History UsefulNotes / Kenjutsu

So, let's start thinking about those. I'll be using this as a sandbox, and editing it as I go.

One of the earliest schools to solely focus on iaijutsu techniques. Focusing on everyday circumstances wherein one might need to draw one's sword quickly in response to an attack, it (in contrast to all other schools mentioned above) lacks any kind of exercises against a partner that already has a weapon drawn; in fact, most exercises are done without a partner altogether.

The afore-mentioned schools, like most old Japanese sword arts, were mainly focused on sword vs sword exercises. There were, however, a few famous schools with different areas of expertise, such as those outlined below. ''(to be continued)''

'''Famous schools:

Some schools taught techniques to avoid an attack, others taught techniques to flowingly move the enemy's sword off the centreline as part of one's regular attack. Generally, however, it was considered far more preferable to just attack before the enemy has a chance to react. Secondary to that is to ruin the opponent's technique and then attack, and tertiary is to let the opponent perform that technique and then make one's attack in response. This philosophy is very similar to the one found in German sword-fighting schools, and probably arose from similar combat experiences.

* ''Waki'': Rear stance, philosophically associated with the element of Metal. The left foot is positioned forward, and the sword is brought to the back and points backwards. As it could hide the sword behind the user's body, it was commonly called the "hidden guard" in many ryu. Ostensibly an awkward stance, can actually perform various attacks rather smoothly.

The word "kenjutsu" can either refer to Japanese sword arts as a whole, or to the subset of teachings that focus on action occurring after the two combatants have already drawn their swords. Another branch of Japanese sword arts is ''iaijutsu'', which focuses on situations from before the threat has been noticed, to how the draw to kill the enemy as quickly as possible, to how to ensure there are no remaining ones nearby. A subset of iaijutsu is ''battojutsu'', which, depending on definition, is similar to iaijutsu but focuses on multiple cuts after the draw and includes test cutting practice as part of its curriculum.

Despite its curved, single-edge construction, the katana was not limited to slicing; its structure made it easy to withstand chopping movements, as well. For that reason, the most efficient way to cut would be to blend the two motions, so that the arc of the sword-tip is larger than the arc of the hands; like this, the sword would enter a target obliquely and come out straight perpendicular to its trajectory. Of course, since katana were scarcely heavier than 1kg, relying on the sword's weight was not sufficient to cut that way; the practitioner had to utilise his entire body (left hand giving as much power as the right, proper footwork, torso speed) to correctly cut. It was overwhelmingly common to hold it with both hands; however, a handful of schools also taught techniques with a sword in each hand (one katana, one wakizashi), or (even rarer) a katana in one hand and its scabbard in the other.

Uniformly, the usual clothing for a kenjutsu practice has been a ''gi'' (large jacket) and ''hakama'' (wide pleated pants), the common everyday clothes of feudal Japan. Colours did vary across schools, but the basic shape of the clothing has remained more or less the same amonst all of them.

Due to the design of the katana as a single-edged curved blade, its cuts are generally made with a slicing motion by stretching the arms, wrists and sword to full extension and pulling the sword backward upon or immediately before contacting the target area, creating an elliptical blade path rather than a circular one. The slicing motion, when combined with the momentum of the sword and the rotation of the hips and torso, gives the katana its cutting ability. The slice is most pronounced in the draw cuts of iaijutsu.

Despite occasional modern skepticism towards its efficiency, the most common fundamental technique amongst schools was a cut to the head. Among other possible targets were the arms or torso for cutting, or the throat and chest for thrusting. The actual techniques are, of course, limitless, but those are the ones found most commonly between schools.

Some schools taught techniques to avoid an attack, others taught techniques to flowingly move the enemy's sword off the centreline as part of one's regular attack. Generally, however, it was considered far more preferable to just attack before the enemy has a chance to react.

Different schools taught different types of footwork. There's a wide gamut of walking methods taught: Some ryu walk ordinarily, others use the heels to support all of the weight, others don't even let them touch the ground. As time went on, the steps taken were refined, to the point that modern kendo teaches several different types of steps that one can take, depending on direction and foot order.

!!!'''Cuts'''

''Work in progress.''

