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Don't be obsessed with fumikomi
I have been telling my students that fumikomi is not necessary. And recently I have read the following article by Geoff Salmon sensei. It is called "Fumikomi-ashi — not the only way". You should read this if you have not.
* * *
Kendo is unusual in that we use fumikomi-ashi, "stamping footwork" instead of a more natural walking gait as part of our technique. I don't know how this developed. Older styles of kenjutsu take a more natural left-right approach, cutting on either foot, whereas modern kendoists believe that for an attack to succeed the right foot has to slap the floor at the exact moment of striking. Followers of the many original ryuha explain that in a battle situation on rough ground, stable walking footwork is the only option and I would not for a moment disagree with them. Somehow as kendo moved onto wooden floors, we have adopted a stamping style which has become an integral part of the modern sport. Fumikomi-ashi dosa, or movement, is in essence okuri-ashi footwork with an added stamp. Okuri-ashi is the process of pushing the right foot forward using the power of your left leg and it is used for attacking movement. There are though other footwork options in kendo.
We use ayumi-ashi (walking footwork) to cover long distance outside of attacking maai. Tsugi ashi lets us bring the left foot closer to the right foot than in okuri-ashi to gain a more explosive forward movement and hiraki-ashi allows us to step diagonally to make oji-waza.
Many of us become addicted to okuri-ashi and fumikomi-ashi. Beginners find it almost impossible to do these correctly, but insist on using them for every circumstance. I have often seen okuri-ashi used to receive kirikaeshi whereas the natural way to do this is to use ayumi-ashi.
Contrary to popular misconception, it is not mandatory to stamp to make a successful attack. Nippon kendo-no-kata does not use stamping footwork and any of the seven odachi techniques if done correctly, would score ippon in shiai. Ki-ken-tai-itchi does not always depend on your right foot slapping the ground. In fact in many oji-waza the cut is executed as the back foot moves into place.
Fumikomi-ashi is a key element of kendo, but it is reserved for making forward shikake attacks, so we can't afford to ignore the other footwork variations. It is unlikely that many of us will get involved in a swordfight in a paddy-field, but were we to do so; the only value in fumikomi-ashi would be to splash your opponent. In the dojo we need to move at different speeds in different directions, so we should study and practice all the kendo footwork forms.
* * *
And many people think that ki-ken-tai-icchi is about striking a target and with the right foot stomp at the same time along with kiai. I do not disagree with it but I think ki-ken-tai-icchi has more to it. And many kenshi know about it but not through being taught; through experience. As it is written, tai means body. Not only the right foot. So I see this as a warning; "Do not execute a strike only with your arms!".
NO "HIT AND AWAY" IN KENDO
You can hit a target with your arms extended and keep your body away from your opponent. This is not what we learn in kendo. We learn sutemi or commitment. We must commit ourselves into our cut without thinking about escaping/running away.
THE DIFFERENCES FROM THE BASICS
Kendo basic movements seen in suburi such as jogi-buri and so forth, we do not do fumikomi. We slide forward and as the back foot, usually the left foot, comes forward, we strike. But when we put a set of armor on, this changes. As the right foot lands your shinai hits a target.
Hmmm… What do you think?
TWO DIFFERENT THINGS BUT BASED ON THE SAME PURPOSE
Since it is said that kendo is oshi-giri (push to cut), we must deliver our body forward. That is why the back foot should follow the front foot. Let's remember this and have it as the core of this argument.
Our body starts shifting forward and finally the front foot takes off in the air. We can say that it is a shift from the stable status to unbalanced status.
When we cut our opponent, we want to be in balance and stable as much as possible. And most importantly we want to maximize the power and effectiveness of our techniques.
The difference is with or without fumikomi. So the footwork is different in strikes with and without fumikomi is probably that is to strike our opponent most powerfully and effectively keeping the balance of the body with the oshi-giri.
On the other hand, with a real sword, it is used hiki-giri (pull to cut) so it does not make sense if the left foot comes forward like kendo unless they are applying a technique of oshi-giri.
KI-KEN-TAI-ICHI — ENERGY, SWORD AND BODY MUST BECOME ONE
This is only an interpretation to make sense out of what I have seen since I started kendo. I have seen many techniques in kendo so there are many types of ki-ken-tai-icchi.
