use the information collected by their eyes. Sound, touch, smell; these are all sources of information one takes in to determine where threats exist, and how best to negotiate them. In my mind, Sanpogiri is more an exercise in zanshin than an exercise of sword technique. As I understand the bunkai of the kata, one is being set up for an ambush by three persons, only one of which is readily visible – the one directly in front. The other two are obscured from direct sight by either hiding on both sides of a passageway, or behind two closely planted trees. The person performing the kata may be aware of the other two attackers immediately, or may become aware of them while advancing toward the visible opponent; however, the initial draw of the sword is done in such a way to “sell” the idea to the visible person, and their partners by extension, that the performer is truly advancing to attack them, and is subsequently unaware of the other two. This point is, I feel, deeply significant, as the person performing the kata is actively working to disrupt the attackers’ perception, and therefore to ultimately cause their zanshin to fail, even if only slightly, giving the performer an advantage – something that is certainly important when one is outnumbered 3 to 1. The kata’s performer maintains this quasi-deception until the fifth and final step when they abruptly turn and kill both hidden attackers before regarding and dispatching the one that could always be seen. In effect leveling the odds, this would have a drastic effect on the final attacker’s confidence – giving another advantage to the practitioner. If successful, the final attacker’s focus, and therefore their zanshin, will be greatly damaged, if not destroyed entirely, causing any attack they may try to use to be poorly timed, doubtfully executed, and clumsily placed. The kata’s performer, on the other hand, has maintained their focus, keeping their awareness on everything in general, while keeping nothing specific. In effect, their mind is free to do as it must as the situation dictates, making the task of defending and overcoming this final attacker much simpler. After the final cut, the practitioner steps back, assuming hidari jodan no kamae. The step back, as well as the choice of kamae is crucial, I believe. It is important to position oneself somewhat centrally in order to use all of the senses to gather information and determine if the attackers are either dead or too gravely wounded to pose a threat. The backward step essentially places the Iaidoka either in the center of the three attackers, or one step before them. Hidari jodan no kamae allows for a wide area of vision to use sight in conjunction with the other senses, but it also conveys both a powerful remaining threat and aggression from the swordsperson, as well as an obvious readiness to attack again if needed. Stepping back again as oki chiburui is executed places even more distance between the Iaidoka and their fallen opponents, placing a more comfortable cushion of safety, and providing an even better view of the scene to ensure that the opponents pose no further threat prior to deciding to execute noto. Chiburui and noto would, of course, only be done when the Iaidoka is reasonably certain, due to their zanshin, that it is safe to do so. That is to say, the apparent opponents are no longer a threat, and no additional threats can be sensed, signaling that it is safe to clean and return the sword to the saya.
Define hasuji and its importance in Iaido.
Hasuji is an extremely important element in a proper swing, and is defined as the line of the cutting edge of the sword; that is to say, the alignment of the ha and mine along the direction of the cut. Ideally the sword should perfectly follow the cutting edge as the sword is swung with the hasuji bisecting the blade. The importance of this fairly, perhaps deceptively, simple: the less divergence between the hasuji and the angle of the cut, the cleaner and more easily the sword will slice its target. After all, it is not by the swordsperson’s muscle, but the quality of technique that will determine how precise the cut is. One might reason that a cut opponent is just as injured regardless of precision. This is a novice perspective for a number of reasons. One, in the days of feudal Japan, the samurai did not inflict undue pain or suffering on an opponent, therefore a clean cut was preferable. Further, a sloppy, clumsily executed cut would reflect poorly on the skill of the one executing the cut. Additionally, a poorly lined-up cut has a greater likelihood of causing damage to the blade – a clean cut has much less resistance against the metal than a careless one. These points are fine in and of themselves; however, in the modern era we that train in the Japanese Sword Arts do not rely upon our skills for our lives. Whether a passing fancy, or a way of life, we do not expect to use a sword to protect ourselves in a truly threatening situation. As such, our primary purpose in training with the sword is to hone and perfect the self. Striving to master such a high degree of precision demands a huge commitment of work, extreme discipline, intense patience, and the maturity to accept one’s failings and determine how best to overcome them. All of these virtues are building blocks toward creating a more fully-developed and successful person. While this connection between learning the most efficient way to cause destruction with a sword and improving one’s personality may not be immediately apparent, it becomes clear with time and experience.
I'd BETTER not see any plagiarism out of any of you. ;D
Discuss the concept of zanshin. Describe its use in at least one All Japan Kendo Federation kata.
