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Published by All Japan Kendo Federation

The purpose of practicing Kumdo(Kendo) is:

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To mold the mind and body,

to cultivate a vigorous spirit,

and through correct and rigid training,

to strive for improvement in the art of Kumdo(Kendo),

to hold in esteem human courtesy and honor,

to associate with others with sincerity,

and to forever pursue the cultivation of oneself.

This will make one be able:

to love his/her country and society,

to contribute to the development of culture

and to promote peace and prosperity among all peoples.

Kendo Matches

In Kendo you are trained to see things with your eyes, react instantly to happenings and make judgments with your mind. In a Kendo match you watch your opponent with your eyes, react quickly to his moves and grab chances for attack, as seen through your mind. The mind's eye is opened only by and through hard and long training, as in the case of the Zen practice of austerities. 

 

Some of the essential elements in Kendo matches are introduced below to illustrate the depth of kendo philosophy. These fundamentals are aimed at uncovering the essence of kendo in the traditional Way of the Bushi warriors. 

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Postures

Whatever postures you may take against your opponent, none of them would guard you, unless backed by your determined spirit. A kendo match is ultimately decided by the difference in mental power between you and the opponent. 

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Kiai

In kendo, to be full of kiai means to be full of spirits, from the crown of the head down to the tips of your toes. It is not to strain the abdomen but to have your whole strength naturally concentrated in the abdomen. It is not to yell at your opponent without effect but to have your strength and mind in complete harmony and unison. 

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Theory and Practice

All theories in kendo are of little value unless accompanied by the art of the sword. Though it is important to be well informed on the theoretical elements of kendo, it is more important to master kendo skills (waza). 

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"Ma-Ai" Distance and Timing

Literally meaning "distance between", Ma-Ai, in kendo, refers to distance(1) and timing(2). 

1.      Each kendo player has his own "Ma-Ai" or preferred distance from his opponent for offensive or defensive actions. The Ma-Ai advantage is held by holding the opponent at one's preferred distance and keeping out of his preferred distance. You are taught to be far from your opponent and to have your opponent close to you. 

2.      The same idea is applied time wise in kendo actions. "Ma" instead of "Ma-Ai" is more commonly used to describe the timing in kendo. It is to catch the opponent off guard and out of alertness. Or it is to take advantage of the weakness of the human mind, as may be momentarily exposed by the opponent. Again "Ma" is to seek for timely gaps in your and your opponents actions. An old saying in kendo says 'That your opponent may cut you on the skin but you should not lose that very moment to cut him to the bone'. 

 

Offense and Defense

A complete harmony and coordination of physical movements and mental reactions in kendo is obtained only through hard training. Any offensive move must be accompanied by defensive measures in momentary readiness and a defensive posture must be ready to turn offensive at any instant. r6 attack the opponent as a flash of sparks. Similarly, there are many well versed secret teachings in kendo, which represent high principles to be adopted into life. 

 

"Clear Mirror-Still Water" indicates a state of mind never to miss any move or happening. 

 

"Water and the Moon" is used to refer to a height achieved in kendo practice which indicates a complete and natural harmony of the mind and body. These and other kendo sayings are often used to describe or control conduct in life. 

 

Off Guard

More often beginners are found off guard in mind, in posture or in action while in a kendo match. It is an important objective, in the practice of kendo, to never be off guard mentally during a match or in any circumstance one may be placed in. To be off guard in posture or in action is attributed to a lack of training. It may also be traced to incomplete training in keeping the mind always alert. 

 

Continued Readiness

An intended strike very often does not produce the desired result, requiring a next step to be taken immediately. A kendo match is a series of actions, offensive and defensive, requiring uninterrupted concentration of mind. It does not mean, however, to attack the opponent halfway in order to save your strength. On the contrary each attempt must be made with all your might and to be as aggressive in each following action as possible. Indeed kendo is a continued training of the mind and it is not possible to learn it verbally. The philosophy of kendo is attained only by and through the body. It is a life long course of training, often extending into the later life, as many practitioners in their 70's and 80's demonstrate today.

