KYUDO MANUAL Volume 1, Principles of Shooting, (Shahō) 1971

KYUDO MANUAL Volume I Principles of Shooting (Shaho) (revised edition)

All Nippon Kyudo Federation (A.N.K.F.)

Establishing Committee on the Principles of Shooting (Shaho)

The Late Master Sakae Urakami

The Late Master Yozaburo Uno

The Late Master Tanetsugu Chiba

The Late Master Tasuku Takagi

The Late Master Masakichi Kaminaga

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Ise Shrine Kyudo Practice Hall (Dojo) (Ise City)

Exterior View of Practice Hall (Dojo)

Ceremonial Shooting (Sharei) by the late Master Uno

Target Bank (Azuchi)

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Meiji Shrine Shiseikan Kyudo Practice Hall (Dojo)

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Shooting Place (Shajo)

Target Bank (Azuchi) ......,

Kyoto Saineikan Kyudo Practice Hall (Dojo)

Shooting Place (Shajo)

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RAIKI-SHAGI Record of Etiquette-Truth of Shooting The shooting, with the round of moving forward or backward can never be without courtesy and propriety (Rei).

After having acquired the right inner intention and correctness in the outward appearance, the bow and arrow can be handled resolutely.

To shoot in this way is to perform the shooting with success, and through this shooting virtue will be evident.

Kyudo is the way of perfect virtue. In the shooting, one must search for rightness in oneself. With the rightness of self, shooting can be realized.

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At the time when shooting fails, there should be no resentment towards those who win. On the contrary, this is an occasion to search for oneself.

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SHAHO-KUN Principles of Shooting by Master Junsei Yoshimi The way is not with the bow, but with the bone, which is of the greatest importance in shooting.

Placing Spirit (Kokoro) in the centre of the whole body , with two-thirds of the Yunde (left arm) push the string, and with one-third of the Mete (right arm) pull the bow.

Spirit settled, this becomes;harmonious unity.

From the centre line of the chest, divide the left and right equally into release.

It is written, that the collision of iron and stone will release sudden sparks; and thus there is the golden body, shining white, and the half moon positioned in the west.

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TABLE OF CONTENTS Frontispiece Photographs Establishing Committee on the Principles of Shooting (Shaho) ................... m Ise Shrine Kyudo Practice Hall (Dojo) ..................................................... v Meiji Shrine - Shiseikan Kyudo Practice Hall (Dojo), and Kyoto Saineikan Kyudo Practice Hall (Dojo) ................................... ................... vii RAIKI-SHAGI : Record of Etiquette -Truth of Shooting ................................... ix SHAHO-KUN : Principles of Shooting by Master Junsei Yoshimi ..................... xi

Preface to the Revised Edition (1971) ................................................. ... .

Preface to the First Edition (1953) ....................................................... .. .

Revision and Amendment of the Text (1971) ............................................

Translator's Note ..................................................................................

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INTRODUCTION The Origins and Character of the Japanese Bow ....................................... 12 Development of the Japanese Bow ........................................................ ... 13 Veneration for the Beauty of the Japanese Bow ........................................ 15 MODERN KYUDO ................................................................................. 16 The Popularisation of Kyudo .................................................................

Ethics of Kyudo (Moral code and Etiquette-Michi to Rei) .........................

Supreme Goal of Kyudo ........................................................................

The Two Aspects of Kyudo ....................................................................

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PRINCIPLES OF SHOOTING (SHAHO) 7 THE THREE ESSENTIALS AS ONE BODY (SANMI-ITTAI) ........................ 24 The Testament of the Raiki-Shagi ........................................................... 24 The Testament of Master Junsei Yoshimi (Shahi5-Kun) ............................ 25 FUNDAMENTAL FORM (KIHONTAI) ........................................................ 27 Importance of the Fundamental Form ..................................................... 27 Correct Attitude in the Performance of Shooting.................................. ... 28 The Forms of Basic Posture and Movement.. ........................................... 28 1

Basic Postures ............................................................................................... 31 1. Standing ............................................................................................ 31 2. Sitting - on a Chair ............................................................................. 32 3. Formal Sitting on the Floor (Seiza) ...................................................... 33 4. Half-Sitting on the Heels (Kiza) and Haunches (Sonkyo) .......................... 34 _ Basic Movements .......................................................................................... 35 1. Standing Up ....................................................................................... 35 2. Sitting Down ...................................................................................... 36 3. Walking ............................................................................................ 38 -.

4. Turning from a Standstill.. .................................................................. 39 5. Turning while Walking ....................................................................... 39 _ 6. Turning in the Kneeling Position (Hirakiashi) ....................................... 40 7. Bowing (Rei) ..................................................................................... 42 8. The Half-Bow (Yu) ............................................................................. 47 Bow Holding Posture (Toriyumi no Shisei) .................................................... .48 Removing the Kimono Sleeve (Hadanugi-Dosa) ............................................ .... 49 Replacing the Kimono Sleeve (H.adaire-Dosa) ................................................... 52 Nocking the Arrows (Yatsugae-Dosa) ............................................................. 53 FUNDAMENTALS OF SHOOTING PRINCIPLE AND SHOOTING SKILL (SHAHO-SHAGI NO KIHON) ....................................................................... 56

1. Resistance Power of the Bow ............................................................... 56 ...., 2. Basic Body Form (Vertical and Horizontal Cross -Tateyoko-Jumonji to Goja-Jamonji) ....... 56 .....

3. Breathing (Harmony of Breath-lkiai) .................................................... 57 4. Use of the Gaze (Mezukai) ................................................................... 58 5. The Working of Spirit (Kokoro) and Spiritual Energy (Ki) .................... 58 THE EIGHT STACfES OF SHOOTING (SHAHO-HASSETSU) .......................... 59 1. Ashibumi-Footing .............................................................................. 59 _ 2. Dozukuri-Forming the Torso .............................................................. 61 _ 3. Yugamae-Readying the Bow ................................................................ 62 4. Uchiokoshi-Raising the Bow .............................................................. 64 _ 5. Hikiwake-Drawing Apart ................................................................... 65 6. Kai-Full Draw ............................................................................... .... 67 7. Hanare-Release .................................................................................. 71 8. Zanshin-Remaining Spirit (Form) ........................................................ 72 Shooting Criterion for the Long Distance Target (Enteki no Shaho) ................... 74 2

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CEREMONIAL SHOOTING (SHARE/).........................................................

Shooting and Etiquette...........................................................................

The Spirit of Ceremonial Shooting .........................................................

The Importance of Standardizing Ceremonial Shooting.............................

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Types of Ceremonial Shooting..........................................................................................

Kneeling Form (Za-Sharei) .....................................................................

Standing Form (Tachi-Sharei) .................................................................

In Front of a Straw Butt (Makiwara-Sharei).............................................

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Ceremonial Shooting in Front of the Standard Target ( Matomae-Sharei).... 79 a) Kneeling Form (Za-Sharei) .... ............................................................. 79 b) Standing Form (Tachi-Sharei) ............................................................. 83

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Ceremonial Shooting on a Straw Butt ( Makiwara-Sharei).................................. 86 a) Kneeling Form (Za-Sharei)................................................................. 86 b) Standing Form (Tachi-Sharei) ..................... :....................................... 90 Ceremonial Shooting for Women..................................................................................... 91 Assistants to the Archer Performing Ceremonial Shooting (Kaizoe) ................. 92

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Kneeling Form of Ceremonial ShootiD.g (Za-Sharei) for Two or More Archers...................................................................................................... 96 a) Ceremonial Shooting at One Target (Hitotsu-Mato Za-Sharei) When Performed by Th,ree Archers...................................................... 96 b) Ceremonial Shooting at Individual Targets (Mochi-Mato Za-Sharei) ............................................ ......................... 99 Standing Form (Tachi-Sharei) of Ceremonial Shooting for Two or More Archers ..................................................................................................... 103 Ceremonial Sliooting with a Large Target (0-Mato-Sharei) ............................... 105 Traditional Form of Ceremonial Shooting (Warihiza-Tsukubai) ....................... 105 MOVEMENTS FOR DEMONSTRATION SHOOTING (ENBU NO DOSA) .... 106 Kneeling Form (Zasha) and Standing Form (Rissha) ..... :.................................. 106 Readiness of the Archer ................................................................................ 106 The Order of Shooting .................................................................................. 106 Shooting with Many Archers in a Limited Time Period ................................... 108 INSTRUCTIONS TO OBSERVE DURING THE SHOOTING ........................ 109 Dealing with Errors (Shitsu) .................................................................. 109 Dropping a Bow .................................................................................. 109 Breaking a String .................................................................................. 109 When an Arrow Comes off the Nocking ................................................. 110 3

Other Precautions to Observe in the the Shooting ..................................... 110 Establishing Position (Sadamenoza) .......................... .. ..................... . 110 Distance and Space ........................................................ ................ 110 The Way of Moving the Feet .......................................................... 111 The Way of Carrying the Bow ........................................................ 112 The Way of Lifting Up the Bow ........................................... ........... 113 The Way of Handing Over the Bow ............................................... .. 114 The Way of Handing Over and Receiving Arrows ............................ 114 A Substitute Bow ......... ................................................................... 115 The Way of Handling a Set of Four Arrows ...................................... 115 How to Behave When a Bow is Damaged or a String Breaks ............... 116 Taking Care of Kyudo Equipment. ...................................................

Bows ......................................................................................

Arrows ..................................................................................

Gloves .......................................................... ..... .. .. .................

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Strings ................................................................................... 118 Targets ................ '.................................................. ...... .... ...... 118 Straw butt (Makiwara) ........................................ ..................... 119 Carrying a String-Holder (Tsurumaki) and Other Personal . ......... ....... .. ................ ... . 120 Effects .............................................

Clothing .................................................................................. 120 Kyudo Equipment Terms .................................. : ....... ~ ...................................

Bow (Yumi) .........................................................................................

Glove (Yugake) ....................................................................................

Arrow (Ya) ..........................................................................................

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Terms for the Parts of the Practice Hall (Dojo) ............................................... 124 Stipulations for Examinations (Extracts) .................................... ... .................. 125 Diagrams of The Eight Stages of Shooting (Shaho-Hassetsu) ............................. 127 Postscript. ................................................................................................... 134

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Preface to the Revised Edition (1971)

The "Kyudo Manual Volume 1", was first published in 1953 with the purpose of presenting the essentials of technique, as well as the basic principles of the practice, !,..._ based on the fundamental principles of modern Japanese Kyudo.

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j,_ Since its publication, this manual has functioned not only as a reference work for beginners, but also as an invaluable aid to those responsible for teaching

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(Shidosha) .

I can assure you that even today, this manual remains invaluable as a source and teaching work on Kyudo as it did when it was originally published. Its worth will surely continue into the future.

With the passing of time, some minor amendments and revisions to the first edition were felt necessary to meet new considerations that have emerged since the original publication. This effort has resulted in the publication of this revised edition. The purpose of carrying out the revision was not to change the content and purpose of the original but to make a new and enhanced edition for the current Kyudo world.

The aim of The All Nippon Kyudo Federation, in making available this revised edition of the "Kyudo Manual Volume 1",to an increasing number of archers, has been to contribute further to the continued development of Kyudo. Accordingly, we hope that you the reader will find this revised edition indispensable m broadening' your view of Kyudo, and that it will aid you in your practice.

Minoru Higuchi, President All Nippon Kyudo Federation May, 1971

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Preface to the First Edition (1953) I think that concerned people of like mind have recognised that there has been a period of moral collapse and confusion on both the spiritual side and the side of practical technique, with a feeling of restlessness and confusion regarding the "Principles of Shooting (Shaho)", the consequence of which is that the shooting form is in disarray. Although this tendency in the Kyudo community was evident in the past, it is especially prominent in our present Kyudo world.

Viewed more optimistically, however, this situation is part of the process that a new and unified approach to Kyudo has to go through for its further development and progress.

So, first of all, I want people of the modern Kyudo world to understand the right approach to Kyudo, and to know the right principles and technique. On this basis, you will inevitably develop the right way of viewing your practice.

Our aim in producing this publication has been to examine and outline a standardization of the fundamental principles of Kyudo that will function as a comprehensive reference source for all. In doing this , our intention is not to think less of the various traditional ' schools with their different ways of performing Kyudo. On the contrary, we hold in the highest regard their preservation of classical forms, and wish them success and further development.

Over the last three years, the All Nippon Kyudo Federation has "trodden a thorny path." However, at last we have come to see some hope of establishing its organization. Nevertheless we cannot forget that many difficulties still surround us in the present situation of our organization that will require further effort and consideration.

Publication of the "Kyudo Manual Volume 1", was organized with this spirit of unity in mind. It will be gratifying if this textbook can assist practitioners of Kyudo in the essentials of practice, and offer meaningful instruction to present-day archers. Theoretical study of a more specific nature, as well as the study of traditional schools of Kyudo, is not covered in this manual. However, we hope, that responsible persons will endeavour to carry out research in that area of study, and that this publication will be a useful accompaniment to more advanced studies . of specific theories and traditions of Kyudo.

As we all know, the times are rapidly changing. To keep up with the current of events is a problem not only for the present but also for the future. The years will bring new tasks and new challenges, and in this respect the "Kyudo Manual Volume 1", can be considered a focus for further development.

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We are planning further volumes of the "Kyudo Manual", which will not be possible without the full support and co-operation of all. We ask for the unified effort of the Kyudo community to make these publications a reality.

In conclusion, we would like it known that the publication of this textbook has resulted from the wish of the many federation members throughout Japan. In planning the publication we obtained the approval of directors and committee members of the regional associations at the ordinary general meeting held in Kyoto this year. We extend our sincere appreciation for their efforts to assist both the editorial staff and the teachers who comprised the committee for establishing the Principles of Shooting ( Shaho).

1 Tanetsugu Chiba, President All Nippon Kyudo Federation June, 1953

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Revision and Amendment of the Text (1971) Development: The All Nippon Kyudo Federation published the "Kyudo Manual, Volume 1" in 1953, followed by volumes II and Ill. This was done after much deliberation to establish standards for the practice ofKyudo. Finally, with the additional revision and amendments to this present volume, these textbooks established this project as a major success in the Kyudo community~ The response in terms of circulation has happily confirmed this success.

In revising this volume, consideration was given primarily to the fundamental form (Kihontai), (known also as formalized movement -Taihai ), keeping it in its essential relationship to etiquette and manner. In emphasising the fundamental form of the shooting, it is hoped that the reader will use the text to learn these essential forms to the full, and apply the ethical and moral values which the practice demands, to deepen the experience of daily life. the Principles of Shooting (Shaho) were established as a standard for modem Kyudo, amalgamating elements of several traditional schools as a framework. This was made possible with the help and assistance of members of the federation throughout the country, who have applied the revised form with excellent results.

Since the publication of the original edition of this manual, many years have passed. With the passage of time, it was felt necessary to develop further the contents, and after two years of careful study the present volume was produced. It should be mentioned that in making these changes little was done to change the fundamental composition of the original edition. However, the newly amended text together with the addition of new material, such as new photographs, has resulted in a virtually new edition that is hopefully easier to understand.

Objectives: The earlier president of our federation, the late Master Yozaburo Uno, used to emphasize the following points : * to study the principles of shooting (Shaho) and art of shooting (Shagi) * to apply the formalized movements (Taihai) based on etiquette (Rei) * to improve the level of shooting (Shakaku) and shooting dignity (Shahin) * the necessity to strive for perfection as a human being The above points are the main objectives of modern Kyudo. By combining the formalized movement, principles of shooting and art of shooting into a unified whole, this will produce shooting of diginity and refinement.

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Our goal in Kyudo is not the hitting of the target. On the contrary, the expression of harmonious beauty is the objective of the shooting.

The key to Kyudo is both sincerity and courteousness. It is of more value to be sincere than to win against others. When we practice, it is very important to keep this in mind and to have real belief and courage to make it work.

One of the objectives of publishing this textbook is our hope that your Kyudo practice will have meaning in your daily life both spiritually and physically.

Kyudo is not simply a way to create well-being and train the body, but a way to bring enhancement and cultivation to your life. We should consider the relevance to our training of such sayings of the past, as "Kyudo is Life" (Sha Soku Jinsei) or "Kyudo is Living" (Sha Soku Seikatsu). In this way, we as practitioners of Kyudo, who are expected to master such virtues as discipline, modesty, gentleness, selfrestraint, and reflection through the shooting, can realize these qualities in our own life.

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Conclusion: Time passes, and with the passage of time it will be necessary to make further changes to this textbook. When that occasion arises, we hope to approach the task with an honest and sincere effort. In the meantime we ask for co-operation in making future improvements to the text.

In revising and amending this publication, we are grateful for the contributions that made it possible, and pray that this manual will become a good source of study and guidance to the practice.

All Nippon Kyudo Federation March 1971

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Translator's Note .

With the increase in the number of Westerners now practising Kyudo, either in Japan or in their own country, it was realized by the All Nippon Kyudo Federatior~ that the "Kyudo Manual, Volume 1", should be made available in translation. This decision has resulted in this English language translation of the 1953 edition.

In making the translation every attempt was made to convey as directly as possible_ the meaning of the text, only re-writing where the organization or content would not translate well into English. The more familiar Kyudo terms are introduced into the text in parentheses next to their English equivalents, or allowed freely intc~ the text where their meaning is self- evident.

Another consideration for the reader is that while this manual serves as a reference and teaching source on the standardized formal elements of the shooting and code~ of values and objectives that underline the practice, it was directed towards those already undergoing training, and should not be seen as a substitute for, or alternative to, guided tuition under an experienced teacher.

I would like to thank the All -Nippon Kyudo Federation for their foresight in_, making available in English this important work on the principles of Kyudo. I also hope this has opened up the possibility for future translations of Kyudo literature, which until now have been unavailable to the Western practitioner. Without..., reference to a previous unpublished draft translation by Mr. Hiroshi Takahashi, this work would not have been possible. It was an indispensable tool in the-, preparation of this translation. Mention should also be made of those Kyudojin in Europe and Japan who helped in reviewing the text and contributed in various~ ways to the final product.

Liam O'Brien, Kyoshi, 6th DaiL.._ London December, 1992--,

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INTRODUCTION

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The Origins and Character of the Japanese Bow For sheer length, the present-day Japanese bow is unparalleled in the world. The very best are so finely lacquered and ornately decorated with rattan as to make....., them unsurpassed for the exquisiteness of their beauty.

Looking at the Japanese bow, one might ask why it has kept its uniqueness and , retained unchanged its remarkable characteristics. After all, the bow is one of the.. . , most fundamental of implements, which has been in use amongst peoples everywhere in the world. It is indeed rare to find a culture that has not used the bow over the more than two thousand years in which its use was widespread. Yet, to-day, very few cultures have continued to keep the relationship to the bow that is still found in Japan. Even China, which has one of the longest and oldest histories~ in the Far East, does not have a bow to equal the Japanese bow in beauty of shape. ~

If we compare the bows of other countries with the Japanese bow, we discover that they are generally shorter, with the result that the projecting power of this type of_ bow is very strong. Without doubt this shorter type of bow functions well in its purpose of penetrating the target; Every culture developed the bow for this reason, and the Japanese bow of course was no exception.

However, compared to the shorter western bow, the longer Japanese bow does.... require a deeper draw to produce an equivalent result in performance. This means that although there is no difference in the amount of physical strength required to -. draw either bow, the Japanese bow with this deeper draw length does produce a more aesthetically appealing effect with the archer centred within the greater arc of the bow. Whereas the western bow remained utilitarian in its approach, the....., Japanese bow has retained its functionally inconvenient length out of consideration for the elegance and beauty of the form. This sensibility is found in the ritualistic-relationship to the bow, as well as in its depth of psychological meaning.

If we look at the distribution and classification of bows throughout the Far East, it becomes apparent that the Japanese bow is quite different in form and origin from the bows of others Asian cultures. Tracing the origins of the Japanese bow may be....., possible through the data collected from archaeological studies of the shape of bows, method of construction and use. However, this is made difficult by the fact-that the bows of most ancient people were made from perishable materials such as wood and bamboo, so very little remains for examination. Those few remains that do exist are preserved at the Shosoin Repository in Nara, and are probably some of the oldest in Japan.

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The bow is deeply related to the life of the Japanese. Since primitive times the bow has always been a part of this identity. Even the legendary Emperor Jimmu, as a symbol of Japan and the Japanese, is portrayed holding a bow in his hand. Since the time that Y oshiie Minamoto dedicated a bow and arrows to Emperor Shirakawa as a trophy of success in two major victories - given to the Emperor to aid his recovery from illness - the bow and arrows took on a deeper significance in connection with the spiritual and personal life of the warrior. From this era the idea occurred that the bow was a vessel of the warrior's virtue, with the qualities of the bow taking on mystical significance.

Nothing on earth is simpler than shooting a bow. Not only is the bow and arrow the simplest of implements, but also the act of shooting itself is simple. The child loves to shoot an arrow in his unselfconscious world of play, a world that reflects the very origins of this act, which goes back to the beginnings of humanity.

Whereas, for the child, it is only play, for our ancestors, when they nocked on an arrow, it meant the drama of life or death in the hunting of a prey. In this primal act of shooting a bow is not only expressed our human intelligence and skill but something far more fundamental to our nature. The history of the bow is joined intimately to our humanity.

When the bow became a weapon, this demanded the technology to make a more sophisticated bow, and in the quest to make a powerful weapon the bow became a symbol of power and force.

Development of Japanese Archery The feature of the Japanese bow and arrow is its simplicity of form. Even the bows used today, have changed very little in their construction over bows from the past. In comparison with advances in the modern technological world, the simple, almost primitive form of the Japanese bow is something of an anachronism.

However, this simplicity is the very character that it represents. Using modern materials does not improve on its performance. An arrow made of bamboo shoots as well as one of metal or synthetic materials. Also, the subtleties experienced with natural materials are non-existent in modern materials. It is these very qualities found in natural materials that give an aesthetic interest and depth to the experience of handling a Japanese bow and arrows that has no equivalent in western archery.

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While the construction and appearance of the bow and arrow has not changed significantly throughout its long history, extraordinary attention has been paid to the development of the psychological relationship to the bow. This long period of history in which attention has been given to the aesthetic and psychological aspect has more than anything else been a factor in cultivating the Japanese bow's uniqueness. For the Japanese, the bow and arrows were revered as objects of faith that were believed to be mysterious vessels of spirituality.

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Thinking of a bow, one immediately thinks of it as a weapon. Although its prime function for most of recorded history has been as an implement of war, its original purpose was as a hunting tool. Both these functions are inherent in its purpose and relate to its spiritual and psychological.dimension, but what is fascinating about the """"' Japanese bow is that these utilitarian aspects have always been secondary to its aesthetic and spiritual nature. In that symbolic role it has always been an object of -respect for the Japanese people. Perhaps the fact that the beauty and mystery of its shape caught the imagination was instrumental in retaining its form for so long.

No other people had the degree of spiritual relationship to the bow as the Japanese ..., did. Although many cultures, such as the Egyptians, Babylonians, and other ancient people who used the short bow with its emphasis on practicality, did have a -. symbolic and spiritual relationship to the bow that was similar in intent to that of the Japanese. For example, in the Assyrian culture the bow and arrow were named ...., the " King's weapon " and on occupying new lands were worshipped, naming the new territory the "bow's trophy." In Japan also, there are many examples of the bow's ritual and symbolic function. In olden times, people designated the noble ...., character of a person by the expression, "archery house," and in the performance of "Meigen," the sound of a bowstring was used for purification and arousal of the spirits.

Many cultures used the bow as a weapon, but very few developed and formalized the psychological and symbolic aspect, or retained a bow comparable in length to the Japanese bow. Only in Japan was a long bow used despite the inconvenience and ineffectiveness compared to a bow of shorter dimensions. Also the more ......, portable short bow with its central grip is easier to operate in either the horizontal or vertical position. On the other hand, the Japanese bow has the grip placed asymmetrically on the bow, presumably because, through experience, this position -was found to be the best compromise for functional balance and aesthetic considerations.

