Naginata Compendium

''Sequential Moves'' - Distinct Attack and Defend Cycles [[Shodan Waza - Single Stage Techniques|Shodan Waza]] [[Nidan Waza - Two Stage Techniques|Nidan Waza]] [[Sandan Waza - Three Stage Techniques |Sandan Waza]] ''Simultaneous Moves'' ''Redirection: '' Harai - Gentle sweep after block Otoshi - Forceful sweep after block Interception - Redirecting the opponents weapon prior to energy manifestation

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Insert a list of techniques and associated responses

This compendium has been compiled by John Dinh of the Victorian Naginata Renmei for the progress and benefit of all in the study of Naginata and other martial arts. Sections: 1. [[Terminology (not to be confused with the glossary)|Terminology]] 2. [[Philosophy and other concepts]] 3. [[Basic Techniques (Strikes and Blocks)]] 3. [[Basic techniques (Shikake Ooji)]] 4. [[Techniques for use in combat (Shiai, Ji-keiko, Kakari-geiko)|Combat Techniques]] 5. [[Interesting Techniques]] 6. [[Dan Grade Theory Components]] [[Author's Background]] //Contact curator@naginatacompendium.cc if anything needs changing, updating or fixing//

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{(display: "Initialise images") (display: "Glossary Terms") (css: "max-width: 100%;")+(align: "=><=")[$kamon]} (css: "max-width: 100%;")+(align:"=><=")[<H1>Naginata Compendium</H1><H3>An Australian's Guide to Naginata</H3><H4>A perspective on the fundamental techniques and biomechanics of the modern art of Naginata</H4><H5>[[Introduction]]</H5>]

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[[Return to Introduction|Introduction]] I started training in Naginata in May of 2024 with the beginners course run by Emily Jackman. Prior to me starting the group had a decent size with around 10 people on regular weeks, enough to fill the floor. The beginners courses' up until mine apparently had a decent retention rate with only around 2-3 people hanging around and a few dropping in the following months due to many reasons. Thus the group had been lacking the critical mass for true growth and expansion to begin, with the group mostly relegated to typical weekly classes and very little outside of that with the exception that what was organised was done primarily by Emily and her love of the art. Following the beginners course, we dropped quite a few people due to personal obligations and other things and some weeks would be quite empty. In particular were the Monday nights where Sharon (fellow beginner at the time) and I were basically supervised by Peter and Em directly. It was during this time that I really solidified the basics but I didn't really understand the mechanics behind most of what I was doing. Prior to the next beginners course in October, I really started to look into what made each of the moves what they are and what mechanics go into it. Asking why techniques are done the way the are and why feedback is given the way it is? What is at the core of the feedback that would actually target the solution and not the symptom. A clear example of this is Hanmi during Nihonme: Hasso Soku-Men. At the conclusion of the second strike from the Shikata, the naginata tends to be off centre when beginners are doing the kata. But senior practitioners do not suffer from this. One such symptom that was corrected when I was doing it was that my strikes were not on target and that I was following the target to where they were going to move off too.  Looking at the picture above, is the cause due to aim drifting or something else? When I looked into it, most of the time, it wasn't that I was off target, rather, I was on target but the target was not where it should be. If we look at the participants with no regard for relative positioning to the main line of attack that all kata are based on, the comments regarding bad targeting would be valid, but looking at the full picture, we can see that the target was actually off centre, a very common occurance among beginners where they struggle to move in a straight line and will continue to drift left and right while moving.  Another example of misguided thinking is with Jogeburi and Furiage techniques. Where does the power of the strike come from? If you answered that it comes from the upwards movement of the arm into the centre of the body at the conclusion of the strike, you wouldn't be wrong, but the answer is not complete. The snap of Tenouchi leads us to believe that we generate power in the split-second application of a squeeze but with regards to Furiage, the power was introduced long before this. The power and consequent speed for Furiage techniques is derived from what I call the Half-Circle. As I say to every new person who cramps up their techniques, Furiage is half circle up, half circle down. There should be very little if any wrist movement during this technique with the exception of Furiage Sune which requires the upwards movement of the arm. Looking into the muscles, it would not make sense to use the wrist as the primary power generator as its tiny. Seriously, the wrist is tiny, especially in the in-plane bending direction. On the other hand, we have the shoulders, traps and lats, all primed to pull down the end of the blade. If we maintain the arc, we ensure that the lats and traps are continually the ones moving, which are frankly huge.  While the usage of swords is not "natural", there is a natural way to manipulate weapons and tools such that we minimise the amount of force required to wield them. Such common occurences have led me to compile this compendium, to provide a source of knowledge for new and experienced practitioners to understand the true biomechanics and physical interactions inherent to every technique in Naginata and so that it may also be applicable to other martial arts as well. [[Return to Introduction|Introduction]]