Due to the design of the katana as a single-edged curved blade, its cuts are generally made with a slicing motion by stretching the arms, wrists and sword to full extension and pulling the sword backward upon contacting the target area, creating an elliptical blade path rather than a circular one. The slicing motion, when combined with the momentum of the sword and the rotation of the hips and torso, gives the katana its cutting ability. The slice is most pronounced in the draw cuts of iaijutsu.

Despite its curved, single-edge construction, the katana's movements of specialisation were not slicing motions. Although it could certainly be used that way, especially if gripped one-handed, such an attack would be highly ineffective against leather armour: therefore, virtually all kenjutsu schools taught "chopping" cuts wherein the target met the sword's edge square on. Of course, since katana were scarcely heavier than 1kg, relying on the sword's weight was not sufficient to cut that way; the practitioner had to utilise his entire body (both arms used in unison, proper footwork, torso speed) to correctly cut. It was overwhelmingly common to hold it with both hands; however, a handful of schools also taught techniques with a sword in each hand (one katana, one wakizashi), or (even rarer) a katana in one hand and its scabbard in the other.

The word "kenjutsu" can either refer to Japanese sword arts as a whole, or to the subset of teachings that focus on action occurring after the two combatants have already drawn their swords. Another branch of Japanese sword arts is ''iaijutsu'', which focuses on situations from before the threat has been noticed, to how the draw to kill the enemy as quickly as possible, to how to ensure there are no remaining ones nearby. A subset of iaijutsu is ''battojutsu'', which, depending on your definition, is similar to iaijutsu but focuses on multiple cuts after the draw and includes test cutting practice as part of its curriculum.

* The blade and/or the handle are oriented towards specific directions when placing the sword on the floor (e.g. for torei[[hottip:*:(bowing to the sword)]] or giving it to someone else. Exact details vary.

Despite its curved, single-edge construction, the katana's movements of specialisation were not slicing motions. Although it could certainly be used that way, especially if gripped one-handed, virtually all kenjutsu schools taught "chopping" cuts wherein the target met the sword's edge square on. Of course, since they were scarcely heavier than 1kg, relying on the sword's weight was not sufficient to cut that way; the practitioner had to utilise his entire body (both arms used in unison, proper footwork, torso speed) to correctly cut. It was overwhelmingly common to hold it with both hands; however, a handful of schools also taught techniques with a sword in each hand (one katana, one wakizashi), or (even rarer) a katana in one hand its scabbard in the other.

* ''Jodan'': High stance, philosophically associated with the element of Fire due to its aggressiveness. The sword is held above the head, ready to strike down in a powerful vertical or diagonal cut. Most basic cuts can be executed instantly from here, without the need to arm the sword first. ''Jodan'' is usually taken with the left foot forward (left-jodan), to allow the torso's rotation (as the right foot is brought forward) to add to the sword's speed.
* ''Gedan'': Low stance, philosophically associated with the element of Earth due to its immovability. Here, the sword is pointed down at the enemy's knee. It's meant to be defensive and/or lure the opponent in for an attack, analogous to ''alber'' in German tradition. From ''gedan'', one can thrust at the lower body or bring the sword up in a rising cut to counter against the enemy's attack.

As with any type of swordsmanship, movement is vital in kenjutsu. Rather than defending against an attack, it's preferable to avoid; in other words, don't be there. Hence, footwork, or ''ashi-sabaki.'' The most common stance in kenjutsu is called ''sankakudai,'' or "great triangle" in reference to the foot position. The lead foot (in most cases the right) points directly forward. The trailing foot is angled anywhere from 30 to 45 degrees outward. Different ryu will vary on the width and length of this stance; a few (mainly the more modern ones) prefer to keep the feet parallel.