The Japanese bow was similar in type to the bows used by the peoples living in the -Pacific region, but was entirely different from the type used on the Chinese mainland. Also the concept of archery in ancient Japan was quite different from ----that of China. Although later on, the Chinese system of etiquette and ethical values (Rei) based on Confucianism, and other forms of Chinese thinking, were --. introduced into the Japanese culture to become a major influence on the development of the ethical and psychological framework of Kyudo and the unique _ features of the Japanese bow.

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In ancient times, the Japanese bow, was simply a straight bow made from the trunk of a tree, in the way that other peoples of the Pacific made bows. Even in later periods, it was made from the stronger part of the trunk of the zelkova tree (known by the ancient name of Tsuki, or Keyaki), or the catalpa tree (A zusa). The method of laminating a reverse bow was already in use by the Chinese at this time.

Keeping the straight form of the bow, the lamination technique of the Chinese was learnt and adopted in the manufacture of the Japanese bow, gradually developing power while still retaining the original form.

The definition of a long bow is a bow of l.82m or longer. Most of the antique bows remaining today are in this category with a length of between 1.82 - 2.12m.

These days a bow of 2.21m called a Namihoko is the standard length of bow in use amongst archers. Longer bows are also used in accord with the height and arrow length of the archer. Although there may have been bows of exceptional length in use, they were usually shorter than those used today. Exceptions were a bow called Hoko zumari that was about 2.06m in length and a shorter bow of 1.61m used in military encampments. These types of bows had the advantage that the projection of an arrow was fast, but they were easily broken. There were also shorter types of Japanese bows used for shooting fowl and small game.

Veneration for the Beauty of the Japanese Bow The length and aesthetic qualities of the Japanese bow were the dominant factors in determining its form. In other cultures a shorter bow evolved because of its superiority as a weapon. While the long, low - gripped Japanese bow with its inherently difficult handling, remained unchanged out of respect for the beauty of its form and the mystical relationship to the bow as an object of veneration (Temp y o).

Its practical limitation was also a catalyst in generating the special technique to compliment such a bow' as well as the whole psychological relationship to the act of shooting.

The beauty of the Japanese bow is acclaimed in the work of the writer Nyozekan Hasegawa, "The Beauty of Etiquette" (Rei no Bi) , in which he states: "I wonder from where the beauty of the Japanese bow is derived. No other bow in the world has a form and curvature that is as aesthetically pleasing as that of the Japanese bow. The arc of most bows in the world has an ordinary semicircular shape with the grip in its centre, while the Japanese bow has the grip asymmetrically placed at about one-third of its total length, dividing it into two distinctive curves (Sori) , both forming a continuous elasticity of power evenly distributed throughout the bow to create a perfect condition of balance.

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The curvature just below and above the grip is often considered as masculine and dynamic in quality, whereas the curve around the upper part of the bow near tht:' tip ( U rahazu) is considered delicate and feminine in balance like the form of an elegant princess (Himezori). What we have embodied in the bow is the balancE...... between the powerful masculine and the delicate and receptive feminine."

Master Hasegawa's description most poetically describes the visual beauty of the bow and its dynamics. The perfect balance of opposites gives the bow its beauty.___ Lao-Tse, one of the greatest Chinese philosophers, also used the bow as an analogy for the balancing of the universal opposites. The balance of the weak to the strong -, was like the "Way of Heaven "(Tendo). The way to heaven is like the bending of a bow." This balance of opposites is beauty itself.

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When the dynamic balance of the bow is combined with the body of the archer, with the bow and arrow realized in the full draw, this condition itself produces a_ circular form of great beauty, which has been loved and cherished by the Japanese for many centuries, and remains intact in this form until the present.

MODERN KYUDO

Popularization of Kyudo In its development, Kyudo has gone beyond the time when the bow functioned ..... exclusively as a weapon that was an inseparable part of the life of the warrior. In modern times the bow no more serves such a vital role, but can still play a--. significant part in our lives, as a means for self-development and moral and spiritual growth. This has value in particular for the young, who can gain the...., rewards of physical and spiritual training. Viewed in this way, Kyudo has taken on a modem significance, shifting its focus to match the social changes in the post-war~ period. So although there is no obvious change in the outward appearance and form of Kyudo, some inevitable changes in attitude and sensibility have occurred. ----..

Amongst these changes is the democratic organization of Kyudo that has th ¡purpose of making Kyudo available to all. Also in our attitude of mind there should be an openness that reflects the democratic spirit. However, mere outer~ democratization of the structure without any inner change in attitude ignores the principle aim of Kyudo that is moral training. No democratization of Kyudo can~ be without the moral attitude that should be its foundation.

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The spiritual aspect is undeniable in Kyudo, although there are those who have reservations about its application. However, the spiritual is part of our human condition. To deny it in our practice is to fail to understand the reality of Kyudo.

There should therefore be caution in the development of Kyudo as a popular pastime so that the more profound aspect is not disregarded. If this is maintained, there can hardly be a justifiable criticism of the state of modem Kyudo.

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In the past there were those who took the narrow view that the cultural uniqueness of Kyudo made it the exclusive prerogative of the Japanese. However, many aspects of Japanese culture have become well understood in the West, and Kyudo also has this possibility. Although the sports aspect is now an important part of modern Kyudo, its ethical and spiritual aspects should also be transmitted to the West. These qualities are its uniqueness.

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Kyudo is understood by some purely in terms of competition, in which you "compete with another for honour." For one who takes this viewpoint, the concept of Fuso, "to be without conflict," cannot be accepted. The reply to this attitude is that of course competition is to decide a winner or loser, but it is not conflict. The purpose of competition is not to create a loser. There should be respect for the other competitors. To take the attitude that the opponent should be defeated, or to be caught by winning at the expense of losing spiritual stability, is incorrect. To keep the tranquil mind in the midst of competition is to practise true Kyudo.

Ethics of Kyudo (Moral Code and Etiquette - Michi to Rei)

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It is most desirable that Kyudo should continue to increase in popularity. Its dissemination to a wider public will further the admiration and respect for the values that it contains. This in turn will hopefully lead to a deepened concern for these values that can only bring further development and advances in the study of Kyudo. Even though our practice is rooted in the values of the past, we cannot remain static. Using the experience and knowledge of the past, we can extract new insights that will lead to further understanding and development. This approach to the practice should be timeless, so that there is always this spirit;of examination and advance. With inner growth the outer structure will also gain meaning. The outer organization cannot be realized without this inner development. ,_

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Historically, Kyudo has developed a remarkable aesthetic sensibility. This sensibility is the very character of things Japanese. For example, we find th practical implements of war, such as swords, armour and even the bow, which b their nature need no aesthetic or ethical value, are often most sensitive! manufactured and designed . This is not only evident in objects themselves,

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also in the combining of the human form with an object to produce something c beauty and value. In Kyudo this is exemplified in the combination of the body oi an archer and the bow.

We can see inner spiritual beauty revealed in the outer .appearance and form. Thi aesthetic sense is the substance of Kyudo and has shaped the unique beauty of th:_ Japanese bow. This spiritual sensibility also underlies and sustains the moral value that make Kyudo a way of spiritual and ethical discipline (Do), which is unique in..., that its aesthetic, moral, and ethical values take precedent over the practical. Thi approach cannot be found today in the archery disciplines of other cultures, which, tend to place more emphasis on the technique required for hitting the target.

Originally the Japanese bow was used exclusively as a weapon of war, bu~ gradually under the influence of Confucianism, a moral value system (Do) took

...,

predominance over technique (Waza). Shooting which is just technique is withou

ethical values. However, when the shooting is applied within the context of Do, then all movements and actions must be performed with moral and ethica"""'' judgement. The significance of this is expressed in the Raiki-Shagi, which states

---..

"The shooting, with the round of moving forward or backward can never b1 without courtesy and propriety (Rei)."

In its evolution, the Japanese bow has acquired and maintained its unique form as a result of the dominating influence of these aesthetic

~nd

ethical values. Ceremonia~

shooting (Sharei) is itself the amalgamation of rules and criteria of shooting, together with the etiquette observed in its performance.

According to the Chinese philosopher Junshi, the original meaning of etiquett (Rei) comes from self-restraint over the desire for the material. To use desire tc

gain the non-material (spiritual), or to seek the material by desire in either cas desire moves one out of balance. The function of etiquette is to maintain a dynamic balance between the spiritual and the material.

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Confucius emphasized the three principles of wisdom (Chi), benevolence (Jin), and bravery (Yu), as the essence of the innumerable manners and proprieties that existed in the Chinese code of etiquette. However, the classification of Mencius differed from the Confucian system in the addition of righteousness ( Gi), etiquette (Rei), and the exclusion of bravery (Yu). For Confucius, however, etiquette (Rei)

is included in benevolence (Jin). Etiquette (Rei) is called benevolence (Jin or Ten).

Etiquette (Rei) in this definition means etiquette shown towards others (Girei).

This was further developed by applying etiquette towards oneself as well as others. " A true gentleman will be modest in every movement and behaviour even if alone." This ethical thinking probably influenced the Japanese way of thinking.

Although Kyudo has its origins in the way of the warrior (Bushido) which extolled the dignity of war and fighting, in this modern age it is the way of the 'true gentleman' and the path towards benevolence. During the performance of shooting the archer must be true in his attitude to his self. When the archer finds the balance in truth, then the correct release will follow. This truth to oneself is tested in your attitude towards others. There should not be envy to those who are better than you.

On the contrary, use the situation to examine your own inadequacies. Confucius says " A true gentleman will never quarrel with others. If he does it will be through archery. In going to the archery field he will never fail to go with the utmost courtesy. Should he lose the competition, he shows respect for others by serving rice wine. The archery competition with others honoured in this way is the expression of the true gentleman."

In this classical thinking of the Chinese, the act of keeping to truth and virtue negated all conflict. By holding fast to these moral ideals, it was considered that peace and stability would ensue. Although these Confucian ethical values were lost from Chinese archery, they are still put into practice in the way of the 1apanese bow.

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Supreme Goal of Kyudo

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Shin : Truth: The search for Truth has been the objective of all cultures and ages.

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We can say that the search to define or at least intuit absolute Truth is the goal of all religious and philosophical disciplines .

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In Kyudo, Truth is the prior reality of the shooting. Truth cannot be deceived. The arrow flies straight towards the target. This is Truth. However, we encounter the ' timeless, ageless paradox that the absolute Truth cannot be understood. It can be intuited, but not defined. As a result, we must endlessly examine our relationship ----to our shooting, as we are that which distorts and removes us from being in Truth.

The Truth is found in relationship beyond ourselves. We must be receptive to the contents of the situation that lead us to Truth. There is a response in the vitality and life of the bow (Yumi no Sae), the sound of the bowstring (Tsurune), and the moment of penetrating the target (Tekichu). These echo the Truth in Reality. This search is the path of Kyudo (Michi), along which, through every shooting, we seek to unite man with the absolute.

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Zen : Goodness: Goodness, in terms of Kyudo, is meant as a moral value.

Through the discipline of etiquette (Rei) there is a state of composure acquired which has no conflict. This condition of dignity and gentleness was the condition of the "true gentleman" (Kunshi) that was so highly valued as an ideal in Chinese culture.

In this way of thinking, derived as it is from Confucianism, emphasis .is placed on not losing this composure of mind. This state of mind is known as Heijoshin, which means the ordinary everyday mind, which is always relating calmly and harmoniou'sly to circumstances. Therefore it is not some extraordinary state, but what should be the everyday mind of tranquillity and composure.

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Our lives need a moral framework in which we can cultivate peace and equanimity with others. Negative reactions to others will disturb the practice of Kyudo. On the contrary, we need the cultivation of goodness (Zen) in our attitude towards others.

This will have significance for the practice of Kyudo, and its positive contribution to society.

Bi : Beauty: That which is beautiful fulfills the senses. Its acqms1t10n is the ' supreme goal of all the arts. It is the form of Truth expressed in the application of Good. In Kyudo, taking the bow as the prime embodiment of aesthetic and ' spiritual beauty, these qualities are expressed through the vehicle of ceremonial shooting (Sharei), whose formal restraints demand this expression, and whose grandeur is combined with the spirit of Shintaishuusen (harmony in all movements) in which the movements, harmonized with a calm presence of mind, . ., work together rhythmically to excite our sense of the beautiful.

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According to the writer Hasegawa in his previously mentioned book "The Beauty of Etiquette" (Rei no Bi), ceremonial shooting (Sharei) is indeed something most aesthetically fulfilling. However, other forms of archery begin and end with the archer's control through physical strength. It becomes a display of power, rather than one of harmony and relationship that is the unique beauty found in Kyudo.

The German philosopher, Dr. Eugen Herrigel, says in his now world famous book, Zen in the Art of Archery, "The English long bow is drawn with the strength of the arms from shoulder height, but since the Japanese bow is raised high and drawn downwards it is only necessary to use enough strength to open the arms apart." In this economy of physical power, which is based in the relationship to the spiritual, lies the beauty of shooting the Japanese bow.

Two Aspects of Kyudo Modern Kyudo is gradually being enjoyed as a sport. This aspect of it will naturally increase in popularity because of its accessibility through the emphasis on technique and competition. However, the unique character of Kyudo cannot be understood just within the context of sport and technique because it also includes a profound side to it as well.

There are those who with much hardship have exerted themselves in pursuit of the quintessence of Kyudo. In this demanding way, it has relentlessly been studied by many great archers. Although seeking for the highest level of the practice is not the ambition of everyone, practitioners of Kyudo should still be aware of the spiritual aspect. Then the popular aspect of Kyudo will have a relationship to the deeper parts of the practice. Without this relationship, the popular aspect will be shallow and empty.

Understanding the relationship between these two aspects has relevance to our lives. We know that hitting the target is very important in Kyudo. However, we often experience that we lose relationship to ourselves in our attempts to try and hit the target. We know that this attitude is not right. To many this might seem an unreasonable notion, but nothing is more distasteful in Kyudo than shooting based on this attachment to the act of hitting. In our daily lives also, we often experience this kind of attitude, but the reality of this desire is more evident in our shooting, so that through our practice the importance of the right attitude towards desire is found and our lives can be experienced more profoundly. In this context, expressions like " Shooting is Life " (Sha Soku Jinsei), "Shooting is Living" (Sha Soku Seikatsu), or "Shooting is Standing Zen" (Sha wa Ritsu- Zen) take on significance.

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In this modern age it is inevitable and quite appropriate to bring a scientific approach to Kyudo. The shooting can be studied in terms of dynamics, and the operation of the body through its anatomy. Many interesting results have been obtained from research in these fields . However, while the scientific rationale is useful, we must remember that Kyudo as an eastern discipline also demands an ~rrational aspect as well. The irrational defies understanding and leads to doubt, so that from the logical viewpoint many aspects of Kyudo seem incomprehensible. To relate to this aspect of Kyudo, we must turn directly to our experience and through that we will have intuition and relationship.

It is true that we can do nothing without technique, but technique alone does not give the depth to our performance. We must unite both aspects into one by attaining a stage where technique and spirit are braided into one rope. This is the essential problem that is difficult to resolve. If we put emphasis on technique we will easily forget the spirit, and if we think only of spirit, the shooting will have no technique.

These two aspects are not distinct, but must always be considered as one. In unity these two poles will merge into the condition beyond division. The technical aspect and the spiritual aspect, while different in external form, once they are united and internalized, then no distinction will arise between them. This will produce the noblest values in attitude and performance.

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PRINCIPLES OF SHOOTING ( SHAHO)

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THE THREE ESSENTIALS AS ONE BODY (SANMI-ITTAI) Commented on by Master Yozaburo Uno Sanmi-Ittai means the unity of the three essentials, Body, Spirit, and Bow as one body.

The Three Essentials

{

Stability of Body } Stability of Spirit (and Mind) Stability in Using the Bow

United as One Body

For the practitioner of Kyudo, the vital question is how to create this essential unity. Our predecessors, have examined this question of unifying the body, spirit and use of the bow, and in their teachings left their legacy for our consideration.

The Testament of Raiki - Shagi (Record of Etiquette -Truth of Shooting) The Raiki states: "The shooting, with the round of moving forward or backward can never be without courtesy and propriety (Rei).

After having acquired the right inner intention and correctness in the outward appearance, the pow and arrow can be handled resolutely. To shoot in this way is to perform the shooting with success, and through this shooting virtue will be evident.

Kyudo is the way of perfect virtue. In the shooting, one must search for rightness in oneself. With the rightness of self, shooting can be realized.

At the time when shooting fails, there should be no resentment towards those who win. On the contrary, this is an occasion to search for oneself."

In examining this, we can see that implicit in the meaning are those three elements that form the essential unity (Sanmi-Ittai ). They are: (1) Perfect Composure of the ¡ Will and Spirit, (2) Stability of the Physical Form, (3) Exactitude in the Use of the Bow. By seeking these essential qualities in our training, we will realize the "Five Virtues." (th~se are the Confucian virtues of Benevolence, Justice, Courtesy, Wisdom and Sincerity).

When our practice is m keeping with these values , if an arrow is shot unsuccessfully, one does not blame others for failure. On the contrary, one seeks 'diligently the cause of failure through reflection and instruction from others. In this way, Kyudo can be regarded as a way to cultivate mental discipline and virtue based on these traditional values.

We must never lose sight of these values as a motivating source for our presentday Kyudo community.

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The Testament of Master Junsei Yoshimi (Shaho-Kun) Master Yoshimi, whose other name was Daiuemon Tsunetake, was a famous retainer of the Kishu clan in the middle of the Tokugawa period. He was famed for his literacy combined with great skill in Kyudo. At that time, he was senior to Master Kanzaemon Hoshino of the Bishu clan, and Master Daihachiro Wasa of the Kishu clan, who were also pre-eminent in the Kyudo world. In later years, Master Yoshimi was to become a Buddhist priest, and move into the precincts of the Daitokuji Temple in Kyoto, where he lived.

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His testament states: ( 1) "The way is not with the bow, but with the bone, which is of the greatest importance in shooting." This means that when you are going to shoot, you must not lose your overall awareness and become preoccupied in just manipulating the bow and arrows, but remember that the shooting effort should also be made with yours muscles and bones.

(2) "Placing Spirit (Kokoro) in the centre of the whole body, " This means you must arrange the stability of spiritual energy." "... the centre of the whole body," indicates the spiritual centre of the abdomen (Tanden ), which is located in the centre of the physical body.

(3) "... with two-thirds of the Yunde (left arm) push the string, and with one-third of the Mete (right arm) pull the bow." This means that at the time of drawing apart (Hikiwake) you must be aware of the correct pushing and pulling action.

With the left arm you push the string and with the right arm you pull the bow. To explain it like this, in a contrary way, (contrary to how you would logically understand the action ) is extremely interesting. It shows that the drawing apart of the bow and string has to be done equally with a corresponding pushing and pulling action.

(4) "Spirit settled, this becomes harmonious unity." This means that when you reach the limit of the pushing and pulling action, the energy of spirit and mind (Kokoro) found within the body should be settled into the abdomen (Tanden), and arranging the unity of the body, spirit and the bow, the "Full Draw of the Three Essentials as One Body" (Sanmi-Ittai no Kai) is revealed.

(5) "From the centre line of the chest, divide the left and right equally into release." This refers to the dividing apart of the harmonious unity of the full draw (Kai).Thus, in the transition from the full draw (Kai) into the release (Hanare), the centre line of the chest, which is the central axis of the fundamental body form, 25

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divides equally to the left and right to become the release in which the balance of forces in the vertical and horizontal cross are maintained (Tate- Yoko Jumonji no Hanare ).

(6) "It is written, that the collision of iron and stone will release sudden sparks;" This means that the greatness of shooting is in the spiritual energy. Apart from the results of hitting and missing, this sharpness of the release, likened as it is to the sharpness of a spark given off by the striking of iron on stone, is of the highest value in the shooting.

(7) " ... and thus there 1s the golden body, shining white, and the half moon positioned in the West." This refers to the position after the release (Zanshin) in which there remains the evidence of the highest level of shooting. Looking across the vista of the morning sky, the golden body of the planet Venus can be seen glittering in the East, and to the West, in correspondence, the half moon remains shining in the dawn sky. This sings the Truth realized by the shooting.

In comparing these writings, we find that the Raiki-Shagi focuses on ethical principles, whereas the, Shaho-Kun alludes mainly to the qualities of practical skill. If the teaching in these two documents is considered, it will surely act as suitable guidance for the application of Kyudo in our present times. From this basis, we believe there is a possibility that if you strive hard in your practice, you will certainly arrive at the wonderful condition of "The Three Essentials as One Body (Sanmi-lttai)". It is with that hope that these writings have been presented to you as an opportunity for study and reference.

Written on December 22nd 1967

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FUNDAMENTAL FORM (KJHONTAI) Importance of the Fundamental Form Present-day Kyudo has no practical application. The bow and arrow are no longer used as tools for hunting, or weapons of war. Its purpose today is to realize the physical and emotional well being of the person and develop the personal qualities that will enrich our lives.

However, in reality we find that many archers are either ignorant or just dismiss these aspirations, and instead are occupied with the skill needed only to hit the target. This attitude is summed up in the words " Kai kara Hanare ", which means that the archer only considers his shooting from the stage of the full draw (Kai) until the release (Hanare), and has a disregard for the fundamental postures and movements which accompany the act of shooting.

These postures and movements are essential for realizing the qualities that make Kyudo more than just a means for hitting the target. Our shooting should be like a plant which through long and diligent care and attention produces a wonderful and fragrant flower. If the roots and branches are ignored it will never flower and come to life.

The importance of right moral attitude in the application of the fundamental form to the shooting is implied in the Raiki- Shagi, when it states : "The shooting, with the round of moving forward or backward can never be without courtesy and propriety (Rei). After having acquired the right inner intention and correctness in the outward appearance, the bow and arrow can be handled resolutely. To shoot in this way is to perform the shooting with success, and through this shooting virtue will be evident."

When we enter the practice hall (Dojo), this attitude must be in our awareness and our movement. Inwardly it is necessary for us to be full of vitality, but without desire, prepared to do our best with sincerity, while outwardly giving full attention to all our movements as well as our posture.

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The fundamental form should be carried out naturally, observing the correct manner and courtesy. There should be no separation but a harmonious unity (spirit, body and bow) that produces the Truth, Goodness and Beauty (Shin, Zen, Bi) of Kyudo through which the personality and dignity of the archer are expressed.

With this as the basis of the shooting, even when a master archer fails to 27

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successfully hit the target, one is still moved by his dignity that has been acquired through the cultivation of these qualities. In contrast, there is only pity for the archer who clings to only hitting the target, boasting of never missing, but who will inevitably be unable to rely on skill, particularly as he grows older and loses bodily vigour. Our aspiration should be to become the kind of archer who has beauty and refinement in his shooting, growing into a mature and dignified personality.

Correct Attitude in the Performance of Shooting The purpose of the shooting is to express naturalness in the movement. If this is ignored, then shooting cannot really succeed. The forming of body movements must be carried out in a rational manner. This does not mean simply movement that is free and undisciplined, nor instinctual movement, but the naturalness of movements created through the conscious discipline of regular practice.

(1) All the movements (Kikyo - Shintai) should obey the criterion of

shooting, expressing sincerity and dignity, not arrogance and indifference.

(2) Men, especially, should express dignity, strength, refinement and composure.

(3) Women, for their part, should be elegant and yet have a commanding presence.

Correct attitude in performing the postures and movements of the shooting is only outlined here in a very general way. It is difficult to explain this subject in writing.

For detailed study and practice it is desirable to receive the instruction of a teacher.

Forms of Basic Posture and Movement Since earlier times, there have been various forms of posture and movement used in the performance of shooting These forms originated form the purpose of shooting a bow used at that time as well as various aspects of everyday life, such as the clothing worn. The basic postures and movements outlined below are those which have been considered most appropriate to present day Kyudo. '

These forms can roughly be categorized into four types of basic posture and eight basic movements that are illustrated in the following diagram :

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Basic Posturs {

Basic Movements

1.

2.

3.

4.

