Naginata Vs Sword #1
Clearly, my teacher preferred the yari to the naginata or sword. However, the curriculum of the school covered all of these weapons, and proficiency using them was required in order to progress within the system.
I’ll be the first to admit that I only have basic skills when it comes to wielding a naginata, however the similarities to the yari are unquestionable. Fortunately, the insights my teacher instilled in me in the usage of the sword and spear, as well as those related to unarmed (aiki) techniques, has helped me develop a more comprehensive naginata curriculum for my students.
This does not mean I’ve made up new techniques, or changed what my teacher taught me. The techniques he taught are still the same, as are the core principles that make them work. All I’ve done over the years is discover variations, and when possible added to my arsenal of techniques by studying with others more skilled than myself.
In this sequence the spearmen is attacked with a horizontal attack to the throat. The attacked is neutralized with a side-augmented block.
In order to do this block correctly several factors must take place.
1. First of all, the naginata must be at a 45-degree angle.
2. Secondly, the rear bottom hand must be placed against the hip to maintain stability.
3. The forward hand must be kept tucked, elbow facing the ground.
4. In this sequence I have elected to step forward into the attacker’s midline, which helps to reduce the amount of impact from his weapon. This helps prevent the possibility that my blade will be broken due to the impact. In some situations a side step or a back step can also be used, though these motions are not as optimal.
5. When using this block NEVER meet the attacker’s force. NEVER! And don’t flinch either. Either trust the form or don’t do it. CORRECT POSTURE is essential in all forms!!
Use the tsuba push the sword straight up and towards the attacker.
This movement has to be done quickly and smoothly while there is still resistance against the block.
Note, how the swordsman’s body is leaning slightly backward, and that the sword is now above the head of the defender.
(To make this lift more effective, and harder to perceive, one can raise the rear foot, instead of using a lot of arm action.)
Right before the tension between the two weapons stops, do a dropping motion with the naginata. If done correctly the swordsman will slip off the naginata and fall to the side.
I tend to use a slight body-drop at this moment, but that isn’t really necessary. In fact, since it is imperative that the position of the arms remains unchanged, I advise against using a body-drop if one cannot maintain their hands while doing it.
It should also be noted that I lean slightly forward when doing the dropping motion and my lead elbow faces my opponent. By knowing where my elbow is positioned I know exactly where the midline of my opponent is, and any follow up motion I make will be a straight line—the quickest way between two points.
In addition, by keeping my elbow forward I reduce the likelihood of letting my arm extend away from my body which would reduce my stability and control. It also keeps me from placing my arm in a position where it could be attacked by my opponent or a possible accomplice.
Those who feel they need to drop in order not to be hit by the sword are wrong—or they are doing the form incorrectly. If the sword is raised properly prior to this movement, the sword will "float" over your head.
The main objective when doing this technique is fluidity. This technique is not effective if not done in one progressive motion. Any pause will give the attacker time to adjust, and possibly attack again. If nothing else you will lose your advantage, and have to start over.
At this point in the technique numerous counter attacks can be done. The obvious one is to make a circular action and cut the attacker down the midline, or across the shoulder. For this sequence I elected to use a strike with the pole/end-cap to the back of the head.
I find this counter attack to be quicker, and as my opponent stumbles, or recovers from the blunt trauma to his head, I have time to be more selective as to which technique to use to finish him off. Of course, for the more merciful, this attack also allows one the option to not use lethal force (Yes, I’m aware that a hard blow to the back of the head can kill also).
I find that this from is very versatile and I teach it using almost every weapon in our arsenal. The nice thing is that except for distancing, this form requires only slight changes in order to be effective with other weapons.
Basically, the main difference would be that weapons without a tsuba or catch-bar don’t utilize the push up and back, and a proper body drop is essential at the moment the attacking weapon is passed over and downward.
I’ll be the first to admit that I only have basic skills when it comes to wielding a naginata, however the similarities to the yari are unquestionable. Fortunately, the insights my teacher instilled in me in the usage of the sword and spear, as well as those related to unarmed (aiki) techniques, has helped me develop a more comprehensive naginata curriculum for my students.
This does not mean I’ve made up new techniques, or changed what my teacher taught me. The techniques he taught are still the same, as are the core principles that make them work. All I’ve done over the years is discover variations, and when possible added to my arsenal of techniques by studying with others more skilled than myself.
In this sequence the spearmen is attacked with a horizontal attack to the throat. The attacked is neutralized with a side-augmented block.
In order to do this block correctly several factors must take place.
1. First of all, the naginata must be at a 45-degree angle.
2. Secondly, the rear bottom hand must be placed against the hip to maintain stability.
3. The forward hand must be kept tucked, elbow facing the ground.
4. In this sequence I have elected to step forward into the attacker’s midline, which helps to reduce the amount of impact from his weapon. This helps prevent the possibility that my blade will be broken due to the impact. In some situations a side step or a back step can also be used, though these motions are not as optimal.
5. When using this block NEVER meet the attacker’s force. NEVER! And don’t flinch either. Either trust the form or don’t do it. CORRECT POSTURE is essential in all forms!!
Use the tsuba push the sword straight up and towards the attacker.
This movement has to be done quickly and smoothly while there is still resistance against the block.
Note, how the swordsman’s body is leaning slightly backward, and that the sword is now above the head of the defender.
(To make this lift more effective, and harder to perceive, one can raise the rear foot, instead of using a lot of arm action.)
Right before the tension between the two weapons stops, do a dropping motion with the naginata. If done correctly the swordsman will slip off the naginata and fall to the side.
I tend to use a slight body-drop at this moment, but that isn’t really necessary. In fact, since it is imperative that the position of the arms remains unchanged, I advise against using a body-drop if one cannot maintain their hands while doing it.
It should also be noted that I lean slightly forward when doing the dropping motion and my lead elbow faces my opponent. By knowing where my elbow is positioned I know exactly where the midline of my opponent is, and any follow up motion I make will be a straight line—the quickest way between two points.
In addition, by keeping my elbow forward I reduce the likelihood of letting my arm extend away from my body which would reduce my stability and control. It also keeps me from placing my arm in a position where it could be attacked by my opponent or a possible accomplice.
Those who feel they need to drop in order not to be hit by the sword are wrong—or they are doing the form incorrectly. If the sword is raised properly prior to this movement, the sword will "float" over your head.
The main objective when doing this technique is fluidity. This technique is not effective if not done in one progressive motion. Any pause will give the attacker time to adjust, and possibly attack again. If nothing else you will lose your advantage, and have to start over.
At this point in the technique numerous counter attacks can be done. The obvious one is to make a circular action and cut the attacker down the midline, or across the shoulder. For this sequence I elected to use a strike with the pole/end-cap to the back of the head.
I find this counter attack to be quicker, and as my opponent stumbles, or recovers from the blunt trauma to his head, I have time to be more selective as to which technique to use to finish him off. Of course, for the more merciful, this attack also allows one the option to not use lethal force (Yes, I’m aware that a hard blow to the back of the head can kill also).
I find that this from is very versatile and I teach it using almost every weapon in our arsenal. The nice thing is that except for distancing, this form requires only slight changes in order to be effective with other weapons.
Basically, the main difference would be that weapons without a tsuba or catch-bar don’t utilize the push up and back, and a proper body drop is essential at the moment the attacking weapon is passed over and downward.
Labels: Spears, Swords, Techniques
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