If you execute kote-suriage-kote (seen in kendo-no-kata #6) in kendo, which way do you go, forward or backward after you execute kote-suriage-kote? It always depends on how close your opponent gets to you but quite likely you would stay where executed kote-suriage-kote or you would go backward as a result of trying to get a proper distance to strike. Of course you can use a fumikomi here but it is not necessary. You can strike as you do in kendo-no-kata #6. And to maximize the power you sink your body a little bit. Only a little bit like using iai-goshi (bend your knees slightly to lower and stabilize your body with zanshin). You take a step forward onto the right or left foot to execute a cut. Sometimes you don't even take a step forward as you can see in some iaido.
So the point is that all the three elements should be executed as one to maximize the power of the weapon you are using. Thus, your cut will be as effective as it could be.
FUMIKOMI IS NOT A GOAL BUT RESULT
We strike men-uchi from issoku-itto-no-ma (or a bit closer) that is probably a distance that we cannot reach without jumping in. So we kick the floor with the back foot to give us a little push to reach our target. That is ALL!
Many think that the stomping is important but not really. If you can execute the powerful cut without fumikomi by putting all the three elements of ki-ken-tai-ichi together followed by zanshin, then you are good. So it does not matter if you strike with the right foot forward or the left foot forward (in my opinion) as long as you are executing a technique and its power is maximized by ki-ken-tai.
This is what I think at the moment. This is subject to change.
The original article was published via kendo-guide.com. The English version is edited exclusively for KAMINARIKAN.
* * *
Kendo is unusual in that we use fumikomi-ashi, "stamping footwork" instead of a more natural walking gait as part of our technique. I don't know how this developed. Older styles of kenjutsu take a more natural left-right approach, cutting on either foot, whereas modern kendoists believe that for an attack to succeed the right foot has to slap the floor at the exact moment of striking. Followers of the many original ryuha explain that in a battle situation on rough ground, stable walking footwork is the only option and I would not for a moment disagree with them. Somehow as kendo moved onto wooden floors, we have adopted a stamping style which has become an integral part of the modern sport. Fumikomi-ashi dosa, or movement, is in essence okuri-ashi footwork with an added stamp. Okuri-ashi is the process of pushing the right foot forward using the power of your left leg and it is used for attacking movement. There are though other footwork options in kendo.
We use ayumi-ashi (walking footwork) to cover long distance outside of attacking maai. Tsugi ashi lets us bring the left foot closer to the right foot than in okuri-ashi to gain a more explosive forward movement and hiraki-ashi allows us to step diagonally to make oji-waza.
Many of us become addicted to okuri-ashi and fumikomi-ashi. Beginners find it almost impossible to do these correctly, but insist on using them for every circumstance. I have often seen okuri-ashi used to receive kirikaeshi whereas the natural way to do this is to use ayumi-ashi.
Contrary to popular misconception, it is not mandatory to stamp to make a successful attack. Nippon kendo-no-kata does not use stamping footwork and any of the seven odachi techniques if done correctly, would score ippon in shiai. Ki-ken-tai-itchi does not always depend on your right foot slapping the ground. In fact in many oji-waza the cut is executed as the back foot moves into place.
Fumikomi-ashi is a key element of kendo, but it is reserved for making forward shikake attacks, so we can't afford to ignore the other footwork variations. It is unlikely that many of us will get involved in a swordfight in a paddy-field, but were we to do so; the only value in fumikomi-ashi would be to splash your opponent. In the dojo we need to move at different speeds in different directions, so we should study and practice all the kendo footwork forms.
* * *
And many people think that ki-ken-tai-icchi is about striking a target and with the right foot stomp at the same time along with kiai. I do not disagree with it but I think ki-ken-tai-icchi has more to it. And many kenshi know about it but not through being taught; through experience. As it is written, tai means body. Not only the right foot. So I see this as a warning; "Do not execute a strike only with your arms!".
NO "HIT AND AWAY" IN KENDO
You can hit a target with your arms extended and keep your body away from your opponent. This is not what we learn in kendo. We learn sutemi or commitment. We must commit ourselves into our cut without thinking about escaping/running away.
THE DIFFERENCES FROM THE BASICS
Kendo basic movements seen in suburi such as jogi-buri and so forth, we do not do fumikomi. We slide forward and as the back foot, usually the left foot, comes forward, we strike. But when we put a set of armor on, this changes. As the right foot lands your shinai hits a target.
Hmmm… What do you think?
TWO DIFFERENT THINGS BUT BASED ON THE SAME PURPOSE
Since it is said that kendo is oshi-giri (push to cut), we must deliver our body forward. That is why the back foot should follow the front foot. Let's remember this and have it as the core of this argument.
Our body starts shifting forward and finally the front foot takes off in the air. We can say that it is a shift from the stable status to unbalanced status.
