written

Shodan essay

To be is to internalize and externalize. When the process is disrupted, a chiasm forms to stabilize change like the twist of DNA, the optic chiasm, the brain to body, joints, emotions, language, rationality, and yarn. Mastering breath, the first brain to body chiasm, through footwork shortens the mental then physical pathways between internalizing and externalizing needed to execute ki ken tai ichi well.

Suri ashi connects the palms of the feet with the floor to feel balance. Heels are fluid, hovering when needed or resting on the floor supporting movement when not. The feet mimics a walking gait, shifting between stillness and movement for the kendoka to understand balance, instructing the body to remain center. Ayumi ashi has the same walking gait while placing strain on balancing through the heel. By articulating the joints of the ankles and knees under stress and without resting, momentum can be generated.

Okuri ashi places one foot forward, using both to balance, the back to push, and the front to use the momentum from the back to continue moving forward. The ankles roll along with the knees: alternating back to front - the back tense and the front loose then the back loose and the front tense - the articulation exercised in Ayumi ashi. When a kendoka strikes suburi with okuri ashi, this pattern strengthens precision in the front and power in the back. There is intention and purpose in moving using one foot to guide and the other to generate force.

Hiraki ashi uses the articulation from ayumi ashi to rotate the body. Each foot guides and also stacks with the knees to generate force becoming the forward foot in the staggered initial position. As a kendoka strikes in a sayu men pattern, the pattern of articulation in the kendoka's leg joints are mirrored in the arms. The hands use the shinai to guide them through space like the feet uses the floor. The elbows execute the same loose and tense structure of the knees providing the torque for tenouchi.

Tsugi ashi centers breath in footwork. From okuri ashi, using only the muscles running from the medial exterior abdomen to the pelvis, then down the inner thighs, the twist behind the knees, and finally inserting into the heels, tensing in unison to lunge forward. As the cascade of muscles stiffens and extends for lateral movement toward a kendoka's goal, the arms mirror the legs with muscles radiating from the sternum to the pits and inner upper arm, beginning the arch of a swing. Breath is taken through the nose providing fuel for this act of ki ken ti ichi. When released, this breath loosens the muscles tensing to push down into tenouchi and forward through zanshin.

This breath is the beginning and end of the strike. By taking in breath - by internalizing - the diaphragm balances the upper body while the lungs stabilize the lower body. By releasing that breath - by externalizing - a kendoka merges their desire with reality, placing a strike and claiming their act. All acts done in dojo from reigi to footwork to suburi are reminders of the relationship between breath and movement, breath and action, breath and intention. Ki ken ti ichi is the fundamental result of how a kendoka relaxes completely striking.