HACHIHON-ME TSUKEKOMI SITUATION AND INTENTION Whilst sitting, a standing opponent advances and attacks with a cut to the forehead. One step forward is taken to avoid Kirioroshi. Followed by a second step to counter attack to the opponent’s forehead. However this cut is insufficient. Therefore the opponent is chased with one more step to finish him with a second Kirioroshi. This is followed by a strong Zanshin to complete the Tsukekomi form. Right foot to forward right. At the same time start to draw the sword a little down and forwards. Standing up fully, clearly draw the sword.

MOVEMENT

You are in a sitting position when an opponent walks forward and takes Kiroroshi action at your head.

a] The opponent moves close. Therefore Metsuke must be on the opponent’s eyes. From the outset, look up slightly.

b] Raise the body and take one step with the right foot to forward right. At the same time start to draw the sword a little down and forwards. Standing up fully, clearly draw the sword

c] Step back with the right foot to the same level of the left one and cover the head and left shoulder with the blade. This action has two meanings.

To avoid the opponent’s Kirioroshi which might reach your hand.

This move spontaneously turns into Jodan no Kamae enabling an immediate counter action. Therefore the complete objective of this move is the opponent’s Kirioroshi, which ends up cutting nothing and ends up lower than horizontal.

d] The moment Kirioroshi is avoided, take up Morote Jodan with both feet in line. At this moment the upper body is rather stretched back and upward.

e] Immediately take ? steps forward sharply and quickly and cut the opponent’s Shomen (forehead) which is slightly bent towards you.

f] Pause to check the result of the opponent’s reaction. Then adopt a second Jodan followed by another Kirioroshi and step forward widely right foot, then left. The body posture of the second Kirioroshi should be in Iai-goshi. Both feet must be in line.

g] At first maintain Iai-goshi. Then move the right foot one pace backwards gradually raising the body into Hidari Jodan Kamae.

h] Kneel down onto the right knee and lower the blade quietly and carefully into a kneeling Seigan position.

i] Holding the same posture turn the right hand to grip the Tsuka in a reverse manner and turn the right grip over. At this moment the left hand is attached to the Mune to support the right hand. The edge is pointing forward to take Noto action. Gripping with the right hand pull the blade to the right until the grip reaches the right shoulder line. The thumb of the left hand pinches the blade to wipe away the blood.

j] Swing the sword front downwards to take Noto action.

k] Move the left foot a little to stand up. Then pull the right foot to meet the left and move back one pace before starting the next movement.

EXPLANATION OF THE MAJOR POINTS

CHARACTERISTICS OF THE TECHNIQUE

The opponent is the pacesetter in this technique. He attacks without giving one time to counter attack. This is the reason that one steps back, inevitably drawing the sword to avoid the opponent’s Kirioroshi, then a counter attack. Because the opponent’s attack is so sudden, the only way to win is stepping back and drawing.

THE POSTURE WITH THE HALF DRAWN SWORD

Take a half step forwards right of the Seiza position.

Draw the sword half out with an upright upper body.

Metsuke is focused a little upwards towards the opponent’s eyes.

The sword edge is pointing upwards in preparation to counter attack under any situation or circumstance.

The way to avoid the opponent’s attack by stepping back is:

Stand up with the sword drawn out. Cover the head and left shoulder to assume Jodan with the Kissaki pointing back-upwards. At the same time bring the right foot backwards to meet the left foot. In other words the position is close between the opponent and defender and resembles Ukenagashi.

ATTACKING MOVEMENTS

Because the defender has stepped back the attacker has missed his target and has lost balance and he is leaning forward. This is the moment to cut the opponent’s forehead. The injury sustained from this cut is not acute. However the opponent hesitates for a second. This is the moment that the second Kirioroshi is made. Nevertheless the first cut Kirioroshi should be quick and sharp, even although it is not powerful enough. The second Kirioroshi does not need to be so fast but should be a positive action with body balance fully primed including Iai-goshi.

ZANSHIN IN JODAN

After the second Kirioroshi, Zanshin is pulling the right foot backwards and adopting Hidari Jodan. In a normal situation the Zanshin movement is taught as a rather quick movement after Kirioroshi. The logic of taking Hidari Jodan to show immediate Zanshin is perhaps because of the following reasons;

The first Kirioroshi was not good enough

The second Kirioroshi was good enough but one is not sure of the outcome.

Jodan is assumed to show Zanshin and at the same time is a Kamae in preparation to take the next action if need be. However the opponent has fallen. So, start the next action carefully. This method was taught and shown by Mori Shigeki Sensei.

SEIGAN (NO KAMAE) FROM JODAN ZANSHIN

a] Scrutinise the opponent from the Jodan position to make sure he is sufficiently injured. Then carefully assume Seigan position by slowly dropping the right knee. Zanshin and spirit for reassuming an attack must be held until the right knee touches the ground.

b] The spiritual Zanshin on this fallen opponent is below the horizontal. Therefore the physical Metsuke should also be so. Mental, physical Metsuke and the Kissaki line should meet the fallen opponent. The word Seigan is normally used in referring to equally facing an opponent from either a Tachiai (standing) or Seiza position But this Tsukekomi Seigan should be different, as the opponent is on the ground. Metsuke at the same height and the Kissaki pointing at the fallen opponent contradicts logic. Also when finishing Noto, Metsuke only on the opponent and the Tsuka-gashira pointing towards Shomen doesn’t make any sense at all.

CHINUGUI

After making sure that the opponent cannot continue with any further action, regrip the Tsuka in a reverse manner, keeping the blade still. Releasing the left hand grip place it under the blade near the Tsuba. The blade rests on the left hand palm. Twist the right grip inwards pointing the edge toward Shomen. Then, pull the blade to the right until the right fist reaches out in front of the right shoulder. The blade is pinched between the left hand thumb and index finger to wipe off the blood. The position of this left hand is about half way in front of the left knee. Following this the left hand grips the Koikuchi to do Noto. In doing Chinugui use the Tanden, pushing forward and downwards to create extra force.

KYUHON-ME

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