From Tooru Sato-sensei
Below are a compilaton of notes from Sato-sensei as to what he looks for when grading a practitioner – there is both a text and table version below depending on your reading preference.
Appearance/Attitude
Keikogi and hakama are worn properly
Mental Attitude
Heart is serene and spirit full.
Kamae
Weapon is held on the center line with no opening. The tip of the weapon is correctly positioned. Feet positioning is correct and front foot points forward towards partner.
Ashisabaki
Foot work is done properly with the toes gripping the floor. Do not mix up okuriashi and tsugiashi.
For the Shuugisha – can distinguish okuriashi, tsugiashi and ayumiashi.
Crossing of weapons
Distance is correct.
Gaze
Focus should be on opponent’s eyes.
Chokutotsu
For the Motodachi – receiving and absorbing correctly
For the Shuugisha – right hand ends in front of left chest with the left arm stretched out. Can show use of hips. Unity of mind, sword and body.
Renzoku tsuki
For the Motodachi – always keeping the correct distance
For the Shuugisha – can thrust correctly without losing posture. Back foot is not dragging behind.
Dattotsu
For the Motodachi – pushing the weapon tip slightly to the right.
For the Shuugisha – changing sides in a small, fast movement and using the hips fully.
Katotsu
For the Motodachi – pushing up with the left elbow with a small, quick motion then receiving on shitadou.
For the Shuugisha – right wrist uses same motion as chokutotsu. Don’t pull the weapon with front hand to thrust and ensure are not pulling backwards. Thrust should be straight.
Haraizuki / Seme
Harai and thrust should be done in one movement.
For the Motodachi – close the distance in order to be able to perform harai close to the kote. Do not step back before the shuugisha performs harai.
For the Shuugisha – migi harai performed with impact close to the kote. Hidari harai is performed with back of the weapon. In shita no harai, right hand goes up to the chest and performs rowing sweep close to the kote.
Haraizuki / Ouji
For the Motodachi – thrust is correct
For the Shuugisha – migi, hidari and shita harai performed quickly with a small harai close to the kote followed by immediate thrust. Do not step back and thrust without moving your feet.
Ouyouwaza
Avoid excessive vocalising.
For the Motodachi – perform at correct distance
For the Shuugisha – migi no harai waza: debana haraizuki should be small and fast. When you do harai offensively do not step in too deep. After thrusting your foot work should be smooth.
Hidari no haraizuki: perform correct harai using back of the weapon. When you do harai offensively do not step in too deep.
Shiai (about 1 minute)
Do shiai with a full spirit. Maintain correct posture and use proper footwork. Always use your favourite techniques and do not forget zanshin. Do not try to ‘stage’ your shiai. Make sure your bogu is all properly attached.
| Item | Motodachi | Shuugisha | Note |
| Appearance / Attitude | Keikogi and hakama are worn properly. | ||
| Mental attitude | Heart is serene and spirit replete. | ||
| Kamae | The weapon is on the center line.There is no opening.The tip of the weapon is in correct position.The foot position is correct and the left points straight toward. | ||
| Ashisabaki | You can do proper foot work and you grip on the floor with toes. | You can do proper foot work and you grip on the floor with toes.Can distinguish okuriashi, tsugiashi and ayumiashi. | Do not mix okuriashi and tsugiashi. |
| Crossing of swords | The distance is correct. | ||
| Where to gaze at | Focus on your opponet’s eyes | ||
| Chokutotsu | receiving/absorbing correctly | Unity of mind, sword and body. Your right is in front of your left chest and your left arm is streached out. Can use the hips. | |
| Renzoku tsuki | Always keep the correct distance. | Can thrust crrectly without losing the correct posture. Do not drag the back foot. | |
| Dattotsu | Pushing the tip of the sword slightly to the right. | Changing side small and fast using the hips completely. | |
| Katotsu | Push up with the left elbow small and quick then receive shitadoh. | Do not pull the weapon to thrust. Do not pull back your hips. The right wrist uses the same motion as chokutotsu. | Thrust straight forward. |