Zanshin is roughly translated into English as “remaining mind,” but what does this mean? It is a concept that, despite the robustness of the English language, is difficult, if not impossible, to completely describe. One could simply state that it is a condition of intense focus and awareness, but that is far too basic an explanation. After all, one could see a situation in which an insect fiercely watches the sky, all its focus scanning the air, in order to catch sight of an unfriendly bird that may snatch it up for a meal; only to be pounced upon by the spider on the ground it did not see, for its attention was too focused on one area. Zanshin, by comparison, is a more universal state of readiness. One does not simply focus on the obvious opponent that is actively attacking – they may have assistance from a seemingly innocent bystander. Further, one does not merely use the information collected by their eyes. Sound, touch, smell; these are all sources of information one takes in to determine where threats exist, and how best to negotiate them. In my mind, Sanpogiri is more an exercise in zanshin than an exercise of sword technique. As I understand the bunkai of the kata, one is being set up for an ambush by three persons, only one of which is readily visible – the one directly in front. The other two are obscured from direct sight by either hiding on both sides of a passageway, or behind two closely planted trees. The person performing the kata may be aware of the other two attackers immediately, or may become aware of them while advancing toward the visible opponent; however, the initial draw of the sword is done in such a way to “sell” the idea to the visible person, and their partners by extension, that the performer is truly advancing to attack them, and is subsequently unaware of the other two. This point is, I feel, deeply significant, as the person performing the kata is actively working to disrupt the attackers’ perception, and therefore to ultimately cause their zanshin to fail, even if only slightly, giving the performer an advantage – something that is certainly important when one is outnumbered 3 to 1. The kata’s performer maintains this quasi-deception until the fifth and final step when they abruptly turn and kill both hidden attackers before regarding and dispatching the one that could always be seen. In effect leveling the odds, this would have a drastic effect on the final attacker’s confidence – giving another advantage to the practitioner. If successful, the final attacker’s focus, and therefore their zanshin, will be greatly damaged, if not destroyed entirely, causing any attack they may try to use to be poorly timed, doubtfully executed, and clumsily placed. The kata’s performer, on the other hand, has maintained their focus, keeping their awareness on everything in general, while keeping nothing specific. In effect, their mind is free to do as it must as the situation dictates, making the task of defending and overcoming this final attacker much simpler. After the final cut, the practitioner steps back, assuming hidari jodan no kamae. The step back, as well as the choice of kamae is crucial, I believe. It is important to position oneself somewhat centrally in order to use all of the senses to gather information and determine if the attackers are either dead or too gravely wounded to pose a threat. The backward step essentially places the Iaidoka either in the center of the three attackers, or one step before them. Hidari jodan no kamae allows for a wide area of vision to use sight in conjunction with the other senses, but it also conveys both a powerful remaining threat and aggression from the swordsperson, as well as an obvious readiness to attack again if needed. Stepping back again as oki chiburui is executed places even more distance between the Iaidoka and their fallen opponents, placing a more comfortable cushion of safety, and providing an even better view of the scene to ensure that the opponents pose no further threat prior to deciding to execute noto. Chiburui and noto would, of course, only be done when the Iaidoka is reasonably certain, due to their zanshin, that it is safe to do so. That is to say, the apparent opponents are no longer a threat, and no additional threats can be sensed, signaling that it is safe to clean and return the sword to the saya.
Define hasuji and its importance in Iaido.
Hasuji is an extremely important element in a proper swing, and is defined as the line of the cutting edge of the sword; that is to say, the alignment of the ha and mine along the direction of the cut. Ideally the sword should perfectly follow the cutting edge as the sword is swung with the hasuji bisecting the blade. The importance of this fairly, perhaps deceptively, simple: the less divergence between the hasuji and the angle of the cut, the cleaner and more easily the sword will slice its target. After all, it is not by the swordsperson’s muscle, but the quality of technique that will determine how precise the cut is. One might reason that a cut opponent is just as injured regardless of precision. This is a novice perspective for a number of reasons. One, in the days of feudal Japan, the samurai did not inflict undue pain or suffering on an opponent, therefore a clean cut was preferable. Further, a sloppy, clumsily executed cut would reflect poorly on the skill of the one executing the cut. Additionally, a poorly lined-up cut has a greater likelihood of causing damage to the blade – a clean cut has much less resistance against the metal than a careless one. These points are fine in and of themselves; however, in the modern era we that train in the Japanese Sword Arts do not rely upon our skills for our lives. Whether a passing fancy, or a way of life, we do not expect to use a sword to protect ourselves in a truly threatening situation. As such, our primary purpose in training with the sword is to hone and perfect the self. Striving to master such a high degree of precision demands a huge commitment of work, extreme discipline, intense patience, and the maturity to accept one’s failings and determine how best to overcome them. All of these virtues are building blocks toward creating a more fully-developed and successful person. While this connection between learning the most efficient way to cause destruction with a sword and improving one’s personality may not be immediately apparent, it becomes clear with time and experience.
I'd BETTER not see any plagiarism out of any of you. ;D