Article from a Japanese site

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Article from a Korean site

What are the benefits of learning Kumdo?

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Respect:  Kumdo is not only about the techniques of the sword. It is about the truth of the sword. Therefore, its teachings emphasize improving character and showing respect for others. The first teaching of Kumdo is respect. Then it teaches a philosophy of protecting weaker people. Before and after training, Mook-sang (meditation time) will help you reconsider yourself, and it will help you to have a good body and soul. The philosophy you learn from Kumdo will give you good life values in this modern society. 

 

Concentration: Kumdo originated from real sword fighting, so this sport is based on real-life and death situations. The concentration that will not allow a single mistake will be gradually built through constant training and sparring.

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Stress:  Kumdo requires Ki-hap (yelling from the abdomen) to have energy exceeding that of the opponent. While yelling out loud is inappropriate in city life, yelling with powerful Ki-hap and hitting a target with a Jook-do (bamboo sword) will relieve all stresses.

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Confidence:  Kumdo is a sport for everybody. Men, women, old people, and young people can train and spar together. An older person beating a youth and a woman beating a man are scenes that can easily be seen in Kumdo. During the process of training with powerful Ki-hap and sweating with young people, you will gain more confidence in your life.

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Health:  Unlike other sports, you can feel the fast reinforcement of health in Kumdo. All the techniques of Kumdo start from Dan-jun (the power supply from the abdomen). Training in Kumdo modifies Dan-jun and helps the circulation of energy. In addition, this training gives the efficacy of acupressure on the hands and feet. So after training the body gets rid of tiredness and feels lighter.

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Spiritual Strength:  Kumdo is modified from real sword fighting. Since sword fighting is a life-or-death situation, Kumdo demands a powerful spiritual effort. "If you keep it you will lose. If you give it up you will win." This is one of Kumdo's tenets, meaning the way to get victory over your opponent is to give up all of your strength.

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Correct Posture:  Kumdo's basic stance emphasizes the straight back and open chest with stable balance between the right and the left sides of the body. Therefore, Kumdo is very beneficial in correcting one's posture and complimenting the outward presentation of oneself.

 

Self-Defense:  Kumdo minimizes unnecessary movements and optimizes the efficiency of one's speed and power. Therefore, a strike or a counter-strike executed by a black belt expert carries with it overwhelming velocity and force. A common misconception involving Kumdo is that it is useless without a sword. However, Kumdo optimizes the basic concept of applying great velocity and force to a certain point of attack with correct timing. Even with bare hands an expert Kumdo martial artist can be extremely powerful in combat. Kumdo's basic training for striking, blocking, and counter-striking an opponent improves one's reflexes muscle responsiveness, and quickness. In addition to the effects of physical training, the sense of quiet and unmovable confidence that comes from training in Kumdo will be essential in one's self-defense both physically and mentally.

 

Who can practice Kumdo?

Everyone is eligible. Kumdo is a "lifetime sport" that can be enjoyed by men, women, old people, and young people. For young people, it teaches the right attitude and respect, and it improves confidence, endurance, and concentration. Unlike some other sports, Kumdo uses a natural posture. It is a walking-standing posture that uses a straight backbone and a wide chest. This comfortable position allows older people to enjoy Kumdo without any problems.

 

Is it possible for non-athletes with weak bodies to practice Kumdo?

Kumdo is a sport of body and soul. Being an athlete and having a strong body are advantages during the beginning course. But when sparring in the advanced course, ability depends more on the spiritual side than the athletic side. Confidence, decision-making, concentration, and wisdom are necessary, and fear, panic, fright, and confusion are the diseases in Kumdo. Even though you are a non-athlete and weak, you can do well in Kumdo if you have strong spiritual strength. Once you start Kumdo, you gradually build your physical strength by controlling your amount of sport. Therefore, having a weak body is not a problem.