Sankakudai lends itself well to angular movements. Movement directly forward and backward is a little more awkward, but not impossible. There are three main types of footwork.
* ''Okuri-ashi'': Sliding footwork. In this footwork, you press on the floor with your trailing foot (relative to the direction you're going), move the lead foot into position and readopt your stance by repositioning your trailing foot.
* ''Tsugi-ashi'': Shuffling footwork, or joining footwork. It works basically the same as ''okuri-ashi'', but the order is reversed: you move your trailing foot up to join the lead one before moving the lead foot.
* ''Ayumi-ashi'': Crossing footwork. This is the most "normal" of the bunch as far as foot movement (ie, it looks like normal walking.) The difference is, it's still a semi-slide, and the motion feels more like "pushing your belly forward with your back foot" rather than "picking a foot up and placing it forward".

The idea behind all this shuffling is to make the stance more stable, and less likely to betray one's movement to the enemy beforehand. Also, one can stop and maneuver more quickly; it's harder to change direction if one's foot is lifted in the air, whereas if the foot is closer to the ground, the direction of movement can be altered in a fraction of a second.

* ''Hasso'': A side stance, philosophically associated with the element of Wood due to its uprightness. Superficially similar to left-jodan, hasso places the left foot forward, with the sword held beside the face. Hasso portrays a less aggressive intent than jodan. It was devised mainly for waiting to see what an opponent would do, or as a jodan-substitute when the one's helmet was too ornate to use jodan. The closest European analogue is ''Vom Tag.''

* ''Chudan'': Centre stance, philosophically associated with the element of Water. The sword is pointing towards the opponent, at the height of his sternum or throat or eyes, depending on school. The pommel is one or two fists away from the user's body, though of course this varies with the school and, indeed, the individual. Perfect for thrusting, this stance also allows for cutting movements if the user can safely arm. A close analogue in German longsword would be ''pflug.''
* ''Jodan'': High stance, associated with the element of Fire. Different ryu vary on the exact angle and placement of the sword during ''jodan.'' The general idea is that the sword is held above the head, ready to strike down in ''shomen-uchi'' or a similar cut. Most basic cuts can be executed instantly from here, without the need to arm the sword first. ''Jodan'' is usually taken with the left foot forward (left-jodan), to allow the torso's rotation as the right foot is brought forward to add to the sword's speed.
* ''Gedan'': Low stance, associated with the element of Earth. This is the last of the pointed guard stances, in which the sword is pointed down at the enemy's knee. It's meant to lure him in for an attack, analogous to ''alber'' in German tradition. From ''gedan'', you can aim a thrust to the knees, legs or groin, or bring the sword up in ''kiriage''[[hottip:*:rising cut]] to counter against the enemy's attack.
* ''Hasso'': A side stance, associated with the element of Wood. Superficially similar to left-jodan, ''hasso'' places the left foot forward. The sword is held beside the face or shoulders, with the specifics varying from one ''ryu'' to another. The idea is that you're supposed to look like the ''kanji'' for "tree" if you take the stance properly. ''Hasso'' portrays a less aggressive intent than ''jodan''. It was devised mainly for waiting to see what an opponent would do, or - on the rare moments in open battle when a ''samurai'' would use his sword - the existence of ornate helmets that made ''jodan'' impossible or inconvenient. The closest European analogue is ''Vom Tag.''
* ''Waki'': Rear stance, associated with the element of Metal. It has your left foot forward with the sword pointed down and behind you, somewhat opposite to ''gedan.'' It's commonly called the "hidden guard." The sword's position concealed its length before sword lengths became fixed by law in Japanese society. From ''waki'', you can transition into ''kiriage.''

If one were to compare schools of Japanese fencing to schools of European fencing, one would find many similarities, but there are also significant differences. Due to the consistent nature of katanas, the design change in which is near negligible compared to alterations in European swords, the Japanese schools differentiate from one-another on much more subtle basis. Where a European school might differ from another on basic technical grounds, a Japanese school is more likely to define its differences in terms of how to achieve an end result (e.g. an attack to the head) rather than what this end result is. This is not to say that the European arts lack subtlety, but the context of Japanese sword arts demanded a higher emphasis on matters that some would consider quite minor, such as "one school lets the sword-tip fall back as they arm, its sibling school does not".

[[UnusualEuphemism Weeaboo fightan' magic.]]