When we cut our opponent, we want to be in balance and stable as much as possible. And most importantly we want to maximize the power and effectiveness of our techniques.
The difference is with or without fumikomi. So the footwork is different in strikes with and without fumikomi is probably that is to strike our opponent most powerfully and effectively keeping the balance of the body with the oshi-giri.
On the other hand, with a real sword, it is used hiki-giri (pull to cut) so it does not make sense if the left foot comes forward like kendo unless they are applying a technique of oshi-giri.
KI-KEN-TAI-ICHI — ENERGY, SWORD AND BODY MUST BECOME ONE
This is only an interpretation to make sense out of what I have seen since I started kendo. I have seen many techniques in kendo so there are many types of ki-ken-tai-icchi.
If you execute kote-suriage-kote (seen in kendo-no-kata #6) in kendo, which way do you go, forward or backward after you execute kote-suriage-kote? It always depends on how close your opponent gets to you but quite likely you would stay where executed kote-suriage-kote or you would go backward as a result of trying to get a proper distance to strike. Of course you can use a fumikomi here but it is not necessary. You can strike as you do in kendo-no-kata #6. And to maximize the power you sink your body a little bit. Only a little bit like using iai-goshi (bend your knees slightly to lower and stabilize your body with zanshin). You take a step forward onto the right or left foot to execute a cut. Sometimes you don't even take a step forward as you can see in some iaido.
So the point is that all the three elements should be executed as one to maximize the power of the weapon you are using. Thus, your cut will be as effective as it could be.
FUMIKOMI IS NOT A GOAL BUT RESULT
We strike men-uchi from issoku-itto-no-ma (or a bit closer) that is probably a distance that we cannot reach without jumping in. So we kick the floor with the back foot to give us a little push to reach our target. That is ALL!
Many think that the stomping is important but not really. If you can execute the powerful cut without fumikomi by putting all the three elements of ki-ken-tai-ichi together followed by zanshin, then you are good. So it does not matter if you strike with the right foot forward or the left foot forward (in my opinion) as long as you are executing a technique and its power is maximized by ki-ken-tai.
This is what I think at the moment. This is subject to change.
The original article was published via kendo-guide.com. The English version is edited exclusively for KAMINARIKAN.
Don't be obsessed with fumikomi
I have been telling my students that fumikomi is not necessary. And recently I have read the following article by Geoff Salmon sensei. It is called "Fumikomi-ashi — not the only way". You should read this if you have not.
* * *
Kendo is unusual in that we use fumikomi-ashi, "stamping footwork" instead of a more natural walking gait as part of our technique. I don't know how this developed. Older styles of kenjutsu take a more natural left-right approach, cutting on either foot, whereas modern kendoists believe that for an attack to succeed the right foot has to slap the floor at the exact moment of striking. Followers of the many original ryuha explain that in a battle situation on rough ground, stable walking footwork is the only option and I would not for a moment disagree with them. Somehow as kendo moved onto wooden floors, we have adopted a stamping style which has become an integral part of the modern sport. Fumikomi-ashi dosa, or movement, is in essence okuri-ashi footwork with an added stamp. Okuri-ashi is the process of pushing the right foot forward using the power of your left leg and it is used for attacking movement. There are though other footwork options in kendo.
We use ayumi-ashi (walking footwork) to cover long distance outside of attacking maai. Tsugi ashi lets us bring the left foot closer to the right foot than in okuri-ashi to gain a more explosive forward movement and hiraki-ashi allows us to step diagonally to make oji-waza.
Many of us become addicted to okuri-ashi and fumikomi-ashi. Beginners find it almost impossible to do these correctly, but insist on using them for every circumstance. I have often seen okuri-ashi used to receive kirikaeshi whereas the natural way to do this is to use ayumi-ashi.
Contrary to popular misconception, it is not mandatory to stamp to make a successful attack. Nippon kendo-no-kata does not use stamping footwork and any of the seven odachi techniques if done correctly, would score ippon in shiai. Ki-ken-tai-itchi does not always depend on your right foot slapping the ground. In fact in many oji-waza the cut is executed as the back foot moves into place.
Fumikomi-ashi is a key element of kendo, but it is reserved for making forward shikake attacks, so we can't afford to ignore the other footwork variations. It is unlikely that many of us will get involved in a swordfight in a paddy-field, but were we to do so; the only value in fumikomi-ashi would be to splash your opponent. In the dojo we need to move at different speeds in different directions, so we should study and practice all the kendo footwork forms.