Standing Sitting - on a Chair Formal Sitting on the Floor (Seiza) Half-Sitting on the Heels and Haunches (Kiza and Sonkyo)

1.

2.

3.

4.

5.

6.

7.

8.

Standing Sitting Down Walking Turning from a Standsstill Turning while Walking Turning inn the kneeling (Hirakiashi) The Bow (Rei) (Sitting-Zarei : Standing- Ritsurei) Half Bow (Yu)

As we have said, the fundamental form (Kihontai) is the basic movements and postures used in the stages that leads up to and completes the actual act of shooting.

By performing these actions through the concentration of right attitude, the archer will over a period of time cultivate th~se qualities of personality that are the highest goal of the practice. The acquisition of these noble qualities is reflected in the three concepts of Shin , Gyo, and So , which are derived from such classical Chinese texts as "The Treatise on Moral Training "(Shushin-Ron) , or "The Treatise on the Use of the Body." (Taiyo-Ron) Shin means keeping to the Truth, Gyo means to carry out the Truth, and So means moving with harmony. In applying it to the movement of the fundamental for m, it can be understood as follows : *Form with Truth (Shin) should be correct; keeping to Truth * Form with Action (Gyo) should be obedient; carrying out Truth *Form as Nature (So) should be in harmony with all things * These three can be united as one and should be regarded as one What this means in practice is that at first one should acquire Shin through diligent practice that respects the correct standards. Then, when the posture has attained stability ¡and is without flaw, naturally Shin will become the movement of Gyo. Likewise, following on from Gyo, there will be a manifestation of So, the highest state of naturalness in form and movement.

In the words of the classical Chinese poet Sotoba, "Shin brings forth Gyo, and Gyo brings forth So." 29

Here are described some of the underlying principles that govern the correct application of the basic body postures and movements, including their more subtle aspects, for example, harmony of timing (Maai), harmony of breath (lkiai), and the focus of spiritual energy (Kiai). Although these more subtle aspects do demand direct experience under guided supervision, their descriptions below, together with the descriptions of the other underlying principles, should be studied and learned.

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(1) One should commit to memory the correct body posture and the movements of standing up, sitting, and moving forward and backwards (Kikyo-Shintai). This will become " The Body Animated with Life" (Seikitai I Jittai). Holding only to the form without the spirit will lead¡ to the opposite condition, "The Body Without Life " (Shikitai I Kyotai). As much as a shadow is part of the object that casts it, so is the spirit part of the body it animates.

(2) When standing up, sitting, and moving forward and backwards (Kikyo-Shintai) it is most important to keep the form of the torso (Dozukuri) in every movement.

The completion of Dozukuri contributes to a natural stance that is the basis for cultivating a dignified attitude in all posture and movement. The forming of the torso (Dozukuri) is not done ju&t at the shooting position (Shai) but should be already formed when you enter the shooting area.

(3) It is very important to take care with the use of the eyes (Mezukai), as the condition of an archer's mind is reflected in his concentration and the direction of eye movement. To do this, it is recommended that the lids are half closed and that the gaze should be concentrated along the bridge of the nose. It is important to do this with vitality but without excessive tension.

In bowing, the direction of eye movement shows to what or to whom the bow is directed and the feeling behind the bow. This is especially important with the half-bow (Yu), which is used before and after shooting. Also in making the footing (Ashibumi), checking the string (Tsuru-Shirabe), setting the gaze (Monomi), and virtually all the actions of our shooting, the required stability of mind and spirit depends on the correct use of the eyes (Mezukai).

Considered more profoundly, the eyes reflect also the mind's eye, or the soul, which is said to see into the ultimate reality.

(4) It is desirable to keep movements in harmony with the correct breathing.

This is especially important with movements that are shorter in duration, to which special attention must be paid. The relationship between movement and harmony of breath (lkiai) is important, and after repeated practice it will not be long before you become accustomed to the breathing, and eventually, each 30

movement will be performed more unselfconsciously, becoming smoother and more vital in its action.

(5) Every movment should be supported by the hips. The hips are the central part of the body. The hips should form the basis for such movements as bowing, standing up, sitting down, walking and turning. Unless the hips are stable, the balance of the body is lost and movements will become disturbed.

(6) Movements need to have remaining spirit and form (Zanshin). We must pay special attention towards the end of each movement of standing up, sitting down, turning, bowing, and other movements, that as they are finishing they should conclude with the focus of Zanshin, before flowing into the next movement.

(7) All movements depend on timing (Ma). During movements, we must choose

timing which is neither too slow or too rapid, nor too light or too impressive in quality so that the balance of timing disrupts the movements. When performing Kyudo with others, it is necessary to pay good attention to your timing, so that it co-ordinates with the timing of others.

(8) In the beginning stages of training, we have to do every movement keeping to the fundamentals, and although it is better to allow the movements to be rough rather than too controlled, we should still aim to hold to essential points. As we become more proficient in the movements, they will bec.,o me less rough and lose hesitancy, gaining fluidity and naturalness. In copying the movements of a more experienced archer, we should not just mindlessly ape the movements, or the form will be without substance.

Basic Postures 1. Standing A natural posture should be kept, which does not appear forced and is appropriate to the archer's body structure. Accordingly, the feet should be placed parallel to each other, with the knees braced, and the hips set firmly. The upper body should be held correctly with the neck erect. Eye movement should be controlled, and the mouth closed, but not too firmly. The earlobes should be positioned vertically over the shoulders.

In addition, the mental and spiritual energy should be focused in the region of the abdomen just below the navel (Tanden) and the chest and shoulders should be relaxed, with the centre of gravity slightly to the front of the centre line of the soles of the feet. Both arms should hang naturally without strain, with the little 31

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fingers stretched slightly. The hands (palms of the hands -Tanagokoro :Tenohira) should have the fingers closed and slightly cupped, touching the front of the thighs.

The gaze passes along the bridge of the nose to a point about 4 meters to the front.

N.B. Men should normally keep the feet 3 centimetres apart, with some exceptions in the case of larger persons. Women should place them together, and in both cases the toes should be closed.

Arrangement of the Feet Men

Front View

Side View

QD Women

Front View

Side View

2. Sitting-on a Chair When sitting on a chair, one should sit as deeply into the chair as possible, with both feet placed correctly io the front. The hips should be firm with the upper body kept correctly, and the nape of the neck stretched vertically. The chest and ,shoulders should be relaxed. Both hands should be placed on the thighs with the fingers closed and the palms cupped. The elbows should not bend out too far from the body. The gaze passes along the bridge of the nose to a point about 3 meters to the front, and the mouth should be closed. When sitting down on a chair, it is necessary to do this from the lower position (Shimoza). In standing up, it must also be done from the lower position.

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Front View

Side View

N.B. When sitting down on or standing up from a chair, it is recommended to support the back of the chair while moving.

3. Formal Sitting on the Floor (Seiza) When sitting in the traditional Japanese manner with the legs folded underneath the thighs, the big toes of both feet are placed on top of each other. Men should keep the knees about one fist's distance apart, and women should keep the knees as close together as possible. The hips should be firm with the upper body kept correctly, and the nape of the neck stretched vertically. The chest and shoulders should be relaxed by focusing spiritual energy in the abdomen (Tanden). The hands with the fingers closed and the palms cupped, should be placed on the thighs, and angled inward slightly.

This should be done without exertion, and care should be taken not to bend the elbows too far away from the body, or hold them in too tightly. The mouth should be held closed, with the direction of the gaze passing along the bridge of the nose to a point about 2 meters to the front.

Front View

Rear View 33

N.B. (1) To angle the hands inward correctly, the index finger should be directed

towards a point centred between the kneecaps.

(2) The big toes of both feet can be placed on top of each other, or just pressed together, but the whole foot must not be placed on top of the other foot. One should also have the feeling of closing the heels together.

(3) Keep the chest relaxed, so that the body doesn't lean backwards too much.

To avoid tightening the breath, try to keep the lower part of the abdomen close to the thighs.

4. Half-Sitting on the Heels (Kiza) and Haunches (Sonkyo) (a) Kiza:

Kiza is the term for the posture in which the archer sits on the heels,

with the toes tucked under the body, in a position of readiness for the next movement.

When you are holding an implement in this posture, the knee is "made active" (lkasu) on the side that is holding the implement. When implements are held in both hands, the knee is made active on the side holding the principal implement (With a bow and arrows, the bow is the principal implement).

However, to make the knee active does not mean just simply lifting the knee up.

When the knee is made active, the angle of the upper thigh should be kept at about forty-five degrees, and the space between the kneecap and the floor about a palm's thickness.

It should be understood that the implement held is regarded as part of the body, and for that reason as the implement is "given life", the term Ikasu is used.

To maintain this posture it is necessary to tuck the toes in well under the body, trying to keep the heels together. (b) Sonkyo

Sonkyo is the term for the posture, in which the archer squats with both feet together on tiptoe, with the knees raised from the ground.

N.B. (1) In the postures of Seiza, Kiza and Sonkyo, care must be taken to keep the

form of the torso and hips correctly aligned (Dozukuri). The upper part of the body and the back must be straight with the feeling of stretching upwards.

In the Sonkyo posture the standard spacing between the knees should be a distance of two fists' width.

34

(2) When the knee is made active in the Kiza posture, it is not sufficient to just raise the kneecap, but the lifting action must come from the stretching upwards of the back and hips.

Basic Movements 1. Standing Up When standing up from the sitting posture (Seiza), the mind should feel calm and settled with the upper body carried correctly. On an inhalation, the hips are brought forward, and in the same action starting with the right foot, the feet are raised onto the toes and the breath exhaled. Next, on an inhalation the left foot is brought slightly forward under the body without the heel touching the floor. As you are standing up, the axis of the movement is kept on the toes, and without collapsing the torso (Dozukuri) the right foot is drawn together with the left ( the nape of the neck is stretched) and the breath exhaled.

On standing up from the Kiza posture, the procedure is the same except that the feet are already raised onto the toes.

Coming onto the toes, while raising the hips (Rear View)

(Side View)

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Care must be taken not to collapse the form of the torso (Dozukuri), or not to stand up by the action of bending the hips.

(2) When standing up, the hips must be raised upward and forward as fully as possible. By the action of raising the hips, it feels as if the whole body is being stretched or pulled upward. This movement should be learnt through constant practice.

35

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(3) When bringing the left foot under the body to stand up, if the left knee moves higher than the hips, the hips will collapse backward.

(4) When raising the body up with the left foot, care should be taken not to step in front of the line of the right knee. The placing of the left foot should be set a little to the back.

(5) The centre of gravity should be centred between both legs, and not to one side.

(6) Every movement should be in harmony with the breathing.

(7) As proficiency is gained, it will be easier to stand up from the Kiza posture, by the action of stretching and raising the hips.

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(8) When standing up holding a bow and arrows, the bow should never be used as a support.

2. Sitting Down (a) Seiza

From the standing position, on an inhalation, take a half step straight back with the right foot. Complete the movement with an exhalation. Without collapsing the upper body or the hips, the form of the torso should be maintained (Dozukuri).

As the hips are lowered (on an inhalation) and the right kneecap moving down to contact the floor, the left knee drops towards the right, causing the right knee to slide forward so that both kneecaps meet in alignment. (This action of the right knee comes from a pushing action from the hips )

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Taking a half-step backward

Keeping the heels on the floor 36

With the hips set firmly, the feet are lowered onto the floor with the buttocks resting on the heels and the big toes overlapping or touching each other. The movement is completed on an exhalation without forgetting to stretch the upper body upward. (see Formal Sitting on the Floor-Seiza) (b) Kiza

The procedure described above should be followed with this movement completed by sitting on the heels with the toes tucked under the feet. In this posture, if implements, such as the bow and arrows are held in both hands, the knee on the side of the principal implement is made active (Ikasu). (see Half-Sitting on the Heels-Kiza )

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When nothing is held, both knees should be on the floor Try to keep the toes tucked inwards Both feet should be correctly arranged and the heels kept together The bow should be pointed to the centre line of the body.

Men should keep a distance of one fist's width between the knees

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When holding a bow, raise the knee on the side of the bow (lkasu)

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3. Walking When walking, care should be taken with how the eyes are used (Mezukai), the torso (Dozukuri) should not be allowed to collapse, or the knees bent too much.

The soles of the feet should not be shown, and the movement of the legs should be focused and directed by concentrating the action from the hips. During walking the upper body is carried on the hips with the harmony of breath (lkiai) adjusted calmly to synchronize with the walking action, which should glide forward without any swaying motion.

It is recommended that men should cover a two meter distance in three and a half steps, and women should cover the same distance in four and a half steps. These recommended numbers of steps can differ depending on the physique of the person.

Walking in the bow holding posture (Toriyumi no Shisei), the tip of the bow (Urahazu) should be kept about 10 cm above the floor.

N.B. (1) One should avoid walking just with the toes, but walk with the movement centred on the soles of the ft;et (Tsuchifumazu) in which the heels ought not to

separate from the floor.

(2) The rear leg should not be dragged by the forward action of the front leg.

On the contrary, the rear leg should have the active motion, so that it leads the forward movement.

(3) Inside the practice hall (Dojo), the average pace to cover a two meter distance is three and a half steps. During walking, it is important to harmonize the breathing with the movement of the legs.

(4) Walking from the base position (Honza) to the shooting position (Shai), it is important that the movement of each step is in accord with the breathing, so that the harmony of breath (lkiai) will lead the movements, and the focus of spiritual energy (Kiai) connect the movements to the target.

(5) Walking from the base position (Honza) to the shooting position (Shai), the first step should be a bit longer than normal with the following steps of normal width. On stepping backward to return to the base position (Honza) from the shooting position (Shai), the first step should be shorter than usual, followed by steps of a normal width. When moving forward, the longer first step helps to create the focus of spiritual energy (K iai) and when moving backward, the shorter first step is done to avoid collapsing the posture.

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4. Turning from a Standstill To change direction in the position where you have come to a standstill, first, focus your attention in the direction of the turn, and while turning the hips, make a right angle with the foot that leads the turn and the toes of the other foot to form a T - shape. That foot is then turned so that both feet are brought together pointing in the direction of the turn. (See the diagram) When you make a backward turn, bring the lead foot (A) to make a right angle with the toes of the other foot (B) so that they form a T - shape. Then, bring that foot (B) at right angles with the heel of the lead foot (A) to make another T shape. Finally, close the lead foot (A} together with the other foot (B) to complete the turn. (See the diagram)

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5. Turning While Walking When you make a right turn while walking, the movement begins by placing the weight on the left foot, and then, with a small step, the right foot moves through an L-shaped turn, with the left foot following with a normal step. When you make a turn to the left, the same procedure is followed in reverse. ( See the diagram )

N.B. In making a turn, either after coming to a standstill, or while walking, the . turn should be made with the action of the hips as well as the legs. Care should be taken not to direct the rear of the body to the higher position (Kamiza) during any turning movement.

39

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6. Turning in the Kneeling Position (Hirakiashi) From the Kiza posture, on an inhalation, the hips are brought forward with the body raised vertically onto the knees, and on completion of this part of the movement the breath is exhaled. (Make sure when a knee is raised (lkasu) it is placed on the floor with the other knee before beginning the turn.)

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Then, focusing concentration in the direction of the turn, on an inhalation, while ' turning the hips, the right knee (in for example a left-hand turn) is brought around to make a 90° angle with the left. (During the turn, both kneecaps should be in contact as much as possible.) Continue the turning action by rotating the hips around more deeply, while lowering the buttocks towards the right heel. This rotating action of the turn naturally draws the left leg around to meet with the right. To complete the turn, the Kiza posture is formed and then the breath is exhaled. The turn must be done in one inhalation. Turning to the right the procedure is reversed. This method of turning is called Hirakiashi.

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Without parting the knees turn through an angle of 90°

Side view 40

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Lowering the buttocks onto the heels, draws the legs together

After completing Hirakiashi form the Kiza posture

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N.B. ( 1) In turning, care must be taken not to disturb the form during the turn by collapsing the torso (Dozukuri).

(2) The turn is not only made by the action of the legs but also by the rotation of the hips.

(3) Care must be taken not to lift the toes from the floor during the action of turning.

(4) If the body lacks suppleness, it may be difficult to turn through the complete 90° angle. Even so, one should attempt (as much as possible) to move both feet at right angles to each other. It is acceptable for the knee to be raised slightly from the floor during the turn, but it is not allowed for the kneecaps to lose contact, or the thighs to part.

(5) Turning in the kneeling position (Hirakiashi) will become more successful, through practising to perfect the action of the hips.

7. Bowing (Rei) Bowing is often said to be the basis for cultivating proper spirit and disciplining the person. In this way, it can be considered as the core of our expression of respect and love towards others, without which bowing becomes a superficial and meaningless action. It is of importance also that the act of bowing should embody refinement, and be performed elegantly and in a dignified manner.

In the practice hall (Dojo) we should have the "warrior spirit" that is prepared to bow unquestioningly, while still keeping the consideration to make the bow according to the time, place and respective rank of others. through study and practice of the methods of bowing from the sitting posture (Zarei) and bowing from the standing posture (Ritsu-Rei), which are described below, it is hoped that this will result in an understanding of the significance of bowing.

42

Deep Bow (Fukai-Rei : Soshu- Rei)

(a) Bowing in the Sitting Position (Za-Rei) Deep Bowing (Fukai-Rei) In the formal sitting position (Seiza), stretch the back correctly, and bend the upper body forward sliding both hands down the sides of the thighs so that the finger-tips touch to the floor (Shiken-Rei). To bow deeper, move both hands forward along the sides of the thighs until the palms of the hands gradually touch flat onto the floor. Continue the movement until the fingertips are brought forward on a line parallel with the kneecaps (Sesshu-Rei). To make the deepest bow, the upper body is bowed completely forward so that the fingertips of both hands move close together, with the feeling that the nose is aligned in the triangle of space between the thumbs and index fingers of both hands.

After the bow is finished, the upper body is raised up quietly with both hands returned along the sides of the thighs to their original position at the beginning of the bow. The bowing movement should be combined with the breathing. As the body is bent forward the breath is inhaled, and then exhaled in the bowed position.

The body is then raised back on an inhalation. (Mi - Iki : three breaths)

Standard angle is 45° 43

N.B. (1) Take care that the action of lowering and raising the upper body should be

carried by the hips. Also ¡the back should not be bent, or the hips loose, or the neck bent forward so that the part of the neck inside the collar of the kimono is visible.

(2) The movement of the upper body and the movement of both arms should be done at the same time. Which is to say that both arms move naturally in accord with the upper body's movement. These movements should not be separated. Do not allow the elbows to protrude from the body.

Types of Bowing Depending on the status of the person receiving the bow, the angle of bowing will differ according to whether they are junior, equal or senior, as will the spacing between the hands. For your reference here are described the most common types of bow.

Shiken-Rei: Both hands move down off the thighs, so that the fingertips are touching the floor, accompanied by a slight forward bowing of the body.

Sesshu-Rei: Bowing more deeply, the palms are flattened onto the floor and the hands are moved forward until the fingertips are parallel with the kneecaps.

Takushu-Rei: The forehead is bowed even deeper, to about 24 cm above the floor, with a closing of the space between the fingertips.

Si5shu-Rei: The forehead is bowed even more deeply, to about 15 cm above the floor, and the space between the fingertips is closed further. (Fukai-Rei) Goshu-Rei: The fingertips touch, and the body is in the deepest bow. (Sarani Fukai-Rei)

N.B. As your practice of bowing matures, you will be able to decide the appropriate angle of the body and position of the hands. Consideration for the time, place and situation of bowing is also necessary.

44

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Bowing in the Sitting Posture (Za-Rei) with the Bow and Arrows When bowing with a bow and arrows from the sitting posture, the hand that is holding the bow should not be moved. With the back stretched correctly, the upper body bends forward with ¡only the hand holding the arrows moving down to the floor (Shiken-Rei) and along the side of the right thigh to just in front of the knee, or close to it. When raising the body back to the erect position, be sure to keep the correct form of the torso (Dozukuri), and return the hand along the same line of movement, until it reverts to its original position.

According to the status of the person being bowed to, or the degree of respect held for an object, there will be a difference in the angle of bending the upper body and the position in which the right hand is placed. Except for the deepest bow, the normal angle of bending the body should be about 45° degrees, which can be taken as a standard.

(b) Bowing in the Standing Posture (Ritsu-Rei) Deep Bowing (Fukai-Rei) In the standing posture, stretch the back correctly, and with the hips set on_its axis, bend the upper body forward. Slide the hands naturally down the body until the fingertips touch the kneecaps and the forward movement is completed. The body is then raised up quietly with both hands reverting to their original position.

In both the standing bow (Ritsu-Rei) and the sitting bow (Za-Rei), the breathing is combined with the movement. That is to say, on inhalation the body is bent forward and in the bent forward position the breath is exhaled. The body is then raised back up on the inhalation of another breath. (Mi-lki -three breaths)

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Deep Bow (front.view) 45

Standard Depth of Angle (45°)

Standard Depth of Angle (Side View)

N.B. When bending the upper body forward, take care not to slouch the back or bend the neck forward so that the part of the neck inside the collar of the kimono is visible.

Types of Bowing In the standing bow (Ritsu-Rei) -it is the same as the sitting bow (Za-Rei) with several types of bowing. These will differ according to the status of the person being bowed to, which also determines the required angle of bending the upper body, and the position of both hands. (The time interval needed for any one type of bow is the sequence of three breaths -Mi-Iki)

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Standard Bow (45°)

Deep Bow

Bowing in the Standing Posture (Ritsu-Rei) with a Bow and Arrows I

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When standing and holding a bow and arrows in both hands, this should form the bow holding posture (Toriyumi no Shisei). Bowing in this posture, the upper body is bent forward with the degree of bow following the prescribed standard to comply with the status of the person receiving the bow. The arms should not be dropped.

46

Also in this form of bowing, except for the deepest type of bow, the normal angle of bending the body forward should be about 45° degrees, which can be taken as standard.

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The upper tip of the bow (Urahazu) should be positioned on the centre line ot 'fiie body at about 10 cm above the floor. (This positioning the bow above the fl~~r ready for movement is called Yumi o Ikasu)

Standard Bow (45°)

Deep Bow

S.The Half-Bow (Yu) Performance of the half-bow (Yu), must express a sense of devotion, courtesy, and gratitude to others. The half-bow made at the base position (Honza) should be made with the same feeling as is shown when bowing at the establishing position (Sadamenoza), so that the performance of shooting contains this attitude of courtesy and gratitude.

Side View

The upper body is bent forward about 10 cm.

In the opening half-bow (Yu), at the base position (Honza), one should convey a feeling of gratitude for having been allowed to make the demonstration of shooting, and express thanks for the attention of others. Also with the closing halfbow (Yu), a feeling of thanks for the consideration of others, and thanks for a safe completion of the shooting should be expressed. Through this attitude, a feeling of joining spiritually to the place and the target will be established.

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)_ The action of the half-bow (Yu) is done either in the standing or sitting position, in the same way as with the normal bow (Rei), with -the movement combined with the breathing. However, the upper body is only bent forward about 10 cm. When the half-bow is completed, the upper body is returned to the upright position with a stretching motion. The position of both hands should remain the same, without being moved. Also it is important to take care that the back is not slouched, or the neck bent forward.

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Conveying Gratitude to Others

Bow Holding Posture (Toriyumi no Shisei) When one is in the correct standing posture or in the Kiza posture holding the bow and arrows in both hands, this is called Toriyumi no Shisei. In this posture the left hand holds the q9w at the bow grip (Kyuha), and is set in position on the hip with the string facing outward. The upper tip of the bow (Urahazu) is held about 10 cm. above the floor in a position centred to the front of the body.

The bow is held to the centre of the body and the arrows are held at the first joint (ltsukebushi)

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C> The upper tip of the bow (Urahazu) is held 10 cm above the floor and the arrows are held with the tip segment (ltatsuki) hidden If the tip segments of the arrows (ltatsuki) are shown, then the arrows are gripped by the right hand at the first joint (ltsukebushi) between the circle of the thumb and index finger with support from the little finger and ring finger, but without actually gripping.