Ahem. ''Kenjutsu'' is the historical conglomerate of Japanese sword arts, sometimes referred to as JSA. [[KatanasAreJustBetter The way most fictional media tells it,]] students of the Japanese sword can achieve [[ImplausibleFencingPowers insane levels of skill and do things that outright defy physics and logic.]] Like all types of propaganda, the anecdotes about users of the ''katana'' have some basis in fact, with the amount of truth varying from source to source. ''Kenjutsu'' schools often have a well-preserved lineage, unlike, unfortunately, its [[{{UsefulNotes/EuropeanSwordsmanship}} European counterparts]]. Because of this, we know a lot more about how the ''samurai'' used their weaponry in battle than we do about how knights and men-at-arms of Europe used theirs, despite the misconceptions surrounding Japanese weaponry and the growing body of knowledge of European swordplay.

''Kenjutsu'' can either refer to Japanese sword arts as a whole, or to the subset of teachings that focus on action occurring after the two combatants have already drawn their swords. Another branch of Japanese sword arts is ''iaijutsu'', which focuses on situations from before the threat has been noticed, to how the draw to kill the enemy as quickly as possible, to how to ensure there are no remaining ones nearby. A subset of ''iaijutsu'' is ''battojutsu'', which, depending on your definition, is similar to ''iaijutsu'' but focuses on multiple cuts after the draw and includes test cutting practice as part of its curriculum.

''Kenjutsu'' was developed, on the whole, entirely within Japan during the periods of isolation. This is why it sometimes appears, to students of European swordplay, to be an example of CripplingOverspecialization. The ''katana'' and similar swords were, after all, designed and made to fight against one another.

A would-be initiate walking into a Japanese sword ''dojo'' to sit in on practice might be put off by the amount of ritual involved: bowing to the ''kamiza''[[hottip:*:head of the dojo where the presiding spirit is said to reside according to tradition]], the sword, to training partners, crossing swords, the ''seiza'', amongst other things. This is a holdover from when the arts were widely practiced by ''samurai''; Japanese culture places extreme emphasis on etiquette. More pragmatically, etiquette involving the sword is there for safety purposes; someone drawing a sword in ''iai'' practice without observing standard protocol could be mistaken as attacking someone. Here are a few common points, by no means a complete list:

* Keep your sword sheathed when it’s not in use, and wait for instruction to draw or otherwise use the weapon. This is for your and others’ safety.
* When the sword is placed on the floor during ''torei''[[hottip:*:bowing to the sword]], the edge faces you and the hilt points to the left. This also applies to handing a sheathed ''katana'' to someone else.
* Never handle someone else’s sword without permission. If this is necessary, treat the sword with the utmost care and respect; ''samurai'' believed their swords represented their souls and deserved complete respect. The lethality of the blade might have had something to do with it, too.
* Never touch the blade of a sword with your fingers. Not only is this considered disrespectful, the oils from your skin can corrode the blade.
* Always step around a sword, never over it.

If one were to compare schools of Japanese fencing to schools of European fencing, one would find many similarities, but there are also significant differences. Due to the consistent nature of katanas, the design change in which is near negligible compared to alterations in European swords, the Japanese schools differentiate from one-another on much more subtle basis. Where a European school might differ from another on basic technical grounds, a Japanese school is more likely to define its differences in terms of the angle of a cut, or the distance of a thrust. This is not to say that the European arts lack subtlety, but the context of Japanese sword arts demanded a higher emphasis on matters that some would consider quite minor.

''Kenjutsu'' can either refer to Japanese sword arts as a whole, or to the subset of schools that focus on action occurring after the two combatants have already drawn their swords. Another branch of Japanese sword arts is ''iaijutsu'', which focuses on combat from the draw to kill the enemy as quickly as possible. A subset of ''iaijutsu'' is ''battoujutsu'', which, depending on your definition, is similar to ''iaijutsu'' but focuses on multiple cuts after the draw and includes test cutting practice as part of its curriculum.