 

Can Kumdo make you smarter?

 Kumdo improves one's focus, insight, complex decision-making ability, and creativity. Many other martial arts favor, either by personal default or by training, one side of the body through man-made postures and stances. Kumdo's natural stance emphasizes a balance between the right and left sides of the body which results in a more balanced use of both sides of the brain. Therefore, not only is Kumdo training beneficial in one's focus and decision-making ability but also in one's mental insight and creativity.

Another article from a Japanese site

Above all, it must be stated that skill in technique and physical prowess is not the sum measure of an accomplished Kendoka. Rather, it is the kendoka's dignified bearing, respectful manners, and perseverance in practice that are the hallmarks of good kendo.

In summary, kendo is a traditional martial art that has transcended its bloody origins as a means to defeat one's external enemies to become a means to defeat one's internal enemies: fear, doubt, confusion, surprise, envy, and vanity. Kendo aims to inspire its practitioners to practice hard, to endure adversity, to stand valiantly against the strong, and to show compassion toward the weak, without self-promotion or expectation of reward.

Simple Physical Considerations

by Mark Raugas 
 

People seem to give kendo a hard time for having sharp percussive strikes. The argument goes that the motion has developed out of using the shinai, and is somehow a degeneration of a proper cutting action and that a similar motion performed with a sword would not be effective. I always thought it funny, because in the Kenjutsu I am learning, I've been told that the sword is essentially a percussive weapon, and the cutting action itself, although present and necessary, is secondary to the damage provided by the initial impact. So I was wondering if the arguments against kendo in particular by certain people, on that front, might be misplaced. 
 

After all, have you ever seen the Jigen Ryu kata where Shidachi finds an opening and starts bashing the Uchidachi repeatedly on the hand or head? The one Kim finds funny? On one level it looks weird, but on another, it isn't so out of the ordinary--more indicative of teaching people how to be axe murderers, along the lines of "once you get him once, keep bashing his head until he stops moving". Probably not the greatest for fighting multiple opponents, but it looks like it would get the job done. Those strikes looked very percussive to me. Same thing with Katori Shinto Ryu's vertical cut, chambered off the left shoulder, the one they do repeatedly in their beginning kata. 
 

Lots of people like to make fun of Kendo, and I practice an obscure Ryuha that (God forbid. . .) didn't make it into Watanabe's Bugei Ryua Daijiten, but here are some rather well-known people doing what look like to me very similar motions. So I resorted to some classical physics and tried to get a quantitative feel for a men's kiri cutting action, as well as its cousins, Kiri Oroshi and Keisa Giri, to see what the deal might be. 

I model a cut executed in a purely whipping action--rotating around the right hand, with no forward translation of the right hand at all. I assumed also that the cut stopped at the target, that is, there was no follow-through. So imagine a very focused rotating cut in the vertical plane, stopping after ninety degrees of arc. Some rough measurements put the duration of that kind of motion at no more than 0.25 seconds. Assume you have a blade that is 0.7 meters long, that weighs no more than 1 kilogram. 
 

A rotating body possesses a certain amount of energy and angular momentum. Angular momentum L = Iw where I is the moment of inertia of the body and w is the angular velocity, i.e. w = v/R where v is the tangential velocity to the circle and R is the radius of the circle. So given a fixed angular velocity (e.g. RPM), the farther out on the circle you are, the faster you will be moving. In our case, the sword rotates through 90 degrees in? a second, so it moves through 360 degrees in a second, which makes w = 2 x PI, where PI = 3.141 So w = 6.28 radians per second. 