48

Alternatively, if the tip segments of the arrows (ltatsuki) are held within the hand so that they are hidden from view, they are also held by the thumb and index finger, which press lightly on the tips of the arrows, with the support of the little finger and ring finger. In both cases the hand holding the arrows is set on the hips.

The bow and arrows are held so that the tip of the arrows and the top of the bow ( U rahazu) point along the direction of imaginary lines that con verge to form an isosceles triangle. At the same time, the line of the bow, and the line of the arrows must both have the same angle to the horizontal of the floor.

It is desirable to make a natural form that is calm and composed with the body and the bow and arrows united as one. Both shoulders should be flat, without too much stretching of the elbows, with the curve of both arms equally positioned to form a circular shape. The body should not lean forward or backward, or be too rigid or loose, but should be held correctly, with the hips settled and the spirit and will focused.

N.B. ( 1) As described above, in the b9w holding posture, there are two ways of holding arrows. One is to hold at the first joint (ltsukebushi) with the tips of the arrows shown, and the other is to hold the tip segment ltatsuki) hidden from view. Either way is acceptable. ( See photographs on page 48) (2) When holding a bow and arrows, the position of both fists should be " in the area of the hips." What this means exactly is the place where the thumbs touch the front upper part of the hipbone. When a man is wearing traditional Japanese trousers (Hakama), it is the place where the ties are fixed.

(3) When standing, or walking in the bow holding posture, and during every movement, the top of the bow (Urahazu) must be kept at about 10 cm. above the floor. In the Seiza or Kiza posture, the top of the bow must touch the floor.

Removing the Kimono Sleeve (Hadanugi-Dosa) Hadtmugi-Di5sa is the term for the series of movements in which the sleeve of the kimono is removed in preparation for performance of ceremonial shooting. ( N.B. Kimono is the common term for Wafuku -Japanese clothing) When removing the sleeve, it is necessary to prepare for the time when the sleeve is replaced. Also, care should be taken that the posture of the body is not collapsed 49

by unnaturally hunching the back, or that the right elbow sags, because attention is caught by the action of removing and replacing the sleeve. It is important that the movements are co-ordinated with the breathing and that care is taken with the us~ of the eyes (Metsukai). The complete action should be done without collapsing the torso (Dozukuri).

The sequence for removing the sleeve is as follows: (1) Turning into the side facing position (Waki-Shomen), bring both hands

forward to stand the bow up in front of the centre of the body. In this action the right hand takes hold of the bow at the Togashira ( the lower part of the rattan binding (Yazurido) where it meets the grip leather), and with the turn completed and the bow positioned, the left hand is placed on the upper part of the thigh. On completion of the movement the right knee is raised (lkasu).

Next, the left hand is inserted into the opening of the sleeve, and the thumb is pushed into the upper fold of the sleeve to slide along the fold until the fingers emerge to grip the sleeve opening. (The tips of the fingers should be aligned and the thumb should not be allowed to protrude from the sleeve). This action loosens the neck opening by pulling the sleeve with the feeling of drawing it towards the target. The set of the gaze (Metsuke) should follow the movement of the left fist.

(2) The forearm is then bent at the elbow and carried to lie across the chest with the sleeve opening held just below the nipple. The function of this stretching action is to loosen the back and side of the kimono. Again, the set of the gaze (Metsuke) should follow the movement of the left fist.

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the four fingers of the hand together and pushing them out of the opening to hold the kimono sleeve

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ÂŽPushing out with the forearm to loosen the side and back of the kimono (3) In the next movement, the left arm is stretched out lightly in the direction of the tar get (the position of the elbow is kept the same), with the set of the gaze (Metsuke) continuing to follow the action of the left fist.

50

(4) The gaze (Monomi) is then returned to the front as the left fist is being inserted into the sleeve opening.

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Pushing the fingertips over the right shoulder and loosening the neck opening with the elbow

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C> @) The elbow pushing across the body and out of the kimono sleeve (5) The left fist, which has been inserted inside the sleeve, is passed along inside the kimono and with an outward pushing action of the arm loosens the upper side around the belly. Next, the arm, with the palm of the hand flat and the fingers closed together, is slid upwards and across the chest with a stretching action as if to reach over the right shoulder. With-this action the elbow is brought outside the sleeve and the sleeve falls off the shoulder. In this movement to bring the sleeve off the shoulder the palm of the hand would normally slide inside the neck opening. However, it is quite acceptable for the fingertips to slide along on the outside of the kimono. The head of the elbow should be kept close to the body when it comes out of the kimono.

(6) When the removal of the sleeve is finished, the upper tip of the sleeve opening is tucked between the ties of the Hakama and the bag of the sleeve is put away in the side opening of the Hakama (Wakinaka, Momodach i). The hand is now placed on the upper part of the thigh. After one breath cycle, the bow is transferred to the left hand.

® Taking hold of the kimono sleeve opening immediately

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N.B. Take care that the string of the bow is kept continually to the centre of the body.

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Holding arrows ~.t the first joint (ltsukebushi) using a five-finger glove (Morogake)

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Holding arrows at the first joint (ltsukebushi) using a four-finger glove (Yotsugake). This may also be done in the same way as CD

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Holding arrows with the tip segment (ltatsuki) hidden

Replacing the Kimono Sleeve (Hadaire-Dosa) The movements for replacing the sleeve are as follows: (1) In Hadaire Dos a , the bow is stood up in front of the centre of the body and the

left hand is placed on the upper part of the thigh in the same way . as in the movements for removing the sleeve. The bag of the sleeve is tak~n out from the side opening of the H aka m a and the tip of the sleeve pulled out from the Hakama ties. Holding the sleeve tip, the kimono is pulled over the arm as if to cover the shoulder.

(2) Then, the fingertips (the fingers should be kept together) of the left hand are inserted into the edge of the underside of the kimono and the arm is moved around under the right armpit. The elbow slides under the edge of the topside of the kimono and is moved across the chest, as if pushing the elbow around towards the back, with the result that the left shoulder and arm are returned to the sleeve.

(3) The left hand is pushed out of the sleeve opening, the kimono adjusted, and the hand placed on the upper thigh. After one breath cycle, the bow is transferred to the left hand.

52

ÂŽ CD

Pulling the Kimono over the left shoulder by the tip of the sleeve

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Move the fingertips of the left hand across under the right armpit and inserting the elbow into the kimono sleeve

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Pushing the left hand out of the sleeve and adjusting the Kimono

(4) Also in the sequence of movements for replacing the sleeve, the form of the body should not be collapsed and careful attention must be paid to the use of the

the Arrows (Yatsugae-Dosa) The bow is stood up in front of the centre of the body. Keeping it in the correct position, the bow is turned around by the string. (By taking hold of the -string around the height of Nariba; the lower part of the bow) Keeping the form of the torso (Dozukuri), the right hand brings the arrows across the outside of the - bow - as if 't he arms are embracing something - and while doing this, the primary and secondary arrows are identified (They are called respectively, the Haya and ~Otoya). Then, with the primary arrow (Haya) held between the index finger and the middle finger of the left hand, the right hand is passed bac~ along the arrow to grip the nock and in qne movement the arrow is brought forward and nocked (Kurikomi). _ When nocking the arrow with two movements, take hold of the middle of the arrow and bring it forward to the string, and then gripping the nock, bring the . arrow forward to complete the nocking. After nocking the primary arrow (Haya), ' turn the secondary arrow (Otoya) with the flights facing towards the tar get (the opposite direction of the primary arrow- Haya) and with the running ',- flight (Hashiriba) facing downward, bring the arrow forward to stop against the string at approximately the first joint of the arrow (ltsukebushi). ,_ t-

53

The secondary arrow (Otoya) is either held between the joints of the ring finger and little finger, or between the middle finger and the ring finger. Care should also be taken that both arrows are parallel, and to complete the sequence of movements, the right fist is returned to the hip.

Holding the secondary arrow (Otoya) between the ring finger and t?e little finger

Holding the secondary arrow (Otoya) between the middle and ring finger.(It is acceptable to grip the arrow with middle finger)

N.B. ( 1) When nocking the arrows, do not have any feeling of separation of the body from the bow, but keep the form of the circular space (Enso) between the bow and the body (2) When the bow is stood up in front of the centre of the body, the string ' the bridge of the nose should be on line with When the secondary arrow (Otoya) is being taken, the action will differ according to the glove used. If a three-finger glove (Mitsugake) or five finger glove (Morogake) is used, the arrow is taken from below (with the back of the right hand facing downwards) at the tip segment (~tatsuki) by the little finger and ring finger. This is done in one movement with the right fist returned to the hip.

However, if a four-finger glove (Yotsugake) is used, the action is done from above (with the back of the hand facing upwards) with the arrow pulled out slightly before taking it at the first joint (ltsukebushi). It is held between the root of the little finger and ring finger with the little finger gripping the arrow. Again, the right fist is returned to the hip. This action of taking' the secondary arrow (Otoya) is called Toriya.

54

The Primary and Secondary Arrows (Haya and Otoya) A pair of arrows is called Hitote; one hand. However, since olden times, each arrow has been separately named as Haya or Otoya, the primary and secondary arrows. Hay a has the quill on the inside facing towards you, and Otoya has the quill on the outside facing away from you.

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FUNDAMENTALS OF SHOOTING PRINCIPLE AND SHOOTING SKILL (SHAHO-SHAGI NO KIHON) To acquire an understanding of the criterion for shooting technique in The Eight Stages of Shooting (Shaho-Hassetsu), it is first of all, necessary to know the fundamentals that govern the shooting of a bow. These fundamentals of shooting principle (Shaho) and shooting skill (Shagi) are categorized under the following five headings, which should be considered as one totality working synthetically together.

1. Resistance Power of the Bow 2. Basic Body Form (Vertical and Horizontal Cross and the Five Crosses -Tateyoko-Jumonji to Goju-Jumonji ) 3. Breathing (Harmony of Breath-Ikiai) 4: The Use of the Gaze (Mezukai) 5. The Working of the Spirit (Kokoro) and Spiritual Energy (Ki)

1. Resistance Power of the Bow The power of a bow is not direct power, but the power created by the opposing force of resistance. Consequently, as a bow is drawn there is a proportional increase in the amount of resistance power. Therefore, the suitability of the power of a bow to an archer's physical strength cannot be determined until an arrow is fully drawn to its complete length at the stage of the full draw (Kai). A bow must be used which has a power suitable for your physical strength. It is wron_g, therefore, to use a bow that is too strong or too weak. A suitable strength of bow is normally half of the combined strength of two bows one can draw to the full.

2. Basic Body Form (Vertical and Horizontal Cross and the .The Five Crosses-Tateyoko-]umonji to Gojii-Jiimonji) First of all, it is very important to maintain a natural body form. This natural body is not the form cultivated from bad habits, or a strange posture developed from mistaken practice, but is apparent as the correctly formed human bone structure. This body consists of the feet, legs, knees, hips, spine, neck vertebrae, shoulders, arms, elbows, wrists, and hands and fingers, and various other parts, combined and made active by the muscles, bones and joints. All the elements of the left and the right side of the body work in association and correspondence to each other, obeying the principles that govern natural form.

The axis of the vertical line passes through the legs, h'ips, spine, and neck vertebrae, while the shoulders, arms, elbows, and wrists~ which control the left 56

side and right side, combine to form the horizontal line. These two axes constitute the criterion that determine the vertical and horizontal cross (Tateyoko-Jiimonji), which is fundamental to the basic body form.

In Kyudo, the greatest importance is placed on these criterion of the vertical and horizontal cross. Besides these major axes is the arrangement of the following five crosses, whose unified working is essential to the performance of the shooting.

These five crosses are called, Goju-Jumonji, they are: ( 1) bow and arrow (2) bow and grip of the left hand (Tenouchi) (3) thumb of the glove (Yugake) and the string (4) centre line of the chest and connecting line of the shoulders (5) line of the neck and the arrow Each of these crosses should be as close to a right-angle as possible. In the Eight Stages of Shooting (Shaho-Hassetsu) these criteria are included with the description of the method for making the basic body form.

3. Breathing (Harmony of Breath-/kiai) The breathing described here is not simply physiological bq~athing pr_od,uced without an act of will. It is the conscious focusing of breatp i~ h.armooy;.with a physical action. This is harmony of breath (lkiai), or conscious breathing (Kisoku).

All movements, if done in co-operation with harmony of breath (lkiai) , will come to life and become "The Body Animated with Life" (Seikitai) or "The Body of Truth" (Jittai). Movement and the harmony of breath are like the two wheels of a cart which are essential to each other's function. Without fc;>llowing . th~h(lrmony of breath there will be confusion and disorder, resulting in movements of the body which express nothing of Life or Truth. (This is the condition of Shikitai; the body inanimate of life, or Kyotai, the body empty of Truth). ~

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Breathing focused and harmonized in this way gives vitality to the fundamental movements (Taihai), and stabilizes the spirit, producing the fullness of vigour which becomes the generative force for the utterance of energy that is expressed when spiritual energy is harmonized (Kiai). This is particularly important during such stages of the Eight Stages of Shooting (Shaho-Hassetsu) as the full draw (Kai) and release (Hanare).

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Practise quiet and long breathing which is continuous and extremely natural. This is particularly important as without practice and attention to the breathing in the movements, breathing can be forgotten. This is especially significant when making a brief movement, where care must be taken with the harmony of breath (Ikiai ).

Through this attention to the breathing, it will gradually be assimilated into the body movements, eventually becoming an unselfconscious and natural action.

4. Use of the Gaze (Mezukai) When we are watching someone or something, our mind is concentrated only on what we see, and we neglect the spirit and the body. Therefore, the most important element of setting the gaze (Metsuke) is to look into your own heart and take command of that place. The condition of the Me zukai has a great influence on the breathing and posture.

During shooting, at no other time do you look at the target except at the footing stage (Ashibumi), checking the string (Tsuru-Shirab e ), setting the gaze on the target (Monomi), and when establishing the aim (Nerai).

From olden times it was taught very strictly how to use the gaze through such expressions as K11mo no Kane t and Yuki no Metsuke tt. The concept of which can extend to all forms of human activity.

t Kumo no Kane : This refers to Kumo; a spider, and Kane; a carpenter's square. As the carpenter uses his square, so does the spider check carefully the wind and direction of the branches before casting the first important thread that will become the base from which the web is to be spun. In the footing stage of the shooting (Ashibumi), with the same precision and concentration as the spider, an imaginary line between oneself and the target is drawn as a base for the footing.

tt Yuki no Metsuke : This expression combines snow (Yuki) and setting the gaze, (Metsuke), and refers to the concentration of watching the fall of individual snowflakes. This is like when the mind's eye is set on the target, without blinking ¡and without outer distraction (Monomi).

5. The Working of Spirit (Kokoro) and Spiritual Energy (Ki) The human mind is disturbed by delusions, worldly desires¡, passions and attachments, which are inore often than not the result of the pursuit of experience and knowledge. Also . the mind succumbs to the temptation of the eye and ear, which assail and agitate the spirit. To have the correct activity of the physical body and the right fullness of spirit, there must be stabil~ty of spirit. This is a fundamental requirement for the shooting.

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One of the characteristics of Kyudo is that it demands strict self control and stability of emotions. To acquire this, our practice, or any human behaviour, requires the driving force that is the power of the person's own will.

You must practise to have stability of spirit, and fullness of spiritual vigour, through the effort of will power and the strength to carry out actions with a sincerity based on the right belief.

THE EIGHT STAGES OF SHOOTING (SHAHO-HASSETSU) The correct application of the criterion of shooting technique to the process of shooting is known as the Shah?i- (Principles of Shooting). For training in Kyudo, it is first of all, essential to have a good understanding of the criterion determined by the Shaho.

In olden times, the form of the Shaho was described as the "Seven Ways (Shichidi5)" and the "Five Tastes of the Seven Ways (Gomi- Shichidi5)". This was a division into seven stages of the process for shooting one arrow. In modern times , the stage called Zanshin (remaining spirit and remaining form) was included to make eight stages of shooting which are divided as follows:

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( 1) Ashibumi - Footing

(5) Hikiwake -Drawing Apart

(2) Dozukuri - Forming the Torso

(6) Kai- Full Draw

(3) Yugamae- Readying the Bow

(7) Hanare - Release

(4) Uchiokoshi- Raising the Bow

(8) · Zanshin - Remaining Spirit (Form)

In the performance of the shooting, this division into eight stages (shown above) should be regarded from the start to the finish as one complete cycle, in which there is no separation. The eight stages of the shooting can be likened to a bamboo pole that has eight joints, which on the one hand can be considered as eight separate joints, ·and on the other hand as interrelated to each other and united in the one pole .

(1) Ashibumi - Footing Ashibumi is the first movement in which the feet ·are pl~ced - in the body posture of the footing stance-which becomes the foundation for the shooting. For the arrow to hit the target correctly, it is necessary to make the correct body posture.

To do this the correct footing stage (Ashibumi) must be formed, an action that is not simply spreading the feet apart. .,

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Ashibumi is made on the shooting position (Shai) by stepping into the side facing position (Waki-Shomen) while moving the feet out into a "v" shape, so that the big

toes of both feet are placed on a straight line to the centre of the target. The angle between the feet should be about 60° degrees, and the spacing between both toes should be roughly the draw length of one's arrow (Yazuka). (See diagram) There are two methods of opening the footing. The use of either method is acceptable. (See diagram) (1) The One Step Method: While looking at the target, move the left foot a half step in the direction of the target, and then draw the right foot up against the left instep, and with a fan-like movement move the foot back one complete step towards the right. Make the movement without looking down at the feet.

(2) The Two Step Method: While looking at the target, move the left foot a half step in the direction of the target, and then directing the gaze downwards, move the right foot a half step to the right.

When opening the footing, the knee joints of the legs should always be stretched naturally, with the soles of the feet " planted firmly into the earth," and the hips set, so that the stability of the lower body is the basis for the forming of the torso (Dozukuri).

Methods for Opening the Footing ....

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One's Draw Length of Arrow (Yazuka)

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angle between the feet, which is the same for both.

(2) There are some advantages and disadvantages in the width and narrowness of the spacing and angle of the footing (Ashibumi). They are as follows: If the footing (Ashibumi) is· too wide, the posture of the body becomes strong on the left - right axis, but we:;tk on 'the front - back: This becomes an unstable condition, and the stretching of the vertical' axis of the body is difficult. Also the flight of an arrow sometimes becomes higher.

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If the footing (Ashibumi) is too narrow, the posture of the body is strong to the front and back, but weak to the left and right. It is easy for the body to incline towards the target (Kakari-Do), or away from it (Noki-Di5). Also the flight of the arrow is lower.

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¡J Holding arrows at the tip segment (ltatuski)

Holding arrows at the first joint (ltsukebushi)

(2) Dozukuri - Forming the Torso With the footing stage (Ashibumi) as a fou~dation, the upper body is "placed" correctly and calmly on top of the legs, with the hips set firmly, and the left and right shoulders settled into the body. The spine and nape of the neck are stretched and straightened, and the centre of gravity of the whole body is placed in the hips. With this movement spiritual energy is settled in the abdominal area (Tanden). Also at this time, the bottom tip of the bow (Motohazu) is placed on the left kneecap, and the right hand put onto the right hip.

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The importance of this arrangement is that it prepares the balance of the whole body, yvhich together with the breathing akes a calm but concentrated body posture that stretches along the vertical upward towards -"heaven" and downward to the ,;earth, and along the horizontal freely to the left and right.

The calmness and concentration with whic~ the torso is formed (Di5zukuri) is a prior condition for moving to the next more dynamic ~tage of the shooting. Also,

the establishment of the torso cpozukuri) sets a foundation that determines the ¡quality of shooting in th~_ subsequent stages. At a glance, Di5zukuri looks outwardly rather simple and unimportant, whereas inwardly it is extremely complex and important to the shooting. ..

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Holding the bow with the fifth inner joint ( Uwanaribushi) set to the centre of the body The lower tip of the bow (Motohazu) is placed on the left kneecap

N.B. (1) There are five ways of constructing the form of the torso (Dozukuri).

These five constructions are called the "Five Torsos" (Go-Do), also the "Five Bodies" (Go-Shin). Any one of these arrangements can be applied in use by an expert archer, depending on the purpose and occasion.

(2) The five types of construction mentioned above are as follows :

* Soru-Do ........ * Kagamu-Do ... * Kakaru-Do .... * Noku-Do ....... * Chu-Do .........

the upper body is leant backwards the upper body is bent forward the body is inclined towards the target the body is inclined towards the right a moderate and equally balanced posture in which the body's centre of gravity is the most stable-this type of Dozukuri is most commonly used

(3) The lower tip of the bow (Motohazu) should not be placed between the legs.

(3) Yugamae -Readying the Bow Yugamae is the preparatory stage just before the actual movements for shooting.

Consequently, the movements of this stage must be arranged with the breathing, so that spiritual 'energy is developed and the basic body posture of the footing (Ashibumi) and the torso (Dozukuri) is maintained.

There are two types of Yugamae; as illustrated in the accompanying photographs.

One is the posture held directly in front of the body (Shomen no Kamae) and the other (Shamen no Kamae) is the posture held aslant of the body. In both types, there are included the .three movements for arranging the grip of thâ&#x201A;Ź right hand (Torikake), forming the grip of the left hand (Tenouchi), and setting the ., gaze on the target (Monomi).

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Front Facing Posture (Shomen no Kamae)

Aslant Posture (Shamen no Kamae)

From the front facing position, (with the space between the bow and string aligned to the face) the arrangement of the right hand is made. When a four-finger glove is used, the grip is arranged so that the thumb is pressed against the ring finger, with the middle and index finger arranged together with the ring finger. However, when a three-finger glove is used, the thumb is pressed against the middle finger, with the index finger arranged on top. In both cases, the thumb should be arched and the arrangement of the fingers kept supple. This is called Torikake.

After the nocking on with the right hand (Torikake) is completed, the bow grip is taken hold of, and the grip of the left hand is arranged in the correct manner (Tenouchi).

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In the front facing posture (Shomen no Kamae), obviously, nocking on with the right hand (Torikake) is taken in this front facing position. However, in the aslant posture (Shamen no Kamae) after nocking on with the right hand (in the front facing position ), the grip (Tenouchi) is arranged in the front aslant position and the bow is pushed open. In this position the bow is ready for shooting (Yugamae) . "'·'t··

Also in nocking on with the right hand (Torikake), the forearm of the right hand and the string should be on an angle of 90° degrees, and car~ must be taken not to thumb of the glove bend the wrist. This IS the cross of the string and the ,, (Kakekuchi Jumonji).

'-"' Of particular importance is the influence of the grip CT~nouchi) on the power of the bow to work effectively, to produce good speed, penetration P?Wer, flight, and concentration of the arrow. To do this, it is essential that the bow is not gripped too firmly or with too much strength. The subtlety of the grip ls often likened to 63

the feeling of holding an egg firmly, but without crushing it. Other terms such as U-no-Kubi, Momiji-Gasane, Ranchu, and Akuran, which have been used since olden times, also allude to the qualities of the grip. However, due to the difficulty of understanding the grip, it is recommended to study it under an experienced teacher.

After the preparations for the draw are ready (Torikake and Tenouchi), the bow and arrow are held as if embracing something softly within the space of the elbows and wrists, and then the face is turned towards the target, and the gaze carefully set on it . The term for this action of setting the gaze, is called Monomio-Sadameru.

N.B. U-no-Kubi describes the shape of the thumb and hooked index finger, which resemble the neck of a cormorant about to enter the water.

Momiji-Gasane describes the ideal grip (Tenouchi), which is so stable that even after the release, maple leaves piled up on it would not fall down. ,

Ranchu describes holding a cormorant's egg in the palm of the left hand at the stage of the full draw (Kai).

Akuran describes grasping a bow lightly as if holding an egg without crushing it, which is the desired form of grip (Tenouchi).