* ''Katana'': The sword that most people immediately think of. The ''katana'' was three feet or so long, with approximately a quarter of that as the hilt.
* ''Wakizashi'': The shorter companion sword to the ''katana'', usually about two feet long. Used in two-sword forms or in some single forms. The ''wakizashi'' was the "indoor" sword; ''samurai'' didn't use the ''katana'' indoors partially because of low ceilings and etiquette and the like.
* ''Naginata'': BladeOnAStick. This was the Japanese anti-cavalry weapon developed after the first Mongol invasion in 1274. The ''naginata'' is traditionally considered to be the weapon of a ''samurai'' woman, and often presented as part of her dowry. A few arts have curricula devoted to fighting against the ''naginata.''

* ''Iaito'': This is a cheaper mock-up of a katana, made of an aluminium-zinc alloy and with a dulled edge. It's used by beginning students of ''iai'' who opt to not use a ''bokken.'' Because of the exacting nature of ''iai,'' it's important to get it right; a beginner using a live blade could warp the blade or cut off a few fingers due to a mistake.
* ''Shinai'': Mock sword made from four strips of flexible bamboo around a hollow core, used in Kendo.

* ''Chudan'': Centre stance, often associated with the element of Water. The sword is held at a 30-degree angle from the horizontal, with the hilt two fists away from your navel. The tip should point toward the enemy's throat or face. One perceived weakness of ''chudan'' is the necessity to arm the sword before making a cut, but this isn't the case as much as you would think. The ''katana'' can make devastating slices simply by running the edge along flesh; provided, of course, that the enemy is unarmoured. A common maneuver from this stance is a thrust to the throat or face. The sword can also slide across the throat. A close analogue in German longsword would be ''pflug.''
* ''Jodan'': High stance, associated with the element of Fire. Different ''ryu'' vary on the exact angle and placement of the sword during ''jodan.'' The general idea is that the sword is held above the head, ready to strike down in ''shomen-uchi'' or a similar cut. Most basic cuts can be executed instantly from here, without the need to arm the sword first. ''Jodan'' is usually taken with the left foot forward (left-jodan), to allow the torso's rotation as the right foot is brought forward to add to the sword's speed.

Like many feudal societies, the Japanese believed that left-handedness was a sign of evil or deception; therefore, sword techniques were taught exclusively as right-handed. This is reflected in the grip. ''Kenjutsuka'' grip the sword two-handed. The left hand grasps near the ''kashira''[[hottip:*:pommel of the grip]] and the right hand is near the ''tsuba''[[hottip:*:hand guard]].

Most of the power from the grip comes from the pinky and ring fingers of each hand. The middle finger rests on the grip rather neutrally, and the index finger and thumb float loosely, but are ''not'' extended past the ''tsuba.'' There should be anywhere from a fist's width to two fingers' width between the hands; the space allows for more leverage and control of the sword. Regardless of whether the sword is on the right or left side of the body, this grip stays the same.

If you grip a ''katana'' correctly, your thumb and index finger should form a V. Your palms should be very close to the back of the ''tsuka'', and your wrist bones should be lined up. When you finish a cut, you stop the sword by twisting your wrists inward like you're wringing out a wet rag. This, by the way, is an excellent exercise to strengthen your grip - just do 200-300 repetitions of it daily; you'll get Popeye forearms in no time. Just watch for wrist injury; you don't want to get carpal tunnel.

As with any type of swordsmanship, movement is vital in ''kenjutsu''. Rather than binding against an attack, it's preferable to void; in other words, don't be there. Hence, footwork, or ''ashi-sabaki.'' The most common stance you'll see in ''kenjutsu'' is called ''sankakudai,'' or "great triangle." It refers to the position of your feet. Your lead foot (in most cases the right) points directly forward. The trailing foot is angled anywhere from 30 to 45 degrees outward. Different ''ryu'' will vary on the width and length of this stance. Some ''ryu'', notably ''Toyama-ryu'' and modern kendo and iaido, adopt a parallel stance.

''Sankakudai'' lends itself well to angular movements. Movement directly forward and backward is a little more awkward, but not impossible. There are three main types of footwork.

The idea behind all this shuffling is to make the stance more stable, and less likely to betray one's movement to the enemy beforehand. Also, one can stop and maneuver more quickly; it's harder to change direction if your foot is lifted in the air, whereas if your foot is closer to the ground you can alter direction in a fraction of a second.