Atarashii Naginata Kata [[Ipponme]] [[Nihonme]] [[Sanbonme]] [[Yonhonme]] [[Gohonme]] [[Ropponme]] [[Nanahonme]] [[Happonme]] Zen Nihon Naginata Kata [[Ipponme|ZNNK Ipponme]] [[Nihonme|ZNNK Nihonme]] [[Sanbonme|ZNNK Sanbonme]] [[Yonhonme|ZNNK Yonhonme]] [[Gohonme|ZNNK Gohonme]]

Kiai

''Time differential: ''The difference in time it takes to attack an opponent with a technique and the time it takes to react and respond to that technique. Defines the dynamic and "valid" techniques that can/should be used against other techniques. ''Note:'' these time differences are not fixed, each practitioner can move at certain speeds and may speed up or slow down as desired. This will fundamentally change the interaction between techniques. For this compendium, we assume that both practitioners are moving at the same speed unless noted otherwise. All responses to an attack can be "valid" if the practitioner can find a way to negate the time differential or read their opponent. ''Energy Manifestation: ''

[[Attacking<-Attacking Techniques]] [[Defending<-Defending Techniques]] [[Attacking Static Postures<-Opponents in Static Kamae]]

Atk Atk / Def Def Atk Def / Def Atk

Atk Atk Atk / Def Def Def Atk Atk Def / Def Def Atk Atk Def Atk / Def Atk Def Atk Def Def / Def Atk Atk

Ipponme

Nihonme

Sanbonme

Yonhonme

Gohonme

Ropponme

Nanahonme

Happonme

ZNNK Ipponme

ZNNK Nihonme

ZNNK Sanbonme

ZNNK Yonhonme

ZNNK Gohonme

Ways to Attack: Furiage Mochikae Furikaeashi Tsuki Ways to Defend: Kurikomi Men (Habu and Ebu) Kurikomi Dou (Habu) Gedan no Kamae (Habu) Kurikomi Sune (Ebu)

(set: $baseWords to (dm: "Ashi" , (a: "足", "Foot or Feet", "refers to footwork"), "Kae", (a: "変え", "to shake, wave, wag or swing", "to swing"), "Furi", (a: "振", "a", "b"), "Age", (a: "上げ", "Above, up", "from above"), "Fumi", (a: "踏み", "c", "d"), "Waza", (a: "kanji", "c", "d", "thing"), "Dan", (a: "kanji", "Step, ", "Usually refers to grades in martial arts as a degree of mastery. ") ) ) (set: $compWords to (dm: "Kaeashi", (a: "", "Changing feet", "Swapping footwork"), "Fumikae", (a: "踏み替え[る]", "Verb meaning to change", "swapping something"), "Fumikaeashi", (a: "", "", "swap your feet on the spot") ) ) (set: $genWords to (dm: "Sho/Ni/San - Dan Waza", (a: "", "", ""), "a", (a: "", " ", ""), "b", (a: "", "", "") ) )

Matched Uchikaeashi Attacker proceeds as normal, defender responds with Uchikaeashi moving backwards, hits connecting in the centre for each. Teaches good spacing

[[Shodan]] [[Nidan]] [[Sandan]]