(4) Uchiokoshi - Raising the Bow Uchiokoshi is the movement in which the bow and arrow, which are held by the left and right fists, are raised above the head before drawing apart the bow. There are two methods for raising the bow; from the front facing position (ShomenUchiokoshi) or from the aslant position (Shamen-Uchiokoshi). (See photograph)

Front Bow Raising (Shomen no Uchiokoshi)

Aslant BoV( Raising (Shamen no Uchiokoshi) 64

(1) When the bow is raised up in the front facing position (Shomen-Uchiokoshi) both fists are raised up quietly to the same height above the head from the bow readying posture (Yugamae) .

(2) In the aslant position (Shamen-Uchiokoshi), the bow is raised up on the left side aslant from the side aslant bow readying posture (Yugamae).

The height of the bow raising stage (Uchiokoshi) is set at about 45° degrees, which is standard, but it differs more or less depending on age and physique.

At the time of raising the bow, arrange the breathing and keep a relaxed and easy feeling in both the mind and body, without collapsing the form of the torso (Dozukuri) or putting unnecessary power into the fists. The arrow is always held horizontal and parallel to the body, and care must be taken that the shoulders remain settled and do not lift up.

This movement should be carried out with a calm and tranquil feeling. Like the sun climbing quietly in the sky, or smoke calmly rising up on a windless day. In this way it is desirable to make the bow raising stage (Uchiokoshi) quietly in harmony with the breathing.

(5) Hikiwake - Drawing Apart Hikiwake is the movement of drawing apart equally to the left and right after the bow has been raised to the position above the head (Uchiokoshi). This stage in the shooting is central to determining whether the quality of the shooting " is good or bad. Consequently, it has a great influence on the full draw (Kai) and on the release (Hanare) which follows on from it.

In earlier times, this stage of the shooting was known as Hikitori - to draw into yourself. However, it is presently called Hikiwake - to draw apart, because it more accurately describes the action of drawing apart by pushing the bow and drawing the string equally to the left and right.

There are three methods of drawing the b<?w . ap~~t, _ ~hi~p are described as follows: (1) The bow is raised up from the front facing positiop, anQ ~lthough considering ' (pais~n), the movement is the condition of the intermediate stage of th~ ~~~~ ' ' carried out without stopping. . . .. . . . . \

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(2) From the front facing position, the ·bow is faised ·up and drawn to the inter mediate stage (Dais an) where the balance is taken of the received power, two-thirds on the left and one-third on the right (OshiDaimoku- Hikisanbunno-Ichi), and then continued.

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(3) The bow is raised up from the left side aslant position without stopping, or drawn to the stage of the two-thirds draw (Sanbun-no-Ni), from which position the draw is continued.

All these methods of drawing apart (Hikiwake) are equally effective, and in all these methods it should be observed that the height of both fists is not too high or too low, and that the arrow is kept level (actually the tip of the arrow should be lowered to just the slightest extent) and parallel to the body with the tip of the arrow pointing towards the tar get. The action of drawing apart should be balanced equally to the left and right with the arrow kept continuously level (the tip of the arrow must not be raised).

CD ÂŽ Daisan (The Intermediate Draw) ÂŽ Daisan - The body and bow and arrow are in parallel

ÂŽ During the dr~w, the right fist passes along an even path (Tsuru-Michi) which is about a fist's distance, or within two fists' distance, from the forehead, coming as far as the right shoulder to the full draw length of one's arrow shaft. At the same time the left fist pushes forward in the direction of the centre of the target, and the arrow moves closer to the body, moving as if to touch the cheek (Hoozuke), until it is drawn to the line of the mouth (Kuchiwari) to complete the movement.

(The arrow should not drop be.low the dividing line of the mouth.) The completion of this action forms the Vertical and Horizontal cross (TateyokoJumonji) with the string touching lightly against the chest region. (Muna-Zuru) 66

In the intermediate stage of Daisan (or Sanbun-no-Ichi) there is continuous activity of the whole body (tension-Hari) even though the outward appearance might give the impression that the form had stopped.

The movement of drawing apart (Hikiwake) must take its centre from the hips, and in co-operation with the harmony of breath (lkiai), moving at a calm and normal speed, just like the flow of water running to a lower level, there must be an evenly balanced drawing apart to the left and right. At the same time, it is necessary to use the muscles and bones of the chest and back as if opening up to the left and right from the centre line of the chest with the feeling that the body is separating the bow and entering into the space between the bow and the string .

The importance of the draw lies in this body acfion, which has to be done correctly by forming the proper vertical and horizontal cross (Tateyoko-Jumonji) with the body, bow and arrow. The body and bow will then be united as one body.

N.B. (1) All of the movements are enlivened by training the abdominal muscles and hips.

(2) The drawing apart is not done only with the fingers of the hands, but with the body leading the movement with the bones and muscles of the. chest and back region. The Mete (Katte) uses the power of the upper. arm by letting the . fingers of the right hand give in to the action of the string so that the stting is ·· drawn by the right elbow. (

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(3) Always take care, when drawing apart (Hikiwake), th_at the the axis of the movement.

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(4) The left hand is in correspondence to the right hand. When the left hand is expressed as the pushing hand (Oshide) the right hand is called '"the 'winning t' hand (Katte). Alternatively, if the left hand is expressed as (Yunde) th'e fight · -' ' hand is called (Mete). ~~

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(5) The term, 'Kinkotsu, means sinew and bones, which .means the muscles working correctly in co-operation with the physical (~~~!et'a~) ~?~~· . ... , .... ,.

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(6) Kai - Full Draw

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In terms of form, the stage of the full draw (Kai) is the-point-at which the drawing apart of the bow (Hikiwake) is completed. However,; from a ·psychological viewpoint, .rather than being complete, it should be understood as a condition of endlessly drawing the bow apart (Hikiwake).

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The various stages until now have been done to attain the full draw (Kai) in which the spirit, body, bow and arrow are harmonized as one. In this unified condition the waiting is maintained until the time ripens to "brim with the fullness of spirit," ceaselessly expanding to "heaven" and "earth" and to the left and right (Nobiai) until the opportunity for release arrives. To attain this is without doubt the perfection of shooting.

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CD The Full Draw (Kai) -

on the line of the mouth (Kuchiwari) ®The Full Draw (Kai)- against the cheek (Hoozuke) ® Completing the Vertical and Horizontal Cross (Tateyoko-Jumonji)

In the full draw (Kai) there are two very condiUons, which are called Tsumeai and Nobiai.

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These fundamental conditions for forming the full draw (Kai) require that the criterion that constitutes the vertical and horizontal cross (Tateyoko-Jumonji) is correctly maintained, and to do this, the drawing apart (Hikiwake) must be done properly.

In the full draw (Kai) the criterion for the vertical and horizontal cross (Tateyoko-Jumonji) is firmly applied and the five crosses (Goju-Jumonji) are realized. (Refer to the section, "The · J:'imdamentals of Shooting Principle and Shooting Skill" (Shaho-Shagi no Kihon) on page 56) For uniting the expansions (Nobiai) to the left and right and to "heaven" and "earth" each essential point within the Tsumeai mus-t be don~ sufficiently. It should be understood therefore, that Tsumeai and Nobiai are necessary conditions to produce good shooting.

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Tsumeai -Uniting the Firming Points of the Body When one is in the full draw (Kai), it is necessary that there be a unified working together of each point of theTsumeai so that the criterion which constitute the lines of the vertical and horizontal cross (Tateyoko-Jiimonji) is correctly constructed.

Construction of the Vertical Line When the soles of the feet, the hips, and shoulders are seen from above, they should be aligned above each other as one plane. The spine and the nape of the neck is stretched upwards, with the result that the stretching of the upper body makes the lower body stable. This arrangement is called Sanju-Jumonju (the cruciform arrangement formed from "piling up" these three horizontal axes) which is the fundamental condition for constructing the vertical line. With this arrangement it is important to work the back of the knees. The rear side of the knee joint is termed Hikagami, and it is important to tense these in order to make both legs stable.

Construction of the Horizontal Line In constructing the horizontal line, both shoulders are the basis for the work of both elbows and the balanced tension of the left and right arms. To have balanced tension evenly to the left and right, it is necessary to use thy t~n.d~ns which run through the arms. You must also keep in mind, that there will be no balance of tension in the arms if only the power of the fingers and fists is used.

Besides, to realize the balance of tension between the root of the thumb (Tsunomi) in the left hand (Oshide) and the right elbow, at, the same ...

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time, one should try dividing to the left and right, from the centre of the chest (as if opening up the chest).

From earlier times this condition has been called Tsumeai, as ¡well as¡ Gobu-no --Tsume-firming the five parts, or Shibe-no-Hanare -release from the' four ¡parts.

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Nobiai -Uniting the Expansions of the Body .

The uniting of expansions in .the body (Nobiai) is an absolutely indispensable condition for th~ full draw (Kai). Shooting without this condition (Nobiai) becomes ultimately, a release with the fingers. It should be understood that this condition of expansion (Nobiai) is not just pulling and stretching' the arrow to its draw length, but is achieved by the fulfilment of spiritual ener.gy.

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The spirit is made stable on the base of the vertical and horizontal cross

(Tateyoko-Jumonji). (This condition of calmness is known as Heiji5shin).

Stimulated by the focus of spirit' (Kiai), spiritual energy gradually increases to its highest point of tension, and then like a balloon inflated to bursting point, there must be a release. This then is the condition of Nobiai.

In Kyudo, there are also some teachers who make provision for an item , which is called Yago ro. This is the term for the condition prior to the release

(Hanare), which is the decisive moment, when the arrow is separated from the bow. At this time, power should be flowing to " heaven" and "earth" and to the left and right, with the technique working sufficiently, but what is more important, is that the release is not done simply by technique alone, but that technique is brought to life by the working of spiritual energy. Thinking of this, we should consider the expression "Spirit (Ki) precedes technique (Gi)."

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The full draw (Kai) is, psychologically speaking, the continuity of an imperturbable spirit. Removing attachments, desire, and worldly thoughts towards the target, at the full draw you must wipe away negativity like doubt, anxiety, faintheartedness, fear, and self-depreciation and make the effort to fulfill the spirit with self-control, composure, endurance, and determination, founded on

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the right belief. This disciplining of oneself in this very precious way is connected to Shasoku-Jinsei - Shooting is Life.

N.B. An old teaching verse says," Hiku-Yazuka Hikanu-Yazuka ni Tada-Yazuka,

Hanatsu Hanare ni Hanasaruru Kana". Hiku-Yazuka is to make release by pushing and pulling the bow only with the technique of the fingers. HikanuYazuka means the stability of the mind, and the fulfillment of spiritual energy ripening, and in the end, releasing in the fullness of one's own time.

Tada- Yazuka means to draw the arrow to its draw length, and then to simply hold in that condition. Among the above, Hikanu-Ya zuka is the one . you must practice.

It is necessary to devote oneself to the expansion of the full draw (Nobiai ) so as to

realize Hikanu-Yazuka. With this quality of full draw, you will not experience a premature release (Hayake), or a delayed release (Motare).

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Nerai -Aiming

In the full draw (Kai) the arrow must be directed along a line exactly to the centre of the target. In principle, aiming (Nerai) (with both eyes open) is determined by looking to the centre of the target, over the left fist on the left side of the bow, aiming with the outer corner of the left eye and the inner corner of the right eye. (see diagram) Normally, the arrow is horizontal to the target over the shooting distance of 28 meters, but the height of the left fist differs according to whether the distance is far or near, or whether the bow is strong or weak, or whether the the arrow is light or heavy.

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Aiming at the Target

(7) Hanare - Release When the conditions of the full draw have been fulfilled, the release will be its result. The release (Hanare) , then, is the " uttering " of the shooting. In other words, this is the condition of the arrow being released together with the motion of focused spiritual energy (Kiai) by expanding to open up to the left and right from the centre of the chest.

The terms Kai and Hanare are said to be derived from the Buddhist expression, "Esha-Jori; meeting is departure," so they should be understood as one inseparable unity. Which is to say, at Kai (meeting), power is brought to its conclusion - its fulfillment and transferred to an arrow, from which Hanare (departure) is produced.

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Consequently, Hanare must be a natural release. Neither just letting go, nor just being released, it should be like, for example, a dewdrop gathering weight on the tip of a leaf, which at the critical moment, falls naturally to earth - which is to say that it must be a natural release in which the opportunity ripens fully.

N.B. (1) Maintain firmly the fundamental form assembled as the vertical and horizontal cross (Tateyoko-Jumonji), and with expansion (Nobiai), one must release as if cleaving apart (the body) to the left and right from the centre line of the chest.

It is not Hanare if you release with the left hand (Yunde no Hanare), or release with the right hand (Mete-Banare), or make a release without expansion (Nobiai), in which there is a balanced action using the technical skill of the fingers (Awase-Banare) (2) It is said that Hanare must be sharp and have exquisite beauty. A sharp Hanare is not created with the fingers. It is produced by an internal explosive power, from the motion of focused spiritual energy (Kiai) based on the working of technique and the f~lfillment of spiritual power.

(8) Zanshin - Remaining Spirit (and Form) The position after the arrow is released is called Zanshin. The shooting is not yet completed at the release (H ana re), as there is still something remaining.

Expressed as spirit, it is the remaining spiritual energy, and expressed as form, it is the remaining body action.

As Zanshin is the continuation and expression of the release (Hanare), you should not allow this action to stop and collapse the posture, but with the focus of spiritual energy (Kiai) actively retained within the body, expand to "heaven" and "earth," and to the left and right, keeping the eyes turned to the termination point of the arrow.

Zanshin is the "final settlement of accounts," in which the body form should be dignified, and the criterion which determines the vertical and horizontal cross (Tateyoko-Jumonji) is firmly maintained.

When the shooting is performed with consistency and is completed superbly, then Zanshin will also be naturally superb, and the action of lowering the bow (Yudaoshi) will also become magnificently alive. The whole of the shooting is judged by whether the remaining form is good or bad, in which the archer's dignity and vibrant style of shooting will also be reflected.

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After completing the stage of Zanshin, in harmony with the breathing, the lowering of the bow (Yudaoshi) is completed, the gaze (Monomi) is returned quietly, and the feet are closed. It is important to do these final movements with the feeling that they are included in the stage of Zanshin.

As a result of satisfaction or dissatisfaction with your shooting performance, you should not lower the bow (Yudaoshi) in an unconsidered or careless way.

Whatever the result of your shooting, the lowering of the bow should be done with care.

Maintaining the Vertical and Horizontal Cross (Tateyoko-Jumonji) and expanding to "heaven and earth" as well as to left and right (Nobiai)

The Method of Closing the Feet Together (Ashi no Toji Kata) There are three methods of closing the feet together, which are as follows: (1) In the side facing position (Waki-Shomen), starting with the right foot, both

feet are drawn to close together, a half-step at a time. (Also in some cases, when facing the upper position (Kamiza), you are allowed to draw the left foot first.)

(2) While turning to face towards the target, the left foot is drawn inward to close against the right foot.

(3) While turning to face towards the target, the right foot is drawn inward a halfstep, with the left drawn to close against it.

N.B. The methods of closing the feet correspond to the methods of opening the footing in the footing stage (Ashibumi). The fundamental rules are: (a) When using the one step method of opening the footing, the method of closing the legs described above in (2) is the method accepted. (b) When using the two step method of opening the footing, the method of closing the legs described above in item (3) is the method accepted.

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Shooting Criterion for the Long Distance Target (Enteki no Shahii)

An . outline of the shooting criterion for the long distance target is described as follows: 1. Ashibumi - Footing: For a shooting distance of around 60 meters the footing is about the same as in front of the normal distance target, but it is better to make it a little narrower. As the shooting distance becomes further, so the footing stage should be made narrower as it is easier then to increase the elevation of the arrow.

2. Di5zukuri - Forming the Torso: In front of the normal distance target, one must use the moderate type of Dozukuri, (Refer to Go-Do; "The Five Torsos", on page 62) but as the shooting distance becomes further, it is better to use Noku-Do (the upper body is inclined a little to the right).

3. Hikiwake - Drawing Apart: While drawing apart, the bow is tilted slightly towards the body, with the left arm (Oshide) (and the arrow tip) carried to a slightly higher setting, where the aim (Nerai) is established. The arrow is not drawn horizontally, as happens whyn shooting in front of the usual distance target.

It follows, that should the arrow become horizontal and you attempt to adjust it by raising the left arm, at the full draw (Kai) the balance of power will be disrupted .

4.Tenouchi- The Left Hand Grip:In long distance target shooting, the middle pushing form of grip (Naka-Oshi no Tenouchi) is preferable. If the upper pushing form of grip ( Uwa-Oshi no Tenouchi) is used, it works too strongly and the arrow quickly drops downward in flight.

5. Shagi- The Skill of Long Distance Target Shooting: For an arrow to fly over a long distance, it should have as low a trajectory as possible, and also fly at a fast speed. For the increase in power necessary for long distance target shooting, you should devote yourself single-mindedly to the use of expansion power of the body (Nobiai), and take care with the work of the left hand grip (Tenouchi).

6.Ya no Mekata- The Weight of Arrows: In long distance target shooting, while it is advisable to use a normal weight of bow (the one suitable to your physical strength), the arrows used should be lighter in weight than the ones used for the usual target. As an additional consideration to the balance and performance of the arrows, the flights used should be narrower in width (Hahaba) and shorter in length (Hadake) than arrows used for the usual distance. In other words, it is recommended that only arrows produced for long distance shooting be used.

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CEREMONIAL SHOOTING (SHAREI) -The Ceremonial Forms of Kyudo-

Shooting and Etiquette It is only natural that the form of Kyudo should differ with the demands of each generation. In olden times, i~ was said that the Ogasawara school was etiquette and the Heki school was shooting. The Ogasawara school led the ceremonial principles of etiquette, and the Heki school led in shooting technique. While existing side by side, both schools were distinct in their own way. However, as the times changed, and with it changes in the social conditions, both pursued a way of amalgamating some of their differences. They came to realize that etiquette divorced from technique cannot truly be called shooting, and technique that has lost etiquette is not the path of Kyudo. Rather, both technique and etiquette provide an inseparable unity to the shooting that is the truth of Kyudo.

Evidence of this combination of approaches can be seen 1n the gradual disappearance of the words Kyujitsu - bow technique or Shajitsushooting technique, after the middle .of the Meiji period, with the word Kyudo coming more into use.

If you are preoccupied with only shooting technique and lose manner and etiquette, then this is shooting for sport and the shooting not only loses depth but the form is disorderly. On the other hand, if you indulge too much in etiquette and are neglectful of shooting technique, this becomes rather dead and empty shooting.

Shooting technique and etiquette should become as one. Then it can be said that, "Truth, Goodness and Beauty (Shin Zen Bi) are manifest by the 'utterance' of the shooting, which comes with lightning speed from a state of mind without wickedness."

The purpose of Japanese Kyudo is not only competition but cultivation of the mind and body, as a way to achieve self-perfection. Throughout the nation (Japan) this understanding of Kyudo has become widely known- a fact that is truly gratifying and one that gives meaning to the further development of this tradition.

The 'Spirit of Ceremonial Shooting Since earlier times, ceremonial shooting has been the performance of ritualized shooting to celebrate a religious ceremony, or other formal occasion, and was based on those principles of etiquette that traditionally governed the behaviour of daily life.

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Traditionally, etiquette was inherent in all aspects of daily life, and this inseparability of etiquette from the situation is expressed by the saying, "Sha wa, rei ni hajimatte rei ni owaru," - "Shooting begins with etiquette and ends with etiquette," meaning that one should act according to the time, place and ranking of the situation.

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With this awareness, the movements of the shooting will become graceful and solemn, creating a state of spirit in which there is serenity and purity of heart, which is the harmony of shooting and etiquette. The application of this sincerity to each arrow is the principle object of Kyudo.

This meaning is inherent in the classical writings of the Raiki, which says, "This shooting is the bequeathed teachings of the sage , in which the round of moving forward or backward can never be without courtesy and propriety." Another quote from an ancient source expresses it from an ethical viewpoint "In this way, everything is the disciplining of morality. This victory terrifies the whole realm, and training inner virtue, the outer enemy is terrified. This is to serve the body of the shooting." What these statements imply is that historically the bow has been from generation to generation an important tool with which to polish one's virtue and to establish the ethical and moral structure of society.

Shooting, which in this way places a strong emphasis on the spiritual, should be pervaded with sincerity and courteousness and through the shooting express your heart and the beauty of harmony.

Ceremonial shooting not only reflects traditional values, but as the ceremonial form of Kyudo is the vehicle that can give expression to the basic behaviour and movement, as well as the shooting principle and technique. Accordingly, it has been the practice since olden times that ceremonial shooting is performed by an experienced archer who has mastery of these fundamentals.

Keeping in mind the significance of ceremonial shooting from its historical context, one must be devoted to mastering the fundamentals of the form of Kyudo, training yourself to express grace and dignity in the shooting.

The Importance of Standardizing Ceremonial Shooting Historically, each school has had its own for m of ceremonial shooting, with each maintaining until recent times their different traditions, without any attempt at standardization.

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At the beginning of the 1930's the "Martial Virtues Association of Great Japan"

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(Zaidan Hojin Dai-Nippon Butoku Kai) realizing the need to meet the demands of the times tentatively established a standardization of the various shooting principles (Shaho) and rules of shooting etiquette (Sharei); 1934, "Important Rules of Kyudo"(Kyudo Y osoku). However, these directives went out of use after only a few years because they met with unfavourable public opinion within the Kyudo world.

The shooting principles and rules of shooting etiquette first established by the DaiNippon Butoku Kai, were amended later in 1944 and published as "A Model for Teaching Kyudo"(Kyudo Kyohan). However, as it still lacked precision as a model regarding the body postures and movements, which should be the fundamentals of shooting, the All Nippon Kyudo Federation (Zen Nippon Kyudo Renmei), after further study, revised and re-established in June of 1953 a new publication of shooting principles, rules, and etiquette in the form of the "Kyudo Manual, Volume 1"(Kyudo Kyohon).

Since that time some ten years have passed and with the development of Kyudo it was felt necessary to make further amendments. The result is the production of the present enlarged and revised edition.

When ceremonial shooting is performed by a single archer, it is quite acceptable to follow the form acquired from one's own particular school. One ought to study sufficiently the good traditions and characteristics of one's school and transmit them to others, showing respect for the great achievements and tradition of the past.

However, when a number of people from different schools perform ceremonial shooting at the same time, it goes against the true objectives of courtesy and etiquette for each archer to adhere to his own original form from his particular school. That is why it became necessary for a standardized form to be established.

Since the "Kyudo Manual, Volume 1 ", was issued in 1953, ceremonial shooting has shown remarkable improvement and development. The result of this progress is that the level of shooting has improved in quality and content with an increase in the level of refinement.

Although profound, correction more and Kyudo.

the actual content of ceremonial shooting is unchanging and truly the passage of time will bring changes requiring further revision and to the presently established aspects of the form. This must be fostered more in the future by the enthusiasm and effort of practitioners of

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-----------Types of Ceremonial Shooting The three most common types _of ceremonial shooting which are generally performed are: (1) In front of the standard target (Matomae- Sharei), (2) In front of the large target (0-Mato-Sharei), (3) and in front of a straw butt (MakiwaraSharei).

These types of shooting can be performed with a kneeling form (Za-Sharei) and standing form (Tachi-Sharei). They are performed either in front of a target (Mato), or a straw butt (Makiwara ).

However, as a rule, shooting in front of the large target (0-Mato-Sharei) is performed out of doors and the standing form (Tachi-Sharei ) is used.

Ceremonial shooting in front of the standard target (Matomae-Sharei ) can either be performed by a single archer, or it can be performed by several archers at the same time. There are two ways of shooting when several archers perform at the same time. One way is for several archers to use the one target (Hitotsu-Mato ), and the other is with a target for each archer (Mochi-Mato ).

Also, ceremonial shooting in front of the large target (0-Mato-Sharei) can be performed by a single archer, or by a number of archers together.

In addition, two ways were established for a single archer to perform in front of the standard tar get (Matomae-Sharei). In one way, the kimono sleeve is removed and replaced at the base position (Honza), and in the other way, the kimono sleeve is removed and replaced at the shooting position (Shai). Both of these ways of shooting are taken from forms that were established and used since earlier times. They also form the basis for performing ceremonial shooting by several archers.