The energy at the point of impact is E=(0.5)mv2, assuming it is all transferred to the target. So the energy imparted to the target is directly a function of the velocity, and also the radius, since we are dealing with a fixed angular velocity w. In our case, the energy is (0.5) x 1kg x (6.28 radians / second ) x 0.7 meters x (6.28 radians / second) x 0.7 meters =9.67 Joules. The momentum in the tangential direction is, in contrast, P = mv = mwr = 1 kg x 6.28 radians / second x 0.7 meters = 4.4kg m /s. 
 

To find the force acting on the target, we use the relation that FDt=mDv. Assume the penetration takes place over 1/100 of a second, that is over 1/25th of the cutting arc, which for a sword of 0.7-meter length is 6 centimeters. We are modeling a cut that stops not that deep in the skull. So F = 100mDv = 100 x 4.4 = 440 kg m/s2 = 440 Newtons. Pressure is force per unit area, so assuming the Kissaki of the blade had a surface area of .03m x .001m = .00003 m2, then the pressure exerted on the skull would be about 14.6 million Pascal. 
 

For comparison purposes, a 100-gram bullet fired at a 400-meter-per-second velocity (over the speed of sound), with a diameter of 1 centimeter, has a momentum associated with it of 40 kg m/s, and an energy of 8000 Joules. Assuming the impact times were the same, the surface area of the bullet head (assuming it flattened like a .45ACP round), is 0.0007 m2. The pressure exerted by the bullet is then 5.7 million Pascal. 
 

So assuming the person doesn't know how to cut "for real", and just swings the sword very fast in a rotating manner at your forehead, and doesn't follow through, it still carries the same pressure of a .45 ACP slug shot point blank at your head. Of course, the overall momentum is only one-eighth of the value of the .45 ACP slug. The energy of the bullet is 1000 times the energy of the sword cut--assuming the bullet comes to a complete stop within the same distance. So the initial striking motion might not be able to translate enough energy into the opponent to do much beyond breaking the skull and damaging the forebrain. That might be enough, however, to dissuade an attacker. 
 

So much for a purely circular cut. Extending the elbows and tossing the sword forward a bit as you cut, can add more velocity to the weapon. I don't have any references, but using the same guidelines, if you can extend your arms by half a meter in 1/8th of a second, then you have a speed of 4 meters/second. You get at most 4 kg m/s extra momentum from just the motion of the sword. That puts your momentum at 8.4 kg m/s. The energy goes up by 8 joules to 17.67 Joules. If you are at a running pace--i.e. springing forward very fast, your velocity be increased by another 1 m/s, for a total momentum added another 1 kg m/s to the cut, to a total of 9.4 kg m/s momentum and 18.17 Joules of energy. 
 

So how does one increase energy and momentum by a substantial amount? In the last two paragraphs, I've made the tacit assumption that the effective mass of the sword remains at 1 kilogram. When looking at the contribution from the different motions (stepping or sliding forward, extending the arms a bit, rotating the sword), I held the mass of the sword in the equations at 1 kg. I in effect assumed that at the moment you hit the object, you let go of your sword. No one really does that. Instead, people seem to try to lock the sword with their bodies and use the power of their legs hips, and waist to give a more solid cutting action. Now, what happens if we use the total mass of the system (person + sword) in some of the previous equations? Notice, the sword is still taken to not penetrate deeply into the target--purely a surface-level cut. 
 

If we use the mass of the person in the contribution from extending the arms, assuming only half of the mass of the person can be put ideally into that motion, by twisting the hips and extending the arms and rocking slightly, we increase the momentum by 25kg x 4 = 100 kg m/s and the total energy by? x 25 x 4 x 4 = 100 Joules. 
 

If we use the mass of the person in the contribution from stepping or sliding forward, assuming the person is 50 kilograms, we increase the total momentum instead by 50kg x 1 m/s = 50 kgm/s and the total energy by ?x 50kg x (1m/s) x (1m/s) = 25 Joules. Dropping the center of gravity adds energy to the cut, for example, dropping the center of gravity by 10 cm results in a 50-joule increase in energy for someone who has a mass of 50kg. The momentum increases by 75 kg m/s. Then the total numbers for the sword become 230 kg m/s momentum and 210 Joules. This is now about 6 times the momentum of the bullet, but only about 3% of its energy. 
 

