THE CHARACTER do, meaning "road" or "way," is used in the Japan ese words for fencing
(kendo ) and archery (kyudo). The meaning of the character changed , however, in the transition
from the Edo period to the Meiji Era. Through the Edo period the "way" of the sword
and bow were considered practical skills.
W ith the Meiji Restoration, however, the samurai cut their hair, and the swords they once carried were prohibited by law. The "way" of the sword, like that of the bow, was no longer a practical skill. It became, instead, a discipline, a way of self- mastery that was strengthened through meditation. Training in kendo is based on a variety of movements that combine attack and defense, called waza. These include such elements as footwork, cuts and thrusts, and parrying.
Before any practice of kendo, the participant kneels quietly (seiza) and tries to forget
any daily worries. Head and heart become one, and with this attitude the match is approached.
Eye contact is essential for understanding an opponent's course of action. Will the opponent
strike at head (men), hand ( kote ), or body (do ) ? Or is his concentration so weak that it would
allow for a thrust at his throat (tsuki)? The moment one's guard is down the opponent
strikes and the point is lost.
In contrast to the competition and accuracy of kendo, kyudo is a graceful, stylized ceremony. Form and economy of movement are all-important, the target being secondary. As
in kendo, a short period of meditation is done before any practice.
The most fascinating part of both kendo and kyudo for the foreign spectator is the dramatic spectacle of the uniforms and the equipment. The basic jacket (gi) is handmade and stitched in sashiko design, heavier for kendo, lighter for kyudo. T h e black skirtlike pants are hakama. Over these the fencer wears a black helmet and mask (men), which is quite long and covers the neck. There is also a chest plate (do) made of hard leather and a long bamboo staff (shinai).
The bow (yumi) used in kyudo is taller than the archer, thus adding to the dramatic effect
of the ceremony. The arrows (ya) are made of bamboo. The archer wears a special glove since
the arrow is shot from the right, causing the bow to twist to the left. Great skill is required
to hold the bow when it recoils.
In Western fencing the arms are open at the sides of the body and come across to parry and lunge. In archery the bull's-eye is all-important. But in kendo and kyudo the power comes from the middle of the torso, from within (ki). The torso is closed and protected by the arms, since an opening could invite a strike by the opponent. According to devotees, it is this concentration and flow of ki energy that lends such grace to kyudo.
Western sports are far more standardized in comparison to kendo and kyudo, and there are few special schools or styles to devote oneself to. But in Japan the school, style, and instructor (sensei) are very important. Understanding this approach is sometimes difficult for foreign ers whose independent nature may be viewed by the Japanese sensei or students as disloyalty.
The essence of any discipline is contained in the proverb, Aite ni katsu yori, onore ni katewhich translates approximately as "Try not to beat your opponent; try, instead, to win over
yourself."
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