The first performance of ceremonial shooting which is held at the opening of formal ceremonies, celebrations, examinations, competitions, and other kinds of shooting events, is called Yawatashi. It is usual that the host or the person responsible for the event performs the Yawatashi. Indoors it is performed mainly with the kneeling form (Za-Sharei), and outdoors with the standing form (TachiSharei ).

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Kneeling Form (Za-Sharei) This is performed by a single archer, or by two or more archers, using one target, or a target for each archer. In either case, its function is to give celebration or condolence, or reciprocation (To-Rei). It is performed in the kinds of shooting situation that was mentioned above.

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Standing Form (Tathi-Sharei) The standing form h~s the same function as the kneeling form in performing formal events. As a rule, this form of ceremonial shooting is performed out of ' doors, but it may also be occasionally performed indoors.

Ceremonial Shooting in Front of a Straw Butt (Makiwara-Sharei) The ceremonial shooting in which a straw butt is used is the type of shooting which is performed before the Yawatashi at religious ceremonies (Shinji), celebrations and other important kinds of formalities. It is performed by the highest ranking archer, or one who has authority for the event.

In addition, this type of ceremonial shooting is also held in a place that is without a target bank (Azuchi), when it is rainy weather, or at a martial arts (Budi5) demonstration in which each kind of martial art is individually represented.

N.B. Shooting with the kneeling form at a single target (Hitotsu-Mato Za-Sharei) is a type of ceremonial shooting which was established when the Kyudo Manual (Kyudo Kyohon) was produced in 1953. As a rule it is performed by three archers and is regarded as a very important .form of ceremonial shooting to show the ability for several archers to perform together.

Ceremonial Shooting in Front of the Standard Target (Matomae-Sharei) (a) Kneeling form (Za-Sharei) Removing the Kimono sleeve at the Base Position (Honza) (1) In the bow holding posture (Toriyumi no Shisei), move to the establishing position (Sadamenoza) and sitting in the Seiza posture, bow towards the higher position ( refer to page 42 for the method of bowing in the Seiza posture). Then, after standing up and closing the feet together, move forward to the base position (Honza), sit down in the Kiza posture facing the target, and make the half-how ( y u).

Next, while turning into the side facing position (Waki-Shi5men), bring the right hand up to grip the bow at the sighting rattan (Togashira), and with both hands, stand the bow upright to the centre of the body. The left hand is then placed on the upper part of the thigh, and the right knee raised (lkasu).

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l Following the correct procedure,the left hand is inserted into the kimono sleeve opening and the sleeve is removed. (refer to Hadanugi, page 49) Then the bow is lifted up vertically, and while turning back to face towards the target, the bow is brought down to the left side and transferred to the left hand.

The left knee is raised (Ikasu).

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Sitting at the establishing position (Sadamenoza) Making the half-bow (Yu) at the base position (Honza) Holding the bow near the Togashira and removing the kimono sleeve Removing the kimono sleeve - pushing out the elbow first At the shooting position (Shai) reversing the string for nocking the arrows (Yatsugae)

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While maintaining the circular form (Enso), nocking the arrows (Yatsugae)

(2) Stand up and move three steps forward to the shooting position (Shai) sit position (Waki-Shomen). Stand the bow upright to the centre of the body. Raise position (Waki-Shomen ). Stand the bow upright to the centre of the body. Raise the left knee, and reverse the bow with the right hand by turning the string on the outside.

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Nock on the primary arrow (Haya) and take hold of the secondary arrow (Otoya) between the knuckles (Refer toYatsugae-Dosa on page 53). Place the right hand on the right hip. After one breath, take hold of the arrow nocks, and standing up from the left foot, make the footing (Ashibumi). Then, place the lower tip of the bow (Motohazu) on the left kneecap and form the torso (Dozukuri).

Take the secondary arrow (Toriya), check the string (Tsuru-Shirabe), check the arrow (Ni5-Shirabe), and following the correct procedure for shooting, the primary arrow (Haya) is released. The bow is lowered (Yudaoshi), and the gaze (Monomi) is returned. Turn to face the target, and move backwards to the base position (Honza) and sit down in the Kiza posture.

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(j) Forming the torso (Di5zukuri)

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When the shooting is finished, the bow is lowered (Yudaoshi), and the gaze (Monomi ) is returned. The upper tip of the bow (Urahazu) is kept to the centre of the body At the base position (Honza) replacing the kimono

N.B. (1) The purpose while checking the string (Tsuru-Shirabe) is to arrange and

focus the breathing. Using the arrow nock as a centre point, the gaze moves up and down the string, with each movement covering a distance of 20-30 centimetres.

(2) Next, from the nock, the gaze is moved along the arrow to the target, and with a second movement, returned to the nock. During this movement, it is important to take care to co-ordinate the movements with the breathing, and to keep still the position of the bow and the direction of the arrow.

(3) After arranging the breathing at the base position (Honza), stand up again and move forward to the shooting position (Shai), sit down in the Kiza posture, and turning towards the side facing position (Waki-Shomen), stand up the bow to the centre of the body, raise the left knee (Ikasu), turn the bow by reversing the string, nock the secondary arrow ( Otoya ), and follow the same procedure for making the release as you did with the primary arrow (Haya).

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(4) When the shooting is finished, return to the base position (Honza) and as you did before, sit down in the Kiza posture. Change direction to face into the side facing position (Waki-Shomen), bring the right hand up to grip the sighting rattan ( Togashira), and with both hands stand the bow upright to the centre of the body. Place the left hand on the upper part of the thigh, and raise the right knee. Replace the kimono sleeve (refer to Hada - Ire, on page 52 ), adjust the clothing, and while changing direction towards the target (Mato - Shomen), the bow is brought to the left side and transferred to the left hand. The left knee is raised (lkasu) and the half-bow (Yu) is performed.

Then, stand up, move back to the establishing position (Sadamenoza ), and after bowing towards the higher position, withdraw from the shooting area.

Removing the Kimono Sleeve at the Shooting Position (Shai) (1) When ceremonial shooting is performed with the removal of the kimono

sleeve at the shooting position (Shai), you should move forwards to the base position (Honza) from the establishing position (Sadamenoza), sit in theKiza posture facing towards the target, and having made the half-bow (Yu), proceed to the shooting position (Shai).

(2) At the shooting position (Shai ), change direction to the side facing position (Waki-Shomen ) and remove the kimono sleeve. After having shot the primary arrow (Haya ), remain at the shooting position (Shai ) and sit down in the Kiza posture. Then, raise up the bow, nock on the secondary arrow (Otoya) and shoot it in the same way as you did with the primary arrow (Haya). Again remaining at the shooting position (Shai), sit down in the Kiza posture, and replace the kimono sleeve. Change direction to face the target (Mato-Shomen) and moving backwards to the base position (Honza), sit in the Kiza posture, make the half-bow (Yu), and return to the establishing position (Sadamenoza).

N.B. Where the kimono sleeve is removed and replaced at the shooting position (Shai), it is important not to move back to the base position (Honza) after having shot the primary arrow (Haya) as is the case with ceremonial shooting where the kimono sleeve is removed and replaced at the base position (Honza).

When Wearing Practice Clothing (Kyudogi) If ceremonial shooting is performed in practice clothing (Ky udo g i), the movements for the removal and replacement of the kimono sleeve are redundant, as well as the movements for transferring the bow to the right hand.

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(b) Standing Form (Tachi-Sharei) (1) The archer stands at the establishing position (Sadamenoza) in the bow holding posture (Toriyumi no Shisei) and bows towards the higher position (See standing bow- Ritsurei; page 45). Then, proceeding to the base position (Honza) (which is about two steps from the shooting position (Shai), standing faced towards the target, the archer makes the half-bow (Yu), and goes forward to the shooting position (Shai), where, turning into the side facing position (WakiShomen ), the footing stage is completed (Ashibumi) .

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at the shooting position (Shai), keeping the upper tip of the bow ( Urahazu ) to the centre of the body

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® Gripping the bow with the right hand near the Toriuchi

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® Moving the right hand down near the Metsukebushi joint and raising

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G) Taking the grip with the left hand

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standing it up to the centre of the body the bow aslant with the grip position near the nipple of the chest.

® Reversing the string downward ® Raising up the bow, and holding it within the arms, before nocking the arrows (Yatsugae) 83

(2) Remaining at the shooting position (Shai) the bow is lifted up, and holding it with the right hand at the Toriuchi curve, stood upright to the centre of the body, in which position the kimono sleeve is removed. Then, the right hand is moved down near the fourth inner joint (Metsukebushi) and the lower tip

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of the bow (Motohazu) is lifted up on a left aslant.

Next, the bow is taken at the bow grip (Kyaha) by the left hand on a height around about level to the nipple of the chest, in which position the string is reversed downward. Lifting the bow up, the primary arrow (Haya) is nocked on and the secondary arrow ( Otoya) held between the knuckles. Holding the nocking, the lower tip of the bow is placed on the left kneecap and the right hand brought to the hip .

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After forming the torso (Dozukuri), the secondary arrow ( Otoya) is taken .I

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(Toriya) and the string checking procedure (Tsuru-Shirabe) is performed, after

which the normal procedure . for shooting is followed and the primary arrow

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(Haya) is released.

Having lowered the bow (Yudaoshi) and returned the gaze (Monomi), the string is reversed downward and the bow brought up in front of the body. Then, with an action similar to embracing something between the arms, the secondary arrow ( Otoya ) is brought across the bow to nock on the arrow. It is then released in the same way as the primary arrow (Haya).

(3) With the shooting finished and the bow lowered (Yudaoshi), the gaze (Monomi) is returned. Then, as the bow is lifted up again, it is held with the right hand at the Toriuchi curve of the bow, and stood upright to the centre of the body, in which position the kimono sleeve is replaced and the clothing adjusted.

Tilting the bow slightly, the right hand is moved down to the fourth inner joint (Metsukebushi) and while turning to face the target, the bow is brought to t~e

left side with the left hand taking hold of the grip.

(4) Next, move backward to the base position (Honza) and make the half-bow (Yu). Then return to the establishing position (Sadamenoza), bow towards the higher position , and withdraw from the shooting area.

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(j) After releasing the primary arrow (Haya), the bow is lowered (Yudaoshi), the gaze returned (Monomi), and the string is reversed downward, keeping the position of both fists on the hips @ After the shooting is finished, the bow is held near the Toriuchi curve with the right hand, and stood up to the centre of the body · ®Replacing the sleeve and adjusting the kimono, the right hand is moved down near to the Metsukebushi joint

@ While changing direction to face towards the target, the bow is brought up to the left side

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@ Taking hold of the grip and bringing the feet together @ At the shooting position (Shai) taking the bow holding posture (Toriyumi no Shisei)

When Wearing Practice Clothing (Kyudogi) If ceremonial shooting is performed in practice clothing (Kyudogi), the movements for the removal and replacement of the kimono sleeve are redundant, as well as the movements for transferring the bow to the right hand.

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Stepping in with the left foot to start the footing (Ashibumi) Making the footing (Ashibumi) Reversing the string downward Nocking the arrows (Yatsugae)

N.B. In opening the footing (Ashibumi) or closing the feet together (Ashi no Toji Kata), to use either one step, or two steps is acceptable. However, care should be taken that the number of steps used to open the footing matches the number used to close the feet together. When there are several archers, it is desirable that they all do it in the same way, (by previous arrangement).

Ceremonial Shooting on a Straw Butt (Makiwara-Sharei) (a) Kneeling Form (Za-Sharei) (1) In the bow holding posture (Toriyumi no Shisei), sit at the establishing

position (Sadamenoza) and bow towards the higher position. Then, proceed to th~ shooting position (Shai), and having sat down in the Kiza posture, make the half- bow ( Y u). (The shooting position is one bow's length away from the straw butt.) Then turning towards the side facing position (Waki-Shomen), change the hold on the bow to the right hand and remove the kimono sleeve. After nocking on, stand up, and following the normal procedure shoot the primary arrow (Haya). (Refer to Matomae - Zasharei, page 79) 86

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(2) After the shot is finished, close the feet together and remaining in the same position, sit down in the Kiza posture. After one breath, stand up the bow and nock on the secondary arrow (Otoya). Shoot the secondary arrow (Otoya) in the same way as you did with the primary arrow (Haya).

(3) When the shooting is completed, do not move from that position, but sit down in the Kiza posture, stand up the bow, and replace the kimono sleeve. Then turn to face towards the straw butt (Makiwara).

(4) Next, stand up, and while lifting the bow, from the left foot move forward three steps and close the feet together. Step forward a half-step with the right foot, transfer the bow to the right hand and place it against the right side of the Makiwara stand. (N.B. When the stand is unstable, keep hold of the bow grip with the left hand and stabilize the stand with the right.)

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Taking the shooting position (Shai) at one bow's length from the front of the Makiwara Making the half-bow (Yu) at the shooting position (Shai) Removing the kimono and nocking the arrows (Yatsugae) Shooting the primary arrow (Haya)

Return the right foot to its original position and take two side steps, (YoseAshi) turning through a circular path to the left of the Makiwara stand, move close to the arrows, and pressing the left hand onto the face of the straw butt against the arrows, starting with the primary arrow (Haya), make the three movements to stroke the flights (Hagoki), followed by the three twisting movements to draw out the arrow (Miteguri). Stand the arrows nocks downward against the stand.

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After shooting the two arrows (Hitote), sitting in the Kiza posture, replace the kimono sleeve Proceeding forward three steps

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(J) Raising up the bow @ Stepping forward a half - step with the right foot and at the same time with the right hand taking ·hold of the bow near theMetsukebushi joint Without collapsing the body form standing the bow against the right side of the M akiwara stand

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Taking two side steps (Yose-Ashi)

@ Moving around to the left side of the Makiwara stand @ Steadying the Makiwara stand with the left hand, with the right hand stroking the flights (Hagoki) and removing the arrows (Miteguri) 88

(5) Holding both the primary arrow (Haya) and the secondary arrow (Otoya) in the right hand on the hip, move right aslant by taking two side steps through a circular path so that the body is brought to face the M akiwara stand. Stepping forward a half step, the bow is taken hold of near the fourth inner joint (Metsukebushi), and while moving back three steps starting from the right foot, the bow is brought to the left side. With the left hand holding the bow grip in the bow holding posture (Toriyumi no Shisei), return to the shooting position (Shai), sit down in the Kiza posture and perform the half-bow (Yu). Next, move back to the establishing position (Sadameno za), bow towards the higher position and withdraw from the shooting area.

@ Proceeding forward a half-step and with the right hand taking hold of the bow near the Metsukebushi joint

@ Moving backwards three steps to the shooting position (Shai) @ Bringing the bow to the left side and taking hold of the grip with the left hand

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Shooting the arrows to the left and the right (Haya to the right and Otoya to the left)

When Wearing Practice Clothing (Kyudogi) If the shooting is performed in practice clothing (Kyudogi), the movements for the reJI1oval and replacement of the kimono sleeve are redundant.

N.B. (1) It is desirable to use a size of straw butt (Makiwara) which has a diameter of 45 cm or 54 cm. The straw butt is set on ~ts side with the cut face of the straw butt to the front.

89

(2) Normally, the height of the Makiwara stand is made so that the centre of the straw butt (Makiwara) is the same height as the height of the archer's shoulder. A wooden cross frame is attached to the front of the stand for placing the arrows against.

(3) The way that the arrows pierce into the straw butt (Makiwara) should be to the left and the right, and equal in height. The primary arrow (Hay a) should be on the right and the secondary arrow (Otoya) on the left. The space between them should be the width of one hand placed vertically.

(4) When drawing out the arrows, firstly make the three movements to stroke each flight (Hagoki), and then remove the arrows with three twisting motions (Miteguri). It should be kept in mind that these movements should be done

especially in co-ordination with the harmony of breath (lkiai).

(5) Ceremonial shooting in front of the straw practice butt is sometimes done with Y agoe (a sound uttered together with the release of the arrow).

Although there are various types of Yagoe, their use is optional.

(b) Standing Form (Tachi-Sharei) When dressed in Japanese clothing (Wafuku), and performing the standing form of ceremonial shooting (Tachi-Sharei) in front of a straw butt, such movements as placing the bow against the Makiwara stand, drawing out the arrows, and the movements in the shooting that follow before and after, are the same as those used in the sitting form of ceremonial shooting in front of the straw butt (Makiwaramae Za-Sharei). Some of the other movements are the same as those

used in the standing form of ceremonial shooting in front of the standard target ( Matomae Tachi-Sharei).

When Wearing Practice Clothing (Kyudogi) If the shooting is performed in practice clothing (Kyudogi), the movements for

the removal and replacement of the kimono sleeve are redundant.

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When Performing Outdoors In this situation the shooting is performed following the etiquette observed for the standing form of shooting in front of the standard target (MatomaeTachi-Sharei).

Ceremonial Shooting for Women When women perform ceremonial shooting wearing Japanese clothing (Wafuku) with the sleeves bound with a sash, or just practice clothing (Kyudogi), the way in which the kneeling form of ceremonial shooting (Za-Sharei) and the standing form (Tachi-Sharei) are performed does not differ from the procedure used when men perform ceremonial shooting wearing practice clothing (Kyudogi).

It is considered appropriate for the ceremonial shooting performed by women to express elegance in the movements.

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CD ® ®

Sitting at the establishing position (Sadamenoza) Deep bow (Fukai-Rei) at the establishing position (Sadamenoza) Standard bow (45°) at the establishing position (Sadamenoza)

® @) Half-bow(Yu) at the base position (Honza)

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Standing up the bow to the centre of the body, reversing the string and nocking the arrows (Yatsugae) 91

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In turn, shooting the primary arrow (Haya)

(j) After returning from the shooting, waiting at the base position (Honza)

® ®

Archers about to proceed forward to the shooting position (Shai) just as the last archer has lowered her bow (Yudaoshi) All the archers sitting down in Kiza posture at the same time

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Assistants to the Archer Performing Ceremonial Shooting (Kaizoe) In the performance of ceremonial shooting, there are either assistants (Kaizoe) attending to the archer performing the shooting (lte), or there are none. Either case is acceptable.

When assistants are in attendance, even if there are only a few archers available, it is necessary to have at least two archers for this duty. The first assistant assumes responsibility for the archer performing the shooting (Daiichi -Kaizoe ), and the second assistant assumes responsibility for collecting the arrows (Daini-Kaizoe ). Both of them carry equal weight of

responsibility for their duties .

.

There are some differences in the rules of etiquette for assistants when assisting in the sitting form of ceremonial shooting (Za-Sharei) and the standing form (Tachi-Sharei). Either way has its established form, so the assistants must study sufficiently the appropriate rules of etiquette for the relevant form of shooting.

Details of the rules of etiquette for the assistants are omitted here, but general guidelines regarding the role and function of the assistants are explained as follows: (1) The assistants should not only have a through knowledge of the movements of the performing archer and sufficient familiarity with the rules of etiquette, but also skill in shooting so that at any time they can take the place of the performing archer.

(2) The assistants' responsibility is to assist the performing archer adequately, always paying attention to the movements of the archer. However, the archer ought to conduct himself so as not to require assistance. Also, the assistants should not act more than is necessary, although it is also their duty to present the archer to the best advantage.

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Establishing position (Sadamenoza) Bow (Rei) at the establishing position (Sadamenoza) Performing archer at the base position (Honza) and the position of the assistant

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(3) The assistants should try to act inconspicuously, always keeping a position of deference in the shadow of the archer. The assistants must strictly refrain from having large movements and conspicuous actions.

(4) The assistants should be mindful to keep the harmony of timing (Maai) and focus of spiritual energy (Kiai) in perfect agreement with the performing archer, who has the central role in the shooting, so that without the least break in concentration between the assistants and the archer, they form a complete and harmonious whole.

(5) The assistants should act in mutual dependence as if they are one body, while endeavouring not to disturb the spirit of the archer. For example, when the second assistant. is removing the arrows, care should be taken to move in accord with the 93

l timing of the performing archer. Also, consideration should be given to the way the arrows are brought back after the performing archer has finished shooting.

Attention should be paid to the archer's movements to acquire a good rhythm in passing the arrows to the first assistant. Also during this time, the assistants must not keep the archer waiting, and without losing control of the timing, they should move in reciprocal action with each other, taking the movements of the performing archer as the pivot for their action.

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@ Action of the assistant helping the performing archer with removal

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of the kimono sleeve · Position of the assistant behind the performing archer Position and posture (Sonkyo) of the assistant - to stand and walk to the target, start from the left foot. (Within two steps distance from the target, the target is taken as the higher position (Kamiza), more than two steps distance away from the target the performing archer is taken as the higher position (Kamiza)

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(J) With three strokes of the flights (Hagoki) and three pulling actions, the arrows are removed. Take three steps backward starting with the left foot ® Stopping and putting both feet together ® Turning the right foot and then the body to face towards the shooting area.

@ Placing the feet together 94

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(6) The first assistant (Daiichi-Kaizoe), at a suitable place (making allowance for the space of the shooting area) within the lower position, sits behind the performing archer in the Kiza posture, holding the bowing form of Shiken-Rei in which the fingertips are pointing straight down the side of both thighs.

The second assistant (Daini-Kaizoe) sits in the Sonkyo posture at the target bank (Azuchi), also within the lower position. With the body held in the bowing form of Shiken-Rei, the left hand is placed on top of the thigh with the right hand held at the side of the body. If the shooting is performed out of doors, both assistants should sit in the Sonkyo posture.

@

Starting with the right foot and returning to the original position

@

Returning to the shooting area acro s the arrow pathway (Ya-Michi)

@ Changing the direction of the nocks to the left side. Passing over the arrows. @ CompJeting the passing over of the arrows @ Assistant sitting in Kiza posture about 1.8 meters behind the performing archer

N.B. (1) In olden times, schools with a lineage that placed emphasis on ceremonial form (Reisha) used assistants. However, schools with a lineage that placed emphasis on martial techniques (Busha) were not accustomed to using any.

95

(2) In the Busha lineage, there were some schools who used what is called Hikae.

This was not an assistant to the ceremony, but an archer held in reserve, ready with a bow and arrows, who had the duty to be an immediate replacement if there was an accident to the performing archer.

@ From the left knee, using Hirakiashi to move to the back side aslant of the performing archer

@ Passing the arrows to the performing archer @ Moving backward on the knees using Hirakiashi

@ Returning to the original position

Kneeling Form of Ceremonial Shooting (Za-Sharei) for Two or More Archers (a) Ceremonial Shooting at One Target (Hitotsu-Mato Za-Sharei) When Performed by Three Archers: (1) The three archers, at the same time, sit at the establishing position

(Sadamenoza), and bow towards the higher position. Keeping a mutually suitable distance, they start with the first archer(a) and proceed in consecutive order to the base position (Honza), where they face in the direction of the target, and sit down in the Kiza posture.

(2) After performing the half-bow (Yu), they turn towards the side facing position (Waki-Shomen), where, in uniformity with each other, they remove the kimono sleeve, and turning to face in the direction of the target, they stand up and together proceed to the shooting position (Shai), where, having once sat down in the Kiza posture, they turn towards the side facing position (Waki-Shomen).

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Ceremonial Shooting at One Target (Hitotsu-Mato Za-Sharei) (sequence of moving forward and backward) (3) At the shooting position (Shai), the three archers nock arrows at the same time, and when the first archer has finished shooting the primary arrow (Haya), the second archer(b) takes hold of the nocking at the lowering of the bow (Yudaoshi) of the first archer, and then raises the hips as the first archer is returning the gaze(Monomi) to its original position.

At the same time as the first archer is turning to face towards the target and is closing the footing (Ashibumi), the second archer must stand up and bring the feet together. In this sequence, care must be taken that the first and second archer's movements are performed together in accordance with their breathing. The second archer must stand up and close the feet together at the same time as the first archer is closing the footing (Ashibumi).