''Naginata and Reigi'' Naginata has been regarded as one of the Japanese Budo, or martial arts. Naginata has been said to begin and end with rei (etiquette) which means that good manners are emphasized in Naginata. Rei refers to the feeling of respect and gratitude one has towards others. Rei should not be performed perfunctorily but sincerely. However technically skilled the practitioners may be, if they are arrogant or inconsiderate, they are said to have deviated from what is held as the Naginata ideal. It is important to be sincere and polite to others not only in practicing Naginata but at home and in society. Please remember that you are developing your personality and cultivating your mind through the Naginata training. ''The way of rei (reitualistic bowing) '' Rei is considered as the expression of one's modesty. It is thought to foster the feeling of respect one has towards training partners and the right frame of mind and elegance. Such feelings are expressed phtsically through ritualistic bowing, both from a seated position (zarei) and standing (ritsurei). //''Ritsurei (the standing bow) ''// Ritsurei is performed in two situations: to the shomen (the altar or sacred place in the match place or the practice place), and also to your parter or opponent. In Naginata when performing ritsurei to the shomen, bend the upper body 30 degrees from the waist looking at the shomen in the shizentai posture. When performing ritsurei to your partner, bend the upper body 15 degrees form the waist looking at your partner. The left hand should slide down towards the inside of the left thigh the bow is performed. In either case the Naginata should not move or lean at all. //''Zarei (the seated bow)''// When sitting down, draw the left foot slightly backward and knell down on the left kneww. Then draw the right leg back and kneel on both kneews. While seated, cross the tips of your toes and keep your back straight and your chin pulled in. Close your mouth lightly and gaze straight ahead. both hands should be placed on the upper thights with fingers together. The upper arms should lightly touch your body. This posture is called seiza. The Naginata is quietly placed parallel to your right side using both hands. The ishizuki should be 30 cm in from of the knee and the blade should be pointing behind and facing owards. When performing zarei, in seiza posture bend forward from the hips and place both hands on the floor simultaneously in front of your kneews. Do not spread your elbows. Then rise again to the kneeling position. When standing up from this position, first sit up on your toes, and pivot slightly to the right and pick up the Naginata with the right hand at the bottom and left hand at the top. Then while standing up, step out with the right foot and bring the left foot up next to it. (These actions of sitting down and standing up are called Saza Uki) ''Te-no-uchi (lit. hands' between / hands' among'' When waiting to receive, grip the Ebu of the Naginata lightly with the palms of your hands. When making your strike, grip the Naginata tightly exerting even pressure in each hand. ''Hasuji'' Draw an imaginary line from the "mune[back of the blade]" toward the "hasaki[cutting edge of blade]" and cross the hasaki at right angles. The trajectory is called "hasuji" or correct trajectory of the blade. When swinging Naginata, or striking with proper trajectory of the blade, it is described as "Hasuji ga Toru" ''Kiai and Hassei (fighting spirit and calling out)'' You have to call out the correct name of the target in a loud concentrated voice, focusing your mind on your tanden, solar plexus, as the strike is made. ''Shizentai'' Shizentai, or natural standing position, is meant to be the most flexible and stable posture where you can move in any direction and respond to your opponent's movement quickly and naturally ''The Six Kamae'' and their ''Characteristics'' [two distinct questions on exam] //1. Chudan no kamae// Chudan no kamae (left-sided and right sided) is considered the most basic of all the kamae,a nd the best for making a move, and for responding to your opponent's moves. It is the most favourable kamae for both offense and defense. //2. Gedan no kamae// Gedan no kamae (left-sided and right sided) is a stance in which the kissaki is lowered to protect yourself from attack. In this kamae, you can easily attack your opponent's lower body and respond to your opponent's move. It is good for defense and for counter-attacks. //3. Hasso no kamae// Hasso no kamae (left-sided and right sided) is a stance in which you lift the kissaki up from chudan and swap the positions of the left and right hands. It is consdered a good kamae for observing your opponent and then making counter-attacks responding to your opponent's actions //4. Wakigamae// Wakigamae (left-sided and right sided) is a stance in which the inshizuki points forward. It is good for responding to your opponent's moves. It is not an aggressive kamae but is effect to make your opponents confused. //5. Jodan no kamae// Jodan no kamae (left-sided and right sided) is a stance where the Naginata is positioned overhead and the ishizuki is kept pointing forward in readiness. It is considered the most offensive kamae, allowing you to make an immediate attack. This kamae is used to apply pressure to your opponent and you should take this stance with ki-guri, confidence. //6. Mugamae// Mugamae is a stance where the Naginata is held on the right side of the body with the kissaki covering the centreline of the body. You should keep this stance with a focused mind.