| Haraizuki / Seme | Close in the distance to be able to perform harai close to the kote. Do not step back bofore the shuugisha performs harai. | Migi harai is performed with the blade close to the kote. Hidari harai is performed with the back of the blade. In shita no harai, right hand goes up to chest and perform mowing sweep close to the kote. | Harai and thrust should be done in one rythm. |
| Haraizuki / Ouji | Thrust correctly. | Migi hidari and shita, perform quick and small harai close to the kote and thrust immediately. Do not step back and thrust without moving your feet. | |
| Ouyouwaza | Perform it at correct distance. | Migi no harai wazaDebana haraizuki should be small and fast.When you do offensive harai do not step in too deep. After thrusting your foot work should be smooth. Hidari no haraizukiPerform correct harai using the back of the blade.When you do offensive harai do not step in too deep. | Excessive vocalization needs to be avoided. |
| Shiai (about a minute) | Do shiai with replete spirit. Maintain correct posture and use proper footwork. Always use your favorite technique. Do not stage shiai. Do not forget zanshin. Make sure your bogu is prperly attatched. |
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KATA NOTES
All the kata should be done as if in a real fight, not a demonstration. Both practitioners’ breathing is synchronized and they should follow the basics and show dignity. Everything (the way you dress, kamae, footworks, the way to perform the techniques, maai, zanshin, the way you step back, naore movement) should be done according to the principles. Always perform them with a calm spirit/heart.
Judge the candidate with these points of view concerning which dan (4,5,6,7) they are applying for.
Kamae
For the Motodachi – lead shikata with correct posture
For the Shuugisha – correct posture with full spirit
Ashisabaki
Use your toes and the tip of the weapon should remain steady and not waver.
Order of kata
Know the correct order.
Ipponme (sen no waza)
For the Uchikata – good posture when receiving tsuki. When stepping back return to original position. When lowering mokuju to conclude kata, the tip is just slightly open to the left.
For the Shikata – Show you’re taking the initiative when doing chokutotsu. Demonstrate zanshin. Keep the body in sideways in correct hanme. Ensure your gaze is locked onto your opponents. Make sure to return to the original position. When crossing the weapons they should neither push each other or be apart.
Nihonme (sensen no waza)
For the Uchikata – should only take two and a half steps when moving in to remain just outside maai. When shikata performs dattotsu your weapon needs to be slightly to the right.
For the Shikata – Pressure to the omote side and then thrust correctly. Movement to evade should be fast and small. Keep your gaze locked onto your opponents.
Sanbonme (sensen no waza)
For the Uchikata – assume gedan and only take two and a half steps when moving in to remain just outside maai. When shikata pressures you raise your weapon slightly to create a clear path to katotsu.
For the Shikata – Pressure the uchikata’s upper body and thrust katotsu. Your right wrist must be in the correct position and the left elbow stretched out correctly (not completely locked). When performing zanshin pivot slightly to the right. Keep your gaze locked onto your opponents.
Yohonme (sensen no waza)
For the Uchikata – you should respond to shikata’s gedan with slight movement from above your chudan. Only take two and a half steps when moving in to remain just outside maai. Pressure shikata’s gedan by lowering your kensen.
For the Shikata – Begin in gedan no kamae. When uchikata tries to suppress your weapon down evade and thrust to their nodo – do not touch their throat but also do not be too far away. Your right hand should be in front of your left breast. performing zanshin pivot slightly to the right. When performing zanshin pivot slightly to the left.
Gohonme (gonosen no waza)
For the Uchikata – show your strong intent to attack.
For the Shikata – Do not let uchikata strike you. Perform migi harai tsuki with correct maai and a sharp thrust. When you bring the weapons back together they should neither push at each other or be apart.
Ropponme (gonosen no waza)
For the Uchikata – when shikata is at striking distance immediately perform dattotsu.
For the Shikata – Take two and a half steps and perform hidari harai tsuki; the harai should be performed using mainly the right hand. Stay at that distance, do not step back. After your thrust, take a big step back while withdrawing the mokuju and demonstrate strong zanshin.
