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sidestep to avoid crashing into the opponent.
The method of keeping the right foot advanced is termed Tsugu-ashi (following feet) and
is the method of stepping employed at any time when the opponent is at Ma Ai distance or attack
range. When stepping backwards the right foot pushes back and is drawn back afterwards. A
single Tsugu-ashi step is two separate movements of the feet made almost simultaneously, ie,
'one-two", 'one-two' and so on.
Nami Ashi (diagram 2) are normal 'pace' steps in which one foot is advanced from the
rear. Nami-ashi means 'succeeding feet'. As the left foot advances in Nami-ashi any attack action
is very difficult and because of this, Nami-ashi is avoided altogether except when well out of
range. In Nami-ashi the feet are still slid smoothly along the floor, without lifting up, so that
constant contact is maintained.
Diagram 3 shows a combination of Nami-ashi and Fumikomi in a method of attack from
long distance, often used in competition. To cover the extra distance the left foot comes forward
in advance of the right and the right foot is then advanced in normal Fumikomi style. In this
specific case the advance of the left foot does not inhibit the attack since it is contained within
the actual process of attack as the initial phase. With this type of attack it is possible to cover
double the distance or more.
Ugoki (side steps) are mainly employed to pass by the opponent after attack and normally
comprise the first of the Tsuzukete (follow through) steps. Diagram 4a shows the Mae-migi Ugoki
(forward right) and Ushiro-hidari-ugoki (rear left) diagonal and by definition these are Tsugu-ashi
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(following feet). Diagram 4b shows the Mae-hidari-ugoki (forward left) and Ushiro-migi-ugoki
(rear right) and to prevent the feet crossing over and to avoid tripping, these are technically in
Nami-ashi (succeeding feet) style. Because of this, movement along this latter diagonal is avoided
where possible. The Ugoki step has the effect of taking the body out of line whilst maintaining
the shoulder and hips square to the direction of movement. If the body is allowed to swing
sideways in passing, balance will be very easily lost.
Mawashi (turning steps), mainly used when meeting an attack, shift the body out of the
attack line and turn the receiver's own centre-line inwards, to allow for a counter stroke. Since
the opponent is attacking, the distance is rapidly decreasing and thus, although vigorous, the
Mawashi step is very short and balance to the side is not threatened. Diagram 5 shows merely
the basic side movements of Mawashi and in the case of movement along either diagonals the
sequence of steps will be as for Ugoki. Where possible it is better that the first foot be placed
directly in the new line to avoid spinning on the feet. Only a relatively short step is necessary
to clear the attack line and if the feet stamp down properly the balance is better preserved.
Almost any combination of step may be made, according to circumstance and diagram
6 shows one in which a Mae-hidari Ugoki (forward left) side-step is changed to a Migi-mawashi
(right) swinging step by turning on the sole of the foot. The circumstances in which this type of
step might occur would be in attacking the right wrist or Kote or in performing certain counter
techniques to this left hand side.
Generally speaking, footwork should be as smooth and precise as possible, so as to avoid
'Rocking' the body backwards and forwards. No mater what direction the step takes the action
is always that of thrusting with the rear foot; if retiring the right foot becomes the 'rear' foot in
the context. The Tsuzukete (follow-through) will be found difficult but must be concentrated
upon. The Fumikomi is very vigorous and all other steps smooth, so that the body glides over
the floor and the feet are constantly in contact, ready to leap forward as an opportunity occurs.
Another very important aspect of footwork is the distance factor, since only the top
portion of the blade is used to strike and thus the distance and range of each attack step must be
requlated with the appropriate footwork. As the opponent attacks the length of our own attack
step shortens proportionately. This is similar to the 'deflection' factor in shooting against a
moving target and whilst this stepping, in relation to where the opponent will be, is difficult, it
comes with experience.
It is necessary to make a definite step when cutting, or if the distance does happen to be
just correct, then the motion of a step or a stamp is made and co-ordinated precisely with the cut.
Cuts to the front are very much easier than cuts made whilst reversing and thus a forward side-
step or diagonal will often provide just that little extra space necessary to cut forward rather than
backwards. Backward cuts are quite valid if correctly performed but the student should
concentrate on forward attacks as much as possible since constant retreating and backward
strokes result in a negative style and make it impossible to understand Kendo.
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3. The Principles of Cutting
The essence of Kendo consists in Kiri-otoshi, or 'striking downwards' and each technique
is virtually the same. If we can master a single technique of delivery this may be applied with
equal facility in any direction or angle. For clarity we are forced to separate various actions into
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Dobre pomysły nie mają przeszłości, mają tylko przyszłość. Robert Mallet
De minimis - o najmniejszych rzeczach.
Dobroć jest ważniejsza niż mądrość, a uznanie tej prawdy to pierwszy krok do mądrości. Theodore Isaac Rubin
Dobro to tylko to, co szlachetne, zło to tylko to, co haniebne.
Dla człowieka nie tylko świat otaczający jest zagadką; jest on nią sam dla siebie. I z obu tajemnic bardziej dręczącą wydaje się ta druga. Antoni Kępiński (1918-1972)
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