The second archer moves forward and takes the shooting position (Shai) at the same time as the first archer moves back to the base position (Hon za). Then the second archer makes the footing stage (Ashibumi) and performs the shooting. The first archer waits at the base position (Honza) in the Ki za posture and the third archer( c) remains seated in the Kiza posture without making any movements.

(4) When the second archer has finished shooting the primary arrow (Haya), the third archer and the first archer, in accordance with the timing that was mentioned above in section (3), stand up at the same time, and as the second archer is moving back to the base position (Honza), again moving together at the same time, the third archer proceeds to the shooting position (Shai) and the first archer from the correct standing position, facing in the direction of the target, proceeds on a di,agonal to the left to sit in the Kiza posture at the shooting position (Shai), where, turning to the side facing position (Waki-Shomen), the secondary arrow ( Otoya) is nocked. The second archer, having moved back to the base position (Honza), sits in the Kiza posture and waits together with the first archer until the third archer has finished shooting.

97

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Removing the kimono sleeves at the same time

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On the release of the archer sqooting, the other archers should not move

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All the archers-moving forward and backwards at the same time in accordance with the harmony of breath (lkiai)

@ The harmony of timing (Maai) and focus of spiritual energy (Kiai) of the three archers should concur and the movements should be as one

速 The archers not shooting should be in accord with the harmony of breath (lkiai) and focusing of spiritual energy (Kiai) of the archer shooting, and

thereby try to realize their own spiritual energy 速When the archer who has shot lowers his bow (Yudaoshi) the next archer to shoot takes hold of the arrow nock

(5) This sequence of movements is repeated until the three archers, in consecutive order, have finished shooting the secondary arrow (Otoya) and moved back to the base position (Honza), where they sit in the Kiza posture. Then, all the archers at the s~me time turn towards the side facing position (Waki-Shomen), where, in uniformity with each other, they replace the kimono sleeves. Again, turning back to face in the direction of the target, they make the half-bow (Yu), and starting with the third archer, in consecutive order, they return to the establishing position (Sadamenoza), where they bow towards the higher position and withdraw from the shooting area.

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ÂŽ (J) When the archer who has shot returns the gaze (M onomi) the other bring archers the hips forward and stand up. During this time the archer who has shot closes the footing (Ashibumi)

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All the archers perform their movements according to the harmony of breath (Ikiai) without the slightest pause or gap

N.B. (1) When three archers perform ce_remonial shooting on one target (HitotsuMato Sharei) as described above, the archer who is shooting, should always be taken as the centre for all the movements of the other archers. To keep the form of the shooting, it is also necessary to carry out the movements as if transferring the apex of a triangle from one point to the other.

(2) After the first archer has finished shooting the secondary arrow (Otoya), he must move backward to the base position (Honza) on a diagonal line slightly to the right. This is done as a consideration to the second archer, who can then move backwards to the base position (Honza) without any anxiety about the position of the first archer.

(3) The position of the three archers is agreed by their level of skill and experience, so that it is better that the third archer be the most senior, and the first archer, who has the leading position, the second most senior. It is desirable that the three archers have sufficient prior consultation about the procedure for shooting so that the focusing of spiritual energy (Kiai) can be realized.

(4¡) In the performance of the shooting, the three archers should become as one body, with harmony of the harmony of timing (Maai), harmony of breath (Ikiai), and the focus of spiritual energy (Kiai) so that the movements between each archer can be carried out smoothly without the least hesitation. In this way, an appearance of harmonious beauty and strength can be realized.

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(5) At the time an archer makes an error (Shitsu), it is better that the other archers wait in the Kiza posture, with a feeling of support and empathy for the situation, until the archer has finished dealing with the accident.

(6) When two archers perform ceremonial shooting on one target (HitotsuMato Sharei) , it is advisable that they perform it in the same way as is done with three archers. However, it is preferable that the archer at the base position (Honza) should stand up and proceed to wait at the shooting position (Shai), when the archer already at the shooting position (Shai) is starting the movements for the bow readying stage (Yugamae) (after checking the string (Tsuru-Shirabe) is finished ) and is about to nock onto the string with the right hand (Torikake).

(7) With four archers, they should perform the shooting in the same way as is

done with three archers, except that their positioning should form a square.

(b) Ceremonial Shooting at Individual Targets (Mochi-Mato Za-Shnrei) (1) The etiquette shown at the establishing position (Sadamenoza), the procedure for the removal and replacement of the kimono sleeve, and other movements, follow those used for the kneeling form of ceremonial shooting (Za-Sharei) when the kimono sleeve is removed at the base position (Hon za) . It is important that all the movements are performed at the same time and uniformly.

(2) From the base position (Honza), the archers proceed to the shooting position (Shai), and sitting together in the Kiza posture, turn into the side facing position (Waki-Shi5men), and starting from the first archer, each archer in turn shoots the primary arrow (Haya), moves back to base position (Hon za), and waits in the Kiza posture until all the archers have finished shooting.

At the same time as the archer in front is starting to sit down ( this is done at the base position (Honza) into the Kiza posture), the next archer stands up.

(3.) The archers who have moved back to the base position (Honza), stand up on hearing the string sound (Tsurune) of the last archer and proceed to the shooting position (Shai) at the same time as the last archer is lowering the bow (Y11daoshi). They then sit down in the Kiza posture, turning to face towards the side facing position (Waki-Shi5men).

The last archer, however, after finishing to shoot, remains faced towards the side facing position (Waki-Shomen) and closing the feet together, in accord with the movements of the other archers, sits down together with them at the shooting position (Shai). lOO

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CD All the archers removing the kimono sleeves at the same time at the base position (Honza) ®Starting with the first archer, each archer in turn shoots the primary arrow (Haya)

® Moving back to the base position (Honza)

after shooting the primary arrow

(Haya)

@) As the last archer is lowering his bow (Yudaoshi) the other archers move forward to the shooting position (Shai) ®Remaining in the same position, the last archer closes the footing (Ashibumi).

The other archers wait, standing a half-step in front of the shooting line(Shai)

® All the archers sit down at the same time in the Kiza posture, and all, except the last archer, turn to the side facing position (Waki-Shomen)

After having nocked on the secondary arrow (Otoya), starting with the first archer, each archer completes the shooting in the same way as was done with the primary arrow (Haya), and moves back to the base position (Honza), where they sit in the Kiza posture to wait until the last archer has finished shooting and 101

also moved back to the base position (Honza) and sat down in the Kiza posture.

Then, the archers together turn towards the side facing position (Waki-Shomen) and, with uniformity of movements, replace the kimono sleeve.

(4) The first ar.c her leads the other archers from the establishing position (Sadamenoza) to the base position (Honza), · and from the base position (Honza) to the shooting position (Shai). When proceeding to the establishing position (Sadamenoza), and at the time of leaving the shooting area from the base position (Honza), the last archer leads the others.

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(J) After the shooting is finished, returning to the base position (Honza) and replacing the kimono sleeve

® After replacing the kimono sleeve, the bow is set up to the centre of the body ®Turning to face towards the target and bringing the bow to the left side ® Settling the posture of the body at the base position (Honza) and making the half- bow (Yu)

N.B. · (1) It is a requirement that at the same time as the archer in front has moved back to the base position (Honza) and is starting to sit down into the Ki za

posture, the next archer should stand up. However, depending on the time and place, it is acceptable to stand up when the archer in front is returning the gaze (Monomi), ( timing for the single target -Hitotsu-Mato) or taking the nocking with the right hand (Torikake).

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(2) When male archers wearing Japanese clothing (Wafuku) are performing together with male or female archers wearing practice clothing (Kyudogi), or with female archers in Japanese clothing, at the same time the male archers wearing Japanese clothing are removing or replacing the kimono sleeves, the other archers should remain waiting at the base position (Honza)" in the Kiza posture, facing towards the targets.

(3) When several archers are performing together, it is important that when they are moving forward and backward to the base position (Hon za), the row of archers is not in disorder.

(4) Several archers performing together should become as one body, in which they demonstrate harmonious beauty and strength through the care taken with the harmony of timing (Maai), harmony of breath (lkiai), focus of spiritual energy (Kiai), and other elements of the shooting.

Standing Form (Tachi-Sharei ) of Ceremonial Shooting for Two or More Archers When this standing form of ceremonial shooting (Tachi-Sharei) is performed by two or more archers, it is performed in almost the same way as is done by a single archer. However, there is a difference in that several archers have to consider the relationship to each other, which is not so with a single archer. The following points should be considered:

(1) Although, as a rule only one target is used in this form of ceremonial shooting, it is acceptable to have a target for each archer (Mochi-Mato). When one target is used, the archers must take care with the footing stage (Ashibumi) so that both feet are placed on a straight line to the target.

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(2) At the shooting position (Shai), all the archers nock on the primary arrow (Haya) at the same time, and then take the secondary arrow (Otoya) also at the same time. Starting from the first archer, in consecutive order, the primary arrow (Haya) is shot, and after lowering the bow(Yudaoshi) and returning the gaze (M ono m i), the archers remain in the footing stage (Ashibumi), in the bow holding posture (Toriyumi no Shisei), and wait until the last archer has finished shooting. (The movements for checking the string (Tsuru-Shirabe) are performed after hearing the string sound (Tsurune) of the archer in front.)

(3) When the last archer has finished shooting the primary arrow (Haya), the first archer determines the timing interval (Maai) and nocks on the secondary arrow (Otoya). At this time, all the archers must nock on their arrows together with the first archer.

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(4) Starting with the first archer, in consecutive order, each archer shoots the secondary arrow (Otoya). When the last-archer has finished shooting, lowered the bow (Yudaoshi), and returned the gaze (Monomi), the first archer, at his own discretion, pauses for one breath, and determining the timing interval (Maai), transfers the bow to the right hand and replaces the kimono sleeve. At this time, all the archers together replace the kimono sleeves, and then move back to the base position (Honza).

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All the archers together make the footing (Ashibumi), passing the bow to the right hand and holding it around the Toriuchi curve, stand the bow up to the centre of the body

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All the archers together remove the kimono sleeve. The way of holding the arrows depends on the type of glove used. The part of the arrow to be held has also more than one style

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The archer who has finished shooting remains in the footing stance (Ashibumi) without collapsing the form

@ Keeping the form of the torso (Dozukuri) with the upper tip of the bow (Urahazu) held 10 cm above the floor

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N.B. (1) The first archer, who is standing in the front position ( Omae ), must guide

all the other archers and therefore take care with the breathing and harmony of timing (Maai).

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(2) As a rule, after the archer in front has lowered the bow (Yudaoshi) and returned the gaze (Monomi), the next archer must take the nocking with the right hand (Torikake).

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(3) When male archers wearing Japanese clothing (Wafuku) are performing together with male or female archers wearing practice clothing (Kyudogi), or with female archers in Japanese clothing , at the time the male archers wearing Japanese clothing are removing or replacing the kimono sleeves, the other archers should wait in the footing stage (Ashibumi) in the bow holding posture (Toriyumi no Shisei), and when they are ready, make the next movement together.

Ceremonial Shooting with the Large Target (0-Mato-Sharei) Ceremonial shooting with the large target (0-Mato-Sharei) is as a rule performed outdoors. It is equally acceptable to wear Japanese clothing (Wafuku) or practice clothing (Kyudogi), and the procedure for performing the shooting follows the standing form (Tachi-Sharei). This type of ceremonial shooting is either for one person, or two or more persons, and the rules of etiquette used are those for the standing form (Tachi-Sharei).

A Traditional Form of Ceremonial Shooting (Warihiza : Tsukubai) Depending on the school, there is a ¡ type of traditional ceremonial shooting performed which is called Warihiza, or Tsukubai. In this form of shooting, the footing stage (Ashibumi) is made with both knees spread apart in a squatting posture, with the left knee and the right sole of the right foot set on the floor.

From this low posture the shooting is performed.

Warihiza is the shooting method that was used on the battlefield in olden times , and Tsukubai is the ceremonial shooting which was performed in front of nobility, or at a shrine before the Gods. Both methods of shooting still remain today as one example of a variety of ceremonial shooting. (The inclusion in this manual of this form is only as an example for reference.)

The Large Target (0-Mato) r

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MOVEMENTS FOR DEMONSTRATION SHOOTING (ENBU NO DOSA)

Kneeling Form . (Zas ha), and Standing Form (Ris sha) When there is a demonstration, and also in competition, the way of shooting in ¡ which one sits in Kiza ¡posture at the shooting position (Shai), and then after turning towards the side facing position (Waki-Shomen), stands up, makes the footing stage (Ashibumi) and then performs the shooting is called Zasha - kneeling form. When one remains standing at the shooting position (Shai), makes the footing stage (Ashibumi), and shoots, this way is called Rissha- standing form.

Readiness of the Archer In a demonstration shooting, or any other occaswn, the application of the movements is based on ceremonial shooting. As many archers are usually performing the shooting in a short space of time, care should be taken that one's own timing corresponds with the timing of others and the overall timing of the shooting. The movements of standing up, sitting down, and moving forwards and backwards, before and after the shooting, should be carried out promptly. Also at the shooting position (Shai), you should have the awareness to not take an unnecessary length of time in making the form of the torso (Dozukuri) and nocking on the right hand (Torikake).

Again, in the performance of the shooting, the order that should be followed is that the person behind should not shoot before the person in front has finished shooting. The correct relationship between the persons shooting before and after should always be kept, and what is also very important is to co-operate in following the overall procedure, and not do the shooting in your own way. (See competition rules)

The Order of Shooting The shooting order is the order of carrying out the movements that are performed before and after shooting, following the rules described below.

(1) Following the procedure for shooting with the kneeling form (Za-Sha), the

archers, keeping in line with each other in the bow holding posture (Toriyumi no Shisei , proceed to the base position (Honza), sit down in the Kiza posture and perform the half-bow (Yu). Then moving forward to the shooting position (Shai), they sit down in the Kiza posture and turn into the side facing position (WakiShomen). (When Japanese clothing (Wafuku) is worn the kimono sleeve is removed before entering the shooting area.)

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CD Sitting in the Kiza posture at the base position (Honza) and making the half-bow (Yu)

® Moving forward to the shooting position (Shai) -

the bow and arrows are

aligned at the same height

® Waiting at the shooting position (Shai) in the Kiza posture, after shooting the primary arrow (Haya) in turn.

® When another line of archers is waiting,

in turn, moving forward right aslant from the shooting position (Shai) to leave the shooting area

® All the archers at the same time nock on the arrows together (Yatsugae).

As the archer in front is nocking on with the glove (Torikake) the next archer stands up

® Waiting at the shooting position (Shai) in the Kiza posture after shooting the primary arrow (Haya) (2) The fundamental requirment for the order of shooting, is that when the first archer, after having stood up and finished shooting, sits down in the Kiza posture, at the same time the second archer stands up and follows the procedure for shooting. However, depending on the circumstances of the time and place, it is acceptable for the second archer to stand up when the gaze (Monomi) is being returned or when nocking on with the right hand (Torikake) is being made.

(3) The third archer, and other archers who follow, finish the procedure for shooting the primary arrow (Haya) in the same way as with the second archer.

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J On hearing the string sound (Tsurune) of the last archer, the first archer stands the bow up and performs the shooting in the same order as before; as do the archers who follow after.

(4) When moving away from the shooting position (Shai) after the shooting is finished, remain faced towards the side facing position (Waki-Shomen), and closing both feet together, move forward diagonally to the right, turning right to leave by moving around the first archer of the line waiting at the base position (Honza).

Shooting with Many Archers in a Limited Time Period (1) After the archer in front has stood up, the next archer stands up and nocks on with the right hand (Torikake) on hearing the string sound (Tsurune) of the archer in front. (Sometimes the bow is raised (Uchiokoshi) at this moment). In the case of

five archers shooting, the first, second and third archers having finished shooting the primary arrow (Haya), may stand up their bows and nock on the secondary arrow (Otoya) on hearing the string sound (Tsurune) of the fourth archer. ( In some cases the archer behind may also stand up when the archer in front is nocking on with the right hand- Torikake) .

(2) When there is another line of archers waiting, the archers as they finish shooting, should leave the shooting area in consecutive order, by moving away from the shooting position (Shai) forward and diagonally to the right (as shown in picture ÂŽ ).

(3) The last archer having finished shooting, remains in the side facing position (Waki-Shomen), and closing both feet together, takes one step backwards and leaves the shooting area without hindering the movements of the waiting archers.

(4) A line of waiting archers, (when it is a group of five), on hearing the string sound (Tsurune) of the secondary arrow (Otoya) of the third archer from the previous group, enter the shooting area, where they sit in the Kiza posture and wait. They then make the half-bow (Yu) at the string sound of the last archer, and stand up at the lowering of the last archer's bow ( Yudaoshi), and proceed to the shooting position (Shai) as the last archer moves back to leave. (It is not necessary for the waiting archers to make the half-bow (Yu) after having sat down.)

(5) When several groups are holding a competition in the same shooting area, it is preferable to proceed with each group shooting independently in separate parts of the shooting area.

(6) When two groups are performing a competition in the same shooting area at the same time, they take turns shooting, following the order of each group.

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INSTRUCTIONS TO OBSERVE DURING THE SHOOTING Dealing with Errors (Shitsu) During the performance of the shooting, errors and mistakes happen. When they happen, it is necessary that the required movements to deal with the error are done with a feeling of humbleness and sincerity. Presented here are some of the main examples of error and a brief explanation of the method of dealing with them.

Dropping a Bow Sometimes a bow is dropped at the moment of release. To retrieve a bow that has dropped within reach, close the feet together by closing the one foot against the foot nearest to the bow, and sit down in the Kiza posture to pick up the bow. If it is just out of reach, move near to it on the knees.

When the bow is dropped far from the archer, using the same method of closing the feet together, walk up to the bow, sit down in the Kiza posture and pick it up before returning to the shooting position (Shai).

A dropped bow is retrieved from the Sonkyo posture while performing the standing form of ceremonial shooting (Tachi-Sharei).

In either case, when returning to the shooting position (Shai), move back without taking too much time, expressing your consideration and feeling of apology to the others present.

Breaking a String When a string is broken and if it is within reach of the archer, closing the feet together in the direction of the fallen string, sit down in the Kiza posture and pick up the string. If it is just out of reach, move up to the string on your knees.

When the string flies far out of reach, close the feet together in the same way as was recommended previously, and walking to where the string has fallen, sit down in the Kiza posture, transferring any arrows to the left hand, pick up the string and holding it with the left hand, wind the string around the fingers with the right hand. Holding the string and bow in the left hand and any arrows in the right band, return to the shooting position (Shai). Move back without taking too much time, expressing your consideration and feeling of apology to the others present.

It is unnecessary to attempt to retrieve a string that has flown far away outside the shooting area. If the string falls within reach of the bow, the archer can retrieve it 109

by walking forward a suitable distance (do not go outside the shooting area), sitting down in the Kiza posture, and drawing it towards him with the tip of the bow. If after two or three attempts, it has not been possible to retrieve the string, leave it and return to the shooting position (Shai). Express your feelings of apology as you move back.

When. an Arrow Comes Off the Nocking After nocking the arrow (Yatsugae), sometimes the arrow loses the nocking and it comes off the string Hazukobore). As a rule, it is not permitted to shoot the arrow again.

(1) In the Performance of Ceremonial Shooting (Sharei): It is not

permitted to shoot an arrow again, which has come off the nocking after nocking the arrow (Yatsugae). The arrow must be taken back to the Honza position, where the archer sits down in the Kiza posture and places the arrow on his right side.

When there is an assistant (Kaizoe), the assistant must collect the arrow immediately. If there is no assistant, a person in charge must go and collect the arrow.

(2) In a Competition: An arrow that has come off the nocking after nocking the arrow (Yatsugae) is recorded the same as an arrow that has not hit, and accordingly, it is not permitted to shoot it again. The arrow must be picked up and taken away at the time of leaving.

(3) In an Examination: The head examiner can make an exception and give the instruction to shoot the arrow again.

Other Instructions to Observe In the Shooting Establishing Position (Sadamenoza) In the performance of ceremonial shooting (Sharei), it is sometimes not possible to have an establishing position (Sadamenoza) because of the narrowness of the shooting area, or because there are many archers. In that case, it is acceptable to perform the courtesies usually done at the establishing position (Sadamenoza) at the base position (Honza).

Distance and Space Normally, the distance between the base position (Honza) and the shooting position (Shai) is three steps, but whe.n performing ceremonial shooting in a larger practice 110

hall (Dojo), with some allowances for the circumstances, it increase this distance.

IS

acceptable to

When three archers perform the kneeling form of ceremonial shooting (ZaSharei) towards one target, if it is done in the correct way, the movement of the archer's rotation should take the form of a right-angle isosceles triangle. The distance between the base position (Honza) and the shooting position (Shai) is determined by the distancing between the archers at the base position (Honza) . With a distance of 2 meters between archers, this will naturally result in a distance of 4 meters to the shooting position (Shai).

Athough changes in the use of space are allowable, it is a rule that the base position (Hon za) must be established in such a way that the forward and backward movements can be performed correctly. Also, it must be kept in mind that more steps should be taken when moving backwards, because there is a tendency to make narrower steps than when moving forwards.

Again, when ceremonial shooting is being performed by many archers, making allowance for the size of the shooting area, it is important to keep an appropriate distance between each other.

To summarize, care must always be taken to make allowance for the size of the shooting area to be used, and to plan effectively the appropriate use of distance and spacmg.

The Way of Moving the Feet Concerning the way that the feet are moved, there are two ways that this can be done. One is called, Sashin-Utai and the other is called Kashin-Jotai.

(1) Sash in- Utai means that one starts with the left. foot when moving forward, and starts with the right foot when moving backward. All movements should be handled from the left side, keeping in mind the relationship towards the higher position (Kamiza).

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(2) Kashin-]otai means that one starts from the foot directed towards the lower posi\ion (Shimo za) when moving forward, and starts from the foot directed towards the higher position when moving backwards. All movements are conducted with the higher position as their essence. For example, when one stands up, this is done from the foot directed to the lower position, and when one sits down, this is done from the foot directed towards the higher position. This approach is taken from the traditional rules of etiquette.

Ill

Although these two ways of moving the feet differ slightly in approach, they were derived from the same rule of etiquette, because in olden times in Japan, except on special occasions, facing towards the right was the higher position (Kamiza), and facing towards the left was the lower position (Shimoza).

Proceeding from the left means going forward from a lower position of respect, and leaving from the right means withdrawing respectfully from the higher position (Kamiza). One may use either of the above two ways, though it is important for instructors to fully understand both of these approaches to moving the feet.

The Way of Carrying the Bow ( 1) While turning from the direction of the target towards the side facing position (Waki-Shomen) in the kneeling position (using Hirakiashi), the hips are stretched upward and brought forward, and with the left hand remaining on the hip, the tip of the bow (Urahazu) is taised up to the height of eye level, keeping it to the centre of the body, and then, having completed the turn into the side .facing position (Waki-Shomen), the bow is lifted up and placed vertically to the centre of the body. (See picture 3) Special care must be taken, because the form of the body can easily be destroyed by this movement with the bow.

CD

速

速

CD

Sitting in the Kiza posture at the shooting position (Shai)

速

Keeping the left fist on the hip, the hips are brought forward and the upper tip of the bow (Urahazu) lifted to the centre of the body on a height level with the eyes

速 Turning to the side facing position (Waki-Shomen) and standing the bow to the centre of the body. The left knee should be made ready ( lkasu) (2) Also, at the time the bow is lowered after shooting (Yudaoshi), care must be taken not to strike the head of the archer in front. The bow should be lowered quietly, keeping it close to the body, in accord with the harmony of breath (lkiai).

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CD

®

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As the hips are brought forward the upper tip of the bow ( U rahazu) is raised to eye height

®

Turning to the side facing position (Waki-Shomen)

The Way of Lifting Up the Bow With the left hand grasping the bow at the bow grip (Kyuha), and the right hand holding the arrow nocks, both hands are raised up to almost eye-level. Without stretching out too much, keep both elbo~s in a circular form, with the feeling as if one is offering up the bow and arrows.( see photograph ) After making the footing (A shibumi), make sure that the bottom of the bow (Motoha zu) is placed on the left kneecap. The bow should not be put between the legs or thighs . . . - - -....