Nanahonme (gonosen no waza)
For the Uchikata – assume slightly higher chudan and having reached the correct striking distance immediately thrust at shikata’s shitadou.
For the Shikata – Take two and a half steps and perform shita harai; right hand should be above chest and there should be no step back during harai.
Happonme (gonosen no waza)
For the Uchikata – assume geden and having reached the correct striking distance immediately pressure shikata’s shitadou. Pressure nodo in order to force shikata to push your weapon up. When receiving makiotoshi avoid letting your kensen touch the floor.
For the Shikata – Take two and a half steps and put pressure on uchikata’s gedan. Step back to perform the makiotoshi form the uchikata’s nodo tsuki thrust. Pivot left and thrust at do. The makiotoshi and do tsuki should be part of one continuous movement.
| Kata of jukendo | Uchikata | Shikata | Note |
| Kamae | Lead shikata with constant correct posture. | Correct posture with replete spirit. | |
| Ashisabaki | Use your toes and the tip of the sword should not lose the way. | ||
| Order of kata | Understand the order correctly. | ||
| Ipponme (sen no waza) | Good posture when you receive tsuki.When you step back go back to the original position.When you lower the mokuju to conclude the kata, the tip is slightly to the left. | Taking the initiative when doing chokutotsu. Demonstrate zanshin. Keep the body sideways. Keep your gaze fixed. Go back to the original position. When you cross the weapon, they should neither push each other nor be apart. | Kata should be done like a real fight, it’s not a demonstration.(This apply all kata through 1 to 8.) |
| Nihonme (sensen no waza) | Should take two steps and a half. When shikata performs dattotsu, your weapon should be slightly right. | Pressure to omote side, then thrust correctly.Evading movement should be fast and small.Keep your gaze fixed. | |
| Sambonme (sensen no waza) | Assume gedan and take two steps and a half.When shikata pressures raise your weapon slightly and create an opening to katotsu. | Pressure the upper body of uchikata, thrust katotsu. Your right wrist should be in a correct position. The left elbow should streched out correctly. When performing zanshin, pivot slightly right.Keep your gaze fixed. | Uchikata should not stretch the left elbow completely. |
| Yonhonme (sensen no waza) | Your chudan should respond to shikata’s gedan pressuring it from above.Take two steps and a half.Pressure shikata’s gedan by lowering your kensen. | Gedan no kamae.When uchikata try to surpress down your kensen evade and thrust uchikata’s nodo. Your right hand should be in front of your left breast. Do not touch the throat and do not apart from it either.When performing zanshin, pivot slightly left. | |
| Gohonme (gonosen no waza) | Show your strong intent of attacking. | Do not uchikata let strike you, perform migi harai tsuki with correct maai and sharp thrust. When you cross the weapon, they should neither push each other nor be apart. | |
| Ropponme (gonosen no waza) | When shikata is at striking distance, perform dattotsu. | Take two steps and a half and perform hidari harai tsuki. Stay where you are, do not step back. After you thrusted, take a big step back while pulling the mokuju and demonstrate zanshin. | When you perform harai, use mainly the right hand. |
| Nanahonme (gonosen no waza) | Assume slightly higher chudan, reach the striking distance and thrust at shikata’s shitado. | Take two steps and a half and swipe away uchikata’s shitado. Your right hand should be above your chest.Do not step back when you do harai. | |
| Happonme (gonosen no waza) | Assume gedan, reach the striking distance and pressure shikata’s shitado. Pressure nodo in order to force shikata to push you up.When you receive makiotoshi, try not to knock the floor with your kensen. | Take two steps and a half and pressure down shikata’s gedan. Step back to do makiotoshi on uchikata’s nodo tsuki. Pivot to the left and thrust do. Makiotoshi and do tsuki should be in one movement. | |
| General idea for kata | Both practitioners’ breathing is synchronized and should follow the basics and show dignity. Everything (the way you dress, kamae, footworks, the way to perform the techniques, maai, zanshin, the way you step back, naore movement) should be done according to the principles. | Always perform with serene heart. | |
| Judge the candidates with those points of view concerning which dan (4, 5, 6, 7) they are applying. |