* * *
And many people think thatki-ken-tai-icchi is about striking a target and with the right foot stomp at the same time along with kiai. I do not disagree with it but I thinkki-ken-tai-icchi has more to it. And many kenshi know about it but not through being taught; through experience. As it is written, tai means body. Not only the right foot. So I see this as a warning; "Do not execute a strike only with your arms!".
NO "HIT AND AWAY" IN KENDO
You can hit a target with your arms extended and keep your body away from your opponent. This is not what we learn in kendo. We learn sutemi or commitment. We must commit ourselves into our cut without thinking about escaping/running away.
THE DIFFERENCES FROM THE BASICS
Kendo basic movements seen in suburi such as jogi-buri and so forth, we do not do fumikomi. We slide forward and as the back foot, usually the left foot, comes forward, we strike. But when we put a set of armor on, this changes. As the right foot lands your shinai hits a target.
Hmmm… What do you think?
TWO DIFFERENT THINGS BUT BASED ON THE SAME PURPOSE
Since it is said that kendo is oshi-giri (push to cut), we must deliver our body forward. That is why the back foot should follow the front foot. Let's remember this and have it as the core of this argument.
Our body starts shifting forward and finally the front foot takes off in the air. We can say that it is a shift from the stable status to unbalanced status.
When we cut our opponent, we want to be in balance and stable as much as possible. And most importantly we want to maximize the power and effectiveness of our techniques.
The difference is with or without fumikomi. So the footwork is different in strikes with and without fumikomi is probably that is to strike our opponent most powerfully and effectively keeping the balance of the body with the oshi-giri.
On the other hand, with a real sword, it is used hiki-giri (pull to cut) so it does not make sense if the left foot comes forward like kendo unless they are applying a technique of oshi-giri.
KI-KEN-TAI-ICHI — ENERGY, SWORD AND BODY MUST BECOME ONE
This is only an interpretation to make sense out of what I have seen since I started kendo. I have seen many techniques in kendo so there are many types of ki-ken-tai-icchi.
If you execute kote-suriage-kote (seen in kendo-no-kata #6) in kendo, which way do you go, forward or backward after you execute kote-suriage-kote? It always depends on how close your opponent gets to you but quite likely you would stay where executed kote-suriage-kote or you would go backward as a result of trying to get a proper distance to strike. Of course you can use a fumikomi here but it is not necessary. You can strike as you do in kendo-no-kata #6. Andto maximize the power you sink your body a little bit. Only a little bit like usingiai-goshi (bend your knees slightly to lower and stabilize your body with zanshin). You take a step forward onto the right or left foot to execute a cut. Sometimes you don't even take a step forward as you can see in someiaido.
So the point is that all thethree elements should be executed as one to maximize the power of the weapon you are using. Thus, your cut will be as effective as it could be.
FUMIKOMI IS NOT A GOAL BUT RESULT
We strike men-uchi fromissoku-itto-no-ma (or a bit closer) that is probably a distance that we cannot reach without jumping in. So we kick the floor with the back foot to give us a little push to reach our target.That is ALL!
Many think that the stomping is important but not really. If you can execute the powerful cut without fumikomi by putting all the three elements of ki-ken-tai-ichi together followed by zanshin, then you are good. So it does not matter if you strike with the right foot forward or the left foot forward (in my opinion) as long as you are executing a technique and its power is maximized byki-ken-tai.
This is what I think at the moment. This is subject to change.
The original article was published via kendo-guide.com. The English version is edited exclusively for KAMINARIKAN.
* * *
Kendo is unusual in that we use fumikomi-ashi, "stamping footwork" instead of a more natural walking gait as part of our technique. I don't know how this developed. Older styles of kenjutsu take a more natural left-right approach, cutting on either foot, whereas modern kendoists believe that for an attack to succeed the right foot has to slap the floor at the exact moment of striking. Followers of the many original ryuha explain that in a battle situation on rough ground, stable walking footwork is the only option and I would not for a moment disagree with them. Somehow as kendo moved onto wooden floors, we have adopted a stamping style which has become an integral part of the modern sport. Fumikomi-ashi dosa, or movement, is in essence okuri-ashi footwork with an added stamp. Okuri-ashi is the process of pushing the right foot forward using the power of your left leg and it is used for attacking movement. There are though other footwork options in kendo.
We use ayumi-ashi (walking footwork) to cover long distance outside of attacking maai. Tsugi ashi lets us bring the left foot closer to the right foot than in okuri-ashi to gain a more explosive forward movement and hiraki-ashi allows us to step diagonally to make oji-waza.