...,..=.........,~~

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®

®

Both fists should be raised to about the height of eye level and the arms should make a circular form (Enso) without expanding the elbows

® The maximum height for raising the fists ® Side view showing the height of the bow 113

The Way of Handing Over the Bow When handing a bow over to another archer, it is recommended to hand it over by holding below the bow grip with the left hand and holding the bottom of the bow (M otohaz u) in the right hand. One should not hand over the bow holding the bow grip. However, the person receiving the J~9w takes hold of it by . the bow gnp. ·· ~.

~,:...;..

In ceremonial shooting, the archer who is waiting to receive the bow takes it at the base position (Honza), and in a shooting demonstration or a competition at the shooting position (Shai) .

Although, as a rule, the person handing over the bow hands it over from behind the archer, it should be handed over from the front, aslant, in a shooting demonstration or competition.

®

CD When an archer's string snaps the assistant (Kaizoe) at the base position (Honza), following the correct etiquette, moves forward from behind the performing archer with the substitute bow

® The substitute bow is handed over from behind aslant. The bow which has snapped a string is removed ®The assistant (Kaizoe) holds the bow which has snapped a string, following the correct etiquette, and moves back to his original position

The Way of Handing Over and Receiving Arrows When handing over arrows, they are held level, the nocks pointing to the left, with the right hand holding just below the first joint (/ tsukebushi), and the left hand just below the third joint (Sodesuribushi:Ottoribushi). The other person receiving the arrows takes hold of them above each part of the arrow held by the person handing them over. In the case of assisting at a ceremonial shooting (Kaizoe), when the arrows are being returned to the archer, they are passed in along by the right hip from behind. The archer receiving the arrows should not move the eye direction (Metsuke), and the right hand receives the arrows remaining in the same position without moving.

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......

A Substitute Bow When performing ceremonial shooting, it is advisable to prepare a substitute bow for that million to one chance that a bow might break, or when a string snaps, because it is not possible to re-string the bow, which is against the rules of etiquette.

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When an archer's string snaps, the archer assisting, hands the bow over from the front aslant. The bow is held beneath the grip with the left hand and at the lower tip (Motohazu) with the right hand The string is turned towards the target and the right hand is brought along the bow

ÂŽ ÂŽ

The right hand is brought up to the part above the Toriuchi curve The left hand is moved from beneath the grip to hold the upper part of the bow and the lower tip of the bow (Motohazu) is passed under the left side of the archer receiving the bow During this procedure remember to keep a suitable distance apart from the archers shooting so as not to disturb their concentration (Kiai)

The Way of Handling a Set of Four Arrows In competition, when a set of four arrows are brought to the shooting position (Shai) and one of the pair of arrows is picked up, the archer sits in the Kiza postur~, and after turning into the side facing position (Waki-Shomen) lowers the tip of the bow (Urahazu) until it touches the floor to the right side of the archer in front. Then placing the set of four arrows to the front, one pair of arrows is picked up, and standing the bow to the inside the pair of arrows remaining on the floor, nock on the arrows (Yatsugae).

115

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The bow is lowered (the upper tip (Urahazu) touches the floor) after making the turn into the side facing position (Waki-Shomen) and the set of four arrows is placed in front of the archer

®

Taking hold of the nocks of one pair of arrows (Hitote) from the set of four

®

Holding the nocks, the pair of arrows is brought to the right side

@ Taking hold of the arrows at either the first joint (ltsukebushi) or the tip segment (ltatsuki), and then placing the right fist on the hip

®

Standing the bow to the centre of the body and nocking the arrows (Yatsugae)

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i How to Behave When a Bow is Damaged or a String Breaks The method for dealing with a damaged bow or a broken string during ceremonial shooting, has been covered in the previous section (See Shitsu). However, when shooting _the primary arrow (Haya), if such problems occur and a substitute bow has not been prepared, it is advisable to deal with the situation in the following way.

1

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i 116

1

( 1) When a single archer is performing ceremonial shooting, the occurrence is dealt with as an error, and retaining the secondary arrow (Otoya), the archer withdraws.

(2) When two or more archers are performing ceremonial shooting, the occurrence is dealt with as an error and the archer who has committed the err or moves back to the base position (Honza) to wait for the other archers to finish shooting, and return to the base position (Honza), where they finish the remaining movements together. In the case of the kneeling form of ceremonial shooting on a single target (Hitotsu-Mato Za-Sharei), it is acceptable for the order of shooting to be changed.

Taking Care of Kyudo Equipment Bows Modern bows are mostly made using synthetic resins as the bonding agent.

Whereas in the past only a natural glue called Nibe was used. Nibe bows, which are still made to-day, have some merits that are highly rated, but these bows are weak to humidity and high temperatures, and are apt to warp in the summer months or in the rainy season in Japan. Consequently, one must protect the bow against moisture by always wiping it with a dry cloth before and after use.

As it is unsightly to have resin stains (Kusune) or dirt on the bow, one must take care to wipe it well with a dry cloth.

The strengths and weaknesses in the shape of the bow have a serious influence on its durability and the capacity that it demonstrates. To keep the proper strengths and weaknesses, it is important that in caring for the bow one must always consider the correctness of the shape.

Arrows Arrows also have little resistance to moisture. Therefore, the bamboo shafts, which are untrue until straightened by heat (Tameru ), should always be kept in a dry place and wiped with a dry cloth after use to avoid warping. Also, at the same time, it is necessary to remove any dirt.

It is necessary from time to time to have new arrows straightened as they are prone to warping.

Gloves There are three types of glove (Yugake), called Mitsu-Gake, Yotsu-Gake, and Moro-Gake. (Three, four and five fingered, respectively). Gloves are difficult to use, and as each type of glove has its own characteristics, it is better that beginners should be taught how to use a glove correctly by an teacher.

117

A glove can be used for years, depending on how it is used and the care it is given.

Therefore, it is very important to treat a glove carefully and to know well the function and characteristics of the glove.

As gloves are formed from tanned hide that is glued and stitched into the final shape, it dislikes moisture and should be kept in a dry place. When a glove becomes damp with sweat, it is advisable to dry it out in the shade with good ventilation. It should not be dried by direct sunlight or heat.

Strings Before and after shooting, it is important that the string is cared fo"r by rubbing with a Magusune so that by friction the resin (Kusune) in the string will melt and penetrate the string to make it stronger. (Magusune = is a pad woven from used strings in the shape of a traditional Japanese woven sandal-Waraji) The weight of a string is determined by the draw weight of the bow and the weight of arrows to be used. For example, a normal bow of 1.8 cm. in thickness (a draw weight of 22-23 kg), and an arrow weight of 26-28 grams, will require a suitable string weight of between 7-7.5 grams.

Targets Small ¡ Target (Ko-Mato ): A target with a diameter of 36 cm and under is called Ko-Mato-small target. (It is also called Kinteki-near target) Normally, a target with a diameter of 36 cm is the target used in ceremonial shooting, shooting demonstrations, and competitions (the shooting distance is 28 meters from the target to the centre of the shooting position-Shai).

There are two types of small target, the "mist" target (Kasumi-Mato), and the "star" target (Hoshi-Mato). Nowadays, the "mist" target (KasumiMato) is the most commonly used, with the "star" target (Hoshi-Mato) used only as a practice target. (The specifications for both these targets are shown in the diagram on this page). The target is set 27 cm from ground level to the centre of the target.

"Mist" Target (Kasumi-Mato)

"Star" Target (Hoshi-Mato)

---- ---T--r 12011 ( 45 .. ~~.)

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1. 2011( 2. 4Siuy

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118

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Large Target (0-Mato): This target is also called the far target (Enteki). The large target (0-Mato) has a diameter of 1.58 m, and it is used for a shooting distance of 55 m and 90 m. (The specifications are shown in the diagram).

Although the regular stze of tar get for long distance shooting is the 1.58 m diameter large target ( 6-Mato ), another target that measures half the size of the large tar get is also used. This half tar get (Han-M ato) has a diameter of 79 cm.

The frame on which the large target is hung is called Mato-Gushi. It is made in the shape of a Japanese shrine gate (see the diagram). A pole about 6 cm is used to make the frame. It should have a cross bar that measures 2.3 m in length and uprights that measure 2 m in length above ground. There should be an additional length of about 40 cm buried firmly into the ground.

The large target (0-Mato) is hung at a distance of 24 cm from the crossbar and the uprights, and 18 cm from the ground.

A half target (Han-Mato) is hung the same height to its centre as the height to the centre of the large target (0-Mato).

Large Target (0-Mato)

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Target Frame (Mato-Gushi)

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N.B. For the types of targets used in long distance shooting competitions, their size, and the method of setting, please refer to the Competition Rules established by the All Nippon Kyudo Federation.

Straw Butt (Makiwara) It is of course important to train on a straw butt (Makiwara) during the period one is learning the rudiments of shooting, but also to continue to use it after one has become more accomplished.

119

Be sure to keep a distance of one bow's length (about 2 m) from the straw butt (Makiwara), but not any further away, when one is shooting. This distance is necessary to avoid the danger of accidents, particulary, with the special arrows for use on the straw butt which are often without flights and are only suitable for use at this close distance. It is desirable that the straw butt used for practice has a diameter of 45 cm or 54 cm is used. (Please also refer to the notes in the section: Ceremonial Shooting on the Straw butt -Makiwara Sharei)

Carrying a String Holder (Ts urumaki) and Other Personal Effects One should be careful not to shoot wearing a wrist watch, carrying a string holder (Tsurumaki), resin holder (Girikoire), or with a hand towel hung from the waist, when performing c~remonial shooting (Sharei) and also of t ourse, when doing the usual forms of shooting demonstration, competitions, and other events.

To hang a string holder (Tsurumaki) from the waist is a habit from the past, -when shooting was performed outdoors with no place to leave belongings.

Clothing It is very important to use clothing which is suitable to the time, place and occasion. These may be Japanese clothing (Wafuku), or practice clothing (Kyudogi). The colour of Japanese socks (Tabi) used should be white, and other items of wear should be clean and comply with the accepted standards of etiquette.

When shooting in Japanese clothing (Wafuku) or practice clothing (Kyudogiwhite colour is prefer able), it is better that the Hakama worn should be a Machidakabakama (trouser-type). It is also not desirable for a male archer wearing Japanese clothing with a crest to wear western style underwear, or a tee shirt underneath, or to wear Andonbakama (skirt-type).

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KYUDO EQUIPMENT TERMS BOW (YUMI)

1 ... ···--- 2 4 --------, 5 ~~

1. Tsuruwa

-· 3

2. Urahazu ( Uwahazu) 3. Uwasekiita

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4. Kamikiritsumedo \ \

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5. Hime zori

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6. Toriuchi

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7. Uwazuru

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8. Togashira 9. Yazurido

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--·- 9 ----- 10 ---11

10. Nakajikake 11. Nigiri

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12. Teshita

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13. Shitazuru

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14. Hime zori 15. Shitakiritsumedo

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16. Shimosekiita

15 ----- -------- 16 ----17

17. Motohazu (Shimohazu)

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Cross-sectional Views of Different Laminations of Bow

The Names of the Joints of the Bow

Todake

-

-- wood

Hazukamuribushi ---

.

-- --¡Himezoribushi

Uchidake

Kakebushi --.

(Sanmai-Uchi)

-- . Uwanaribushi

Todake

~--

bamboo

Torikatabushi -- Sobaki

--- Metsukebushi

Uchidake

(Sanbon-Higo)

Ashitsukebushi

Todake

-- Yazuribushi

§!HU~-F sobaki

bamboo ~j _ _ Jt. ...

Teshitabushi - --

Uchidake

-- Shitanaribushi

(Yonhon-Higo) Otokoshibushi --Todake

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~n ~---. --J

bamboo bamboo or wood

-- -- Kozoribushi Hikkakebushi ----

Sobaki

Uchidake

(Gohon-Higo) Bamboo

_n--- inner

outer -- - [j layer

N.B.

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The term bushi as in Himezoribushi means a joint

* Todake-

outer bamboo 'Uchidake- inner bamboo Sobaki - outer wood

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GLOV E (YUG AKE)

ARRO W (YA)

Four-finger Glove (Yotsu gake)

Hazumaki

Hazu Urahagi Hanakabushi

Tsutsumigawa Motohagi

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__.-Soey ubi

Mata Tsurumakura-- ---

Kohim o

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Sodesuribushi ( Ottoribushi )

Boshikazari', Ninoko shi

Jabara

-Nona kabus hi

(Hikaek azari)

Hikae (lchino koshi )

Daikawa - ltsukeb ushi ltatsuk i (Yajiri )

Secondary Arrow (Otoya)

Primary Arrow (Haya)

Yuzuri ba , (Hoozu riba) \

Togakeba (Mukoba)

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TERMS FOR THE PARTS OF THE PRACTICE HALL (D0./0)

Marker's Box

Target Bank(Azuchi)

Marker's Box (Kantekisho)

(Kantekisho)

Arrow Collecting Path (Yatori-Michi)

Arrow Path (Ya-Michi)

Establishing Position

Target Front : (Mato-Shomen)

Judge/Referee' s Seat (Shinpanseki)

I

(Sadamenoza)

Higher Position (Kamiza/Joi)

Shooting Position(Shai)

Entrance (lriguchi)

BasePosition(Honza) Side Facing Position (Waki-Shomen) ~

········ ····Waiting Area(Hikae)···········

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STIPULATIONS FOR EXAMINATION (The following are extracts from the Examination Regulations of the All Nippon Kyudo Federation, enacted on the 15th September, 1953) Titular Grades (Shogo) Article 11 : The following requirements are necessary for the person who receives one of the titular grades (Shogo): The Title of Master (Hanshi) ( 1) This level should exemplify the highest degree of conduct, dignity, and perfection of ability, together with the highest quality of discernment.

(2) The candidate should be a holder of the teaching title (Kyoshi) The Title of Teacher (Kyoshi) (1) Possession of character, technical ability, and judgement are essential, as well as scholarship and cultivation, which are necessary requirements for leadership in Kyudo. Moreover, the candidate's eligibility should be proven by meritorious service.

(2) The candidate should be a holder of the instructor title (Renshi).

The Title of Instructor (Renshi) (1) The candidate should be firm in character and have the ability to instruct in Kyudo. Moreover, there should be evidence of advancement above the previous levels.

(2) The candidate should be a holder of the fifth Dan grade or higher.

Dan and Kyu Grades Article13 : Kyu grades are the five levels from 5th KyTI up tolst Kyu, and Dan grades are the ten levels from 1st Dan to lOth Dan. Their requirements are presented as follows : 3rd Kyii (San-Kyii) The candidate should know the fundamental movements of the shooting, have at least a slight understanding of how to use the bow and arrow, and demonstrate that he has received systematic instruction.

2nd Kyii (Ni-Kyu) Compared to 3rd Kyu, there should be noticeable progress m the degree of training received.

1st Kyu (lkkyu) The shooting form and way of carrying out the shooting should be done correctly.

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1st Dan (Sho-Dan) The shape of the shooting form and formal movement should be suitable for the level of shooting. There should not be disarray in the placing of the arrows.

2nd Dan (Ni-Dan) Both the shooting form and formal movement should have good arrangement with evidence of spiritual energy in the technique. There should be less uncertainty in the placing of the arrows.

3rd Dan (San-Dan) The shooting form is better established and the formal movement is more stable.

The breathing is ordered and the method of using shooting technique is correctly obeyed. The arrow should fly straight, and there should be more consistency in hitting the target.

4th Dan (Yon-Dan) In addition to having the elements of the previous level, there should be correct breathing and the release should be sharp. Consistency should be reached in hitting the target.

5th Dan (Go-Dan) The shooting form, the shooting technique, and the method of formal movement should be suitable for the level, with evidence of refinement in the shooting. In particular, progress should be shown over the previous levels .

6th Dan (Roku-Dan) At this level, excellence of technique should be far more prominent than m previous levels.

7th Dan (Nana-Dan) Shooting form, shooting technique, and formal movement, are evident naturally in the body. The shooting has reached a high level of refinement and mastery.

8th Dan (Hachi-Dan) There should be perfection in the technique, the highest level of refinement and embodiment of skill in the art of shooting.

9th Dan (Ku-Dan) The truth of Kyudo should be transparent. lOth Dan (Ju-Dan)

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DIAGRAMS OF THE EIGHT STAGES OF SHOOTING (SHAHO-HASSETSU) Method of Determining the Draw Length of the Arrow (Yazuka) The draw length of the arrow is determined by the length of each individual's arm. It should be measured from the centre of the throat to the tips of the fingers (This draw length of the arrow is called Yazuka). An additional 5-6 cm should be added for safety.

Method for Making the Footing (Ashibumi) One's Draw Length of Arrow (Yazuka)

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(1) Making the Footing with One Step While looking at the target, take a half step towards the centre of the target with the left foot. Then, close the right foot against the inside of the left foot and with one step open the footing with a fan-like action. In this method, do not look down at the feet.

(2) Making the Footing with Two Steps While looking at the target, take a half step towards the centre of the target with the left foot. Then, look down at the feet and make a half step with the right foot in the opposite direction to complete the footing.

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Body's Centre of Gravity 127

Ashibumi -Footing Using your draw length {Yazuka) as the appropriate width, make the footing with an angle of 60° degrees between the feet, placing the tip of the big toes on a straight line to the centre of the target.

The upper tip of the bow (Urahazu) should be held about 10 cm above the floor and kept on a line to the centre of the body.

Set the fifth inner joint ( Uwanaribushi) in line with the centre of the body.

Focus the gaze on the tip of the nose

Dozukuri- Forming the Torso The centre of gravity should be placed in the middle of the body. Check the string position (Tsuru - Shirabe). Check the direction in which the arrow is pointing (No - Shirabe). Regulate the breathing.

Settle your spiritual energy in the abdomen (Tanden).The line of the shoulders and the hips should be placed on the same plane, parallel to and above the line of the feet.

Stretch the back of the knees (Hikagami)

Place the lower tip of the bow (Motohazu) on the left kneecap.

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Yugamae - Readying the Bow

lstAim Divide the target with the ridge of the nose. Sight to the centre of the target primarily with the right eye.

Facing to the front, nock on the right hand (Torikake), make the grip of the left hand (Tenouchi) and set the gaze (Monomi).

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Monomi -Setting the Gaze View the tar get calmly with the gaze of both eyes passing along the centre line of the nose . Focus the spirit and regulate the breathing.

Up until the completion of lowering the bow (Yudaoshi ), the eyes must not blink.

To make the space between the body and the bow(Yumifutokoro ), stretch out and expand lightly both elbows as if embracing the trunk of a large tree.

Focus the breath and spirit into the ,/ ', centre of the feet, legs (Sokushin), f._-----hips, and the abdomen (Tanden). , '

__.Koko Tenouchi - Method for Arranging the Grip of the the Left Hand The forefmger may either be bent or straight, but it must not be allowed to bend downwards. Do not let the middle fmger separate from the belly of the thumb. Drawtherootofthe thumb and the root of the little fmger together.

Shokon

I

Shoshin

I

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.

Shiishin

1

Tenm'onsuji

The Tenmonsuji should be kept well in contact with the left corner of the outer bamboo ofthe bow. The skin between the thumbandforefmger(Koko) should be rolled downwards.

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Uchiokoshi -Raising th,e Bow

From the bow readying position (Yugamae), with a scooping sensation, calmly raise both fists up to the same height until they are higher than the forehead. By raising the fists to this height the shoulders are not influenced. Focus spiritual energy (Kiai) into the legs (Sokushin), hips and abdomen (Tanden). Do not put power into the chest and shoulders.

,-

1st Aim

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J I

J I

J 130

J !...

Hikiwake -Drawing Apart Take the stage ofthe intermediate draw (Churiki or Daisan = Oshi Dai Moku Hiki Sanbun no and draw apart evenly to the left and right until you reach the full draw (Kai).

Feel as if the nock extends out to here, and draw the string with the elbow (not with the wrist). '

With all the stretching power of the left arm push the bow, as if pushing just below the / M etsukebushi joint.

'

Establish the grip of the left hand (Tenouchi) / at the intermediate stage of the draw (Daisan).

---- --¡ 2nd Aim : The aim should be set in the area of the left elbow. , . -Feel as though drawing the lower tip of the bow (Motohazu) with the right elbow.

Inte~ediate

Stage of the Draw (Daisan),(Churiki) Let the line of the shoulders be drawn towards the arrow.

Expand both elbows The Path of the Arrow (Ya-Michi) and the Path of the String(TsuruMic hi)

.,._ --- -4th Aim (Kai)

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===~~~~*====~~~==~- 3rd Aim (Sanbun no Ni) ~- ------- - 2nd Aim (Daisan)

1st ~im (Uchiokoshi) 4t

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Kai -The Full Draw Unifying mind and body, wait for the release to come.

Do not hold the breath too fmnly in the chest, but gradually strengthen the power of the abdomen until the optimum moment which is just before the release.

Gobu no Tsume - Firming the Five Parts Make firm the right and left hand and both shoulders. Through expansion make the chest firm.

Hachibu no Tsume -Firming the Eight Parts In addition to Gobu no Tsume ( firming the five parts), the legs, hips and abdomen (Hara) are included in this process.

The Five Crosses (Goju- Jumonji) 1. Bow and arrow 2. Bow and grip of the left hand (Tenouchi) 3. Thumb of the glove (Yugake) and the string 4. The centre line of the chest and the connection line of the shoulders 5. The line of the neck and the arrow

-

It is important to know the working of these five arrangements.

J Bring the line of the shoulders clc towards the arrow

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-- - -:-~

4th Aim :

1

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'

1

1 l I

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l_

Hanare - Release

Stretch the chest open fully and the arrow will be releasedUpward and downward to the left and to the right, expand the body sufficiently (Nobiai). Settle 8 to 9 tenths of your spiritual energy into the abdomen (Tanden), and at this moment, by the driving force of the will and spirit (Kiai), the arrow will be released.

Zanshin -Remaining Form ( Spirit) ~

After the release of the arrow do not change your posture but observe intensely the place where the arrow - has hit. Do not lose the focus of spiritual energy (Kiai) and maintain sufficiently the expansion of this ~ energy (Nobiai) while lowering the bow(Yudaoshi). ~Zanshin

demonstrates decisively the results of the shooting through the emaining for m of the vertical 1nd horizontal er oss (TateyokoJumoniji).

Yudaoshi - Lowering the Bow

Kegulate the breathing and bring both fists down to the hips. Calmly return the a..aze (Monon;ti).

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POSTSCRIPT It is without doubt that over the years the establishment of the Kyudo manual (Kyudo Kyohon, Volume 1) has contributed significantly to the development of Kyudo.

However, according to progress shown in the current level of shooting ability, we felt the necessity to further enhance the content of the Kyudo Manual Volume 1.

On March 1969 a joint study conference of teachers was held at Hakone to ¡ establish the principles for this work. As a result of one and a half years careful work and deliberation, we have finally produced the revised and enlarged edition that constitutes the present manual.

Manuals II and Ill have also been published* (both volumes focus primarily on the technique of shooting). We hope that their use together with this volume of basics, will become a means to mastering the art of Kyudo.

The following are the names of the establishing committee members on the Principles of Shooting (ShahiJ) and the editorial committee, at the time of the publication of Kyudo Manual Volume I. Members of the Establishing Committee on the Principles of Shooting (ShahiJ) :

Masters : Tanetsugu Chiba Yozaburo Uno Sakae Urakami Masakichi Kaminaga Tasuku Takagi Editorial Committee : Masters: Hisashi Murakami J oei Takeuchi Hisao Ishioka The following masters were also charged with revising and amending this present edition: Editorial Committee : Masters : Hisashi Murakami Ikuo Fukuhara Shintaro Kubota Kiyonobu Ogasawara

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*Volumes II and Ill are not yet in translation

Finally, we sincerely express our gratitude to Master Keikichi Nakano, who from the beginning made much effort to make available resources and advice. _ April 1971

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