Also known as ''kamae'', stances in ''kenjutsu'' are guard postures used for different situations. Although you're likely to encounter more, five basic ''kamae'' are used across virtually all ''ryu.''

As with any type of swordsmanship, movement is vital in ''kenjutsu''. Rather than binding against an attack, it's preferable to void. In other words, don't be there. Hence, footwork, or ''ashi-sabaki.'' The most common stance you'll see in ''kenjutsu'' is called ''sankakudai,'' or "great triangle." It refers to the position of your feet. Your lead foot (in most cases the right) points directly forward. The trailing foot is angled anywhere from 30 to 45 degrees outward. Different ''ryu'' will vary on the width and length of this stance. Some ''ryu'', notably ''Toyama-ryu'', adopt a parallel stance.

* ''Ayumi-ashi'': Crossing footwork. This is the most "normal" of the bunch as far as foot movement (ie, it looks like normal walking.) The difference is, it's still a semi-slide, and the motion comes from the rotation of your hips pulling your legs along rather than picking the foot up and placing it.

The idea behind all this shuffling is to allow the fighter to charge the enemy in a smooth gliding motion, which makes it hard for your opponent to notice that you have initiated movement. Also, you can stop and maneuver more quickly; it's harder to change direction if your foot is lifted in the air, whereas if your foot is closer to the ground you can alter direction in a fraction of a second.

* ''Chudan'': Centre stance, often associated with the element of Water. The sword is held at a 30-degree angle from the horizontal, with the hilt two fists away from your navel. The tip should point toward the enemy's throat or face. One perceived weakness of ''chudan'' is the necessity to pull the sword back before making a cut, but this isn't the case as much as you would think. The ''katana'' can make devastating slices simply by running the edge along flesh. A common maneuver from this stance is ''tsuki''[[hottip:*:thrust]] to the throat or face. The sword can also slide across the throat. A close analogue in German longsword would be ''pflug.''
* ''Jodan'': High stance, associated with the element of Fire. Different ''ryu'' vary on the exact angle and placement of the sword during ''jodan.'' The general idea is that the sword is held above the head, ready to strike down in ''shomen-uchi'' or a similar cut. Most basic cuts in Japanese swordsmanship come from this position: ''shomen-uchi,''[[hottip:*:downward cut]], ''kesa-giri'' [[hottip:*:diagonal cut from shoulder to hip]] and ''yokomen-uchi''[[hottip:*:cut to side of the head]]. ''Jodan'' is often taken with the left foot forward, but some ''ryu'' place the right foot forward.
* ''Gedan'': Low stance, associated with the element of Earth. This is the last of the pointed guard stances, in which the sword is pointed down at the enemy's knee. It's meant to lure him in for an attack, analogous to ''alber'' in German tradition. From ''gedan'', you can aim a thrust to the knees, legs or groin, or bring the sword up in ''kiriage''[[hottip:*:rising cut]] to counter against the enemy's ''shomen-uchi.''
* ''Hasso'': A side stance, associated with the element of Wood. Unlike the three previous stances, ''hasso'' places the left foot forward. The sword is held beside the face or shoulders, with the specifics varying from one ''ryu'' to another. The idea is that you're supposed to look like the ''kanji'' for "tree" if you take the stance properly. ''Hasso'' portrays a less aggressive intent than ''jodan''. It was devised mainly as a means to compensate for low ceilings, or - on the rare moments in open battle when a ''samurai'' would use his sword - the existence of ornate helmets that made ''jodan'' impossible or inconvenient. The closest European analogue is ''Vom Tag.''

The ''katana'', due to its curved, single-edge construction, specialises in slicing draw cuts rather than cuts delivered purely through kinetic motion, i.e. chopping/cleaving. Power for a cut comes from the weight of the sword, the rotation of the torso and hips, footwork, and the pull of the left hand, not just the extension of the arms. It is a two-handed sword wielded symmetrically, though the stances tend to favour the right side. A select few schools such as ''Niten-ichi ryu'' sometimes use the ''katana'' in one hand and the ''wakizashi'' in the other hand.