Many of us become addicted to okuri-ashi and fumikomi-ashi. Beginners find it almost impossible to do these correctly, but insist on using them for every circumstance. I have often seen okuri-ashi used to receive kirikaeshi whereas the natural way to do this is to use ayumi-ashi.
Contrary to popular misconception, it is not mandatory to stamp to make a successful attack. Nippon kendo-no-kata does not use stamping footwork and any of the seven odachi techniques if done correctly, would score ippon in shiai. Ki-ken-tai-itchi does not always depend on your right foot slapping the ground. In fact in many oji-waza the cut is executed as the back foot moves into place.
Fumikomi-ashi is a key element of kendo, but it is reserved for making forward shikake attacks, so we can't afford to ignore the other footwork variations. It is unlikely that many of us will get involved in a swordfight in a paddy-field, but were we to do so; the only value in fumikomi-ashi would be to splash your opponent. In the dojo we need to move at different speeds in different directions, so we should study and practice all the kendo footwork forms.
* * *
And many people think thatki-ken-tai-icchi is about striking a target and with the right foot stomp at the same time along with kiai. I do not disagree with it but I thinkki-ken-tai-icchi has more to it. And many kenshi know about it but not through being taught; through experience. As it is written, tai means body. Not only the right foot. So I see this as a warning; "Do not execute a strike only with your arms!".
NO "HIT AND AWAY" IN KENDO
You can hit a target with your arms extended and keep your body away from your opponent. This is not what we learn in kendo. We learn sutemi or commitment. We must commit ourselves into our cut without thinking about escaping/running away.
THE DIFFERENCES FROM THE BASICS
Kendo basic movements seen in suburi such as jogi-buri and so forth, we do not do fumikomi. We slide forward and as the back foot, usually the left foot, comes forward, we strike. But when we put a set of armor on, this changes. As the right foot lands your shinai hits a target.
Hmmm… What do you think?
TWO DIFFERENT THINGS BUT BASED ON THE SAME PURPOSE
Since it is said that kendo is oshi-giri (push to cut), we must deliver our body forward. That is why the back foot should follow the front foot. Let's remember this and have it as the core of this argument.
Our body starts shifting forward and finally the front foot takes off in the air. We can say that it is a shift from the stable status to unbalanced status.
When we cut our opponent, we want to be in balance and stable as much as possible. And most importantly we want to maximize the power and effectiveness of our techniques.
The difference is with or without fumikomi. So the footwork is different in strikes with and without fumikomi is probably that is to strike our opponent most powerfully and effectively keeping the balance of the body with the oshi-giri.
On the other hand, with a real sword, it is used hiki-giri (pull to cut) so it does not make sense if the left foot comes forward like kendo unless they are applying a technique of oshi-giri.
KI-KEN-TAI-ICHI — ENERGY, SWORD AND BODY MUST BECOME ONE
This is only an interpretation to make sense out of what I have seen since I started kendo. I have seen many techniques in kendo so there are many types of ki-ken-tai-icchi.
If you execute kote-suriage-kote (seen in kendo-no-kata #6) in kendo, which way do you go, forward or backward after you execute kote-suriage-kote? It always depends on how close your opponent gets to you but quite likely you would stay where executed kote-suriage-kote or you would go backward as a result of trying to get a proper distance to strike. Of course you can use a fumikomi here but it is not necessary. You can strike as you do in kendo-no-kata #6. Andto maximize the power you sink your body a little bit. Only a little bit like usingiai-goshi (bend your knees slightly to lower and stabilize your body with zanshin). You take a step forward onto the right or left foot to execute a cut. Sometimes you don't even take a step forward as you can see in someiaido.
So the point is that all thethree elements should be executed as one to maximize the power of the weapon you are using. Thus, your cut will be as effective as it could be.
FUMIKOMI IS NOT A GOAL BUT RESULT
We strike men-uchi fromissoku-itto-no-ma (or a bit closer) that is probably a distance that we cannot reach without jumping in. So we kick the floor with the back foot to give us a little push to reach our target.That is ALL!
Many think that the stomping is important but not really. If you can execute the powerful cut without fumikomi by putting all the three elements of ki-ken-tai-ichi together followed by zanshin, then you are good. So it does not matter if you strike with the right foot forward or the left foot forward (in my opinion) as long as you are executing a technique and its power is maximized byki-ken-tai.
This is what I think at the moment. This is subject to change.
The original article was published via kendo-guide.com. The English version is edited exclusively for KAMINARIKAN.