If we use the total of the sword + person in the rotational cutting component, we would increase again by 220 kg m/s to a total momentum of 550 kg m/s, and a total energy of about 450 Joules. The problem is, that I am not sure if I can justify using the total mass of the person in the rotational cutting action. I imagine it would factor in the ability to keep the cut on its path and stop correctly in the target, so take all these numbers as an upper bound, given the assumed velocities. The speed of the weapon is very important as far as energy is concerned since it scales like velocity squared. A cut moving twice as fast would yield four times as much energy. So the faster the cut, and the more you can bring your body mass into the cut, the more energy and momentum you wind up bringing to bear on this simulated target. This idea of bringing the body mass into the cutting action may very well be what people refer to as "cutting action." 
 

Also, assuming a 1cm wide wound channel along the length of a Keisa-giri, for example, cutting only with a 20cm long monouchi, along 90 degrees of arc, would yield .0002 meters cubed of tissue displaced. Versus a 1 cm diameter bullet traveling through someone, at most 40cm lets say (horizontally through the torso), giving a wound channel of .00005 So the wound channel of the sword has four times the volume as that of a bullet. If the bullet flattens to four times its size, lead being soft, the numbers on that end of things could be more or less equal. However, the cross-sectional area of the cut is much larger than that of a bullet. A greater number of physiological systems could be affected by a single cut transversing through the arteries at the base of the neck and downward through the lungs and diaphragm into either the liver or the spleen, than a single bullet. So those ideas of total system shock might very well make up for the smaller energy associated to a single sword cut. 
 

"Cutting action" might also serve to pull the blade out of the opponent so that it does not become stuck. Having a blade get stuck would not be the best thing to happen to someone on the prototypical medieval battlefield. Or, in the case of a men-kiri, or Kiri-oroshi, the downward weight displacement might serve to drive the dead opponent downwards in place, as opposed to letting him fall forward onto you. The large momentum of those actions, akin to a pushing action as opposed to a slapping action, might serve to do that. 
 

In conclusion, factors for a "good" cut include primarily the velocity at which the mono uchi is moving and the amount of body mass one can link with the cutting action. Assuming you can link your body with the cut, any forward motion and downward drop of the hips will add substantial amounts of momentum and energy to the cutting action. However, a purely naive cut without any of these amplifying factors still can exert pressure onto a target on the order as that an average bullet might. Which all might very well be nothing new to those who read this, in that case, look at it as a complementary description of what ki might mean in Newtonian terms.

Interesting article on sword strike

Recommended Readings

A book of five rings by Miyamoto, Musashi

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The Shambala Guide to Kendo by Kiyota, Minoru

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Complete Kendo by Donohue, John J.

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Zen in the martial arts by Hyams, Joe

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Ki and the Way of the Martial Arts by Tokitsu, Kenji

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The code of the samurai by Daidoji Yuzan

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Samurai: The Weapons and spirit of the Japanese Warrior by Sinclaire, Clive

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The life-giving sword: Secret teachings from the house of the Shogun by Yagyu, Munenori

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Castles of the samurai: power and beauty by Mitchelhill, Jennifer

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The Heart of Kendo by Craig, Darrell

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Kendo: the definitive guide by Ozawa, Hiroshi

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Zen and the way of the sword: Arming the samurai psyche by King, Winston L.

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The unfettered mind: writings from the Zen master to a master swordsman by Takuan Soho

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The warrior's path: wisdom from contemporary martial arts masters, Shambhala

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The lone samurai: the life of Miyamoto Musashi by Wilson, William Scott

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Samurai fighting arts: the spirit and the practice by Tanaka, Fumon

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Iai: The art of drawing the sword by Craig, Darrell

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Books Written by Turnbull, Stephen R.

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