The ''katana'', due to its curved, single-edge construction, specialises in slicing draw cuts rather than cuts delivered purely through kinetic motion, i.e. chopping/cleaving. Power for a cut comes from the rotation of the torso and hips, footwork, and the pull of the left hand, not just the extension of the arms. It is a two-handed sword wielded symmetrically, though the stances tend to favour the right side. A select few schools such as ''Niten-ichi ryu'' sometimes use the ''katana'' in one hand and the ''wakizashi'' in the other hand.

If you grip a ''katana'' correctly, your thumb and index finger should form a V with the point centered on the ''tsuka'', and they should be lined up. When you finish a cut, you stop the sword by twisting your wrists inward like you're wringing out a wet rag. This, by the way, is an excellent exercise to strengthen your grip - just do 200-300 repetitions of it daily; you'll get Popeye forearms in no time. Just watch for wrist injury; you don't want to get carpal tunnel.

The idea behind all this shuffling is to allow the fighter to charge the enemy in a smooth gliding motion, which makes it hard for your opponent to notice that you have initiated movement. Also, you can stop and maneuver more quickly; it's harder to change direction if your foot is lifted in the air, whereas if your foot is closer to the ground you can alter direction that way.

* ''Jodan'': High stance, associated with the element of Fire. Different ''ryu'' vary on the exact angle and placement of the sword during ''jodan.'' The general idea is that the sword is held above the head, ready to strike down in ''shomen-uchi'' or a similar cut. Most basic cuts in Japanese swordsmanship come from this position: ''shomen-uchi,''[[hottip:*:downward cut]], ''kesa-giri'' [[hottip:*:diagonal cut from shoulder to hip]] and ''yokomen-uchi''[[hottip:*:cut to side of the head]].

!!!'''Cuts'''!!!

* ''Waki'': Rear stance, associated with the element of Metal. It has your left foot forward with the sword pointed down and behind you, somewhat opposite to ''gedan.'' It's commonly called the "hidden guard." The sword's position concealed its length before sword lenghts became fixed by law in Japanese society. From ''waki'', you can transition into ''kiriage.''

* ''Hasso'': A side stance, associated with the element of Wood. Unlike the three previous stances, ''hasso' places the left foot forward. The sword is held beside the face or shoulders, with the specifics varying from one ''ryu'' to another. The idea is that you're supposed to look like the ''kanji'' for "tree" if you take the stance properly. ''Hasso'' portrays a less aggressive intent than ''jodan''. It was devised mainly as a means to compensate for low ceilings, or - on the rare moments in open battle when a ''samurai'' would use his sword - the existence of ornate helmets that made ''jodan'' impossible or inconvenient. The closest European analogue is ''Vom Tag.''

* ''Hasso'': A side stance, associated with the element of Wood. Unlike the three previous stances, ''hasso' places the left foot forward. The sword is held beside the face or shoulders, with the specifics varying from one ''ryu'' to another. The idea is that you're supposed to look like the ''kanji'' for "tree" if you take the stance properly. ''Hasso' portrays a less aggressive intent than ''jodan''. It was devised mainly as a means to compensate for low ceilings, or - on the rare moments in open battle when a ''samurai'' would use his sword - the existence of ornate helmets that made ''jodan'' impossible or inconvenient. The closest European analogue is 'Vom Tag.''
* ''Waki'': Rear stance, associated with the element of Metal. It has the sword pointed down and behind you, somewhat opposite to ''gedan.'' It's commonly called the "hidden guard." The sword's position concealed its length before sword lenghts became fixed by law in Japanese society. From ''waki'', you can transition into ''kiriage.''

* ''Chudan'': Centre stance, often associated with the element of Water. The sword is held at a 30-degree angle from the horizontal, with the hilt two fists away from your navel. The tip should point toward the enemy's throat or face. One percenived weakness of ''chudan'' is the necessity to pull the sword back before making a cut, but this isn't the case as much as you would think. The ''katana'' can make devastating slices simply by running the edge along flesh. A common maneuver from this stance is ''tsuki''[[hottip:*:thrust]] to the throat or face. The sword can also slide across the throat. A close analogue in German longsword would be ''pflug.''

* ''Hasso'':
* ''Waki'':