KYUDO TECHNIQUE

 THE HASSETSU
          The following text and illustrations explain the hassetsu, the eight fundamental stages of shooting. The hassetsu are presented as separate actions only for the purpose of study. In truth, they are part of one continuous sequence of movements that are performed with seamless integration.

          Kyudo has developed along two historical lines: bushakei, the shooting style of the foot soldier and kishakei, the style of the mounted archer. Kishakei is commonly known today as reishakei, or ceremonial style. In addition, there are two methods of readying the bow: shamen no kamae (oblique stance) which is most often associated with Heki Ryu, and shomen no kamae (frontal stance) commonly used by Ogasawara Ryu and Honda Ryu. All of these methods are accepted standards of the A.N.K.F.

           The illustrations and notes below depict the reishakei style with shomen no kamae. For a much more detailed explanation of the hassetsu you may want to read our book: KYUDO - The Essence and Practice of Japanese Archery. (See the Resources section of this homepage for more information.)

           Here's the Hassetsu as shown in a simple animation. The individual steps of the Hassetsu are shown and described below.

          Note: If there are problems running this animation on your browser (such as the figure turning into a silhouette instead of the color figure), restart it by clicking on the back arrow of your browser followed by the forward arrow. You may also download it to your computer by right-clicking on it and selecting "save as" on the menu - that way you can replay it at will.
ASHIBUMI - (footing)
          Ashibumi is the foundation of good shooting. Without a stable ashibumi, proper shooting is virtually impossible. There are two methods of positioning the feet when making ashibumi: the step and slide method used in reishaki and the two-step method used in bushakei. In both cases it is important to keep the body erect and avoid bobbing or swaying as you move into position. As a rule, the feet are spread the distance of one's arrow length, or yazuka, with the big toes set in line with the target's center. The angle of the footing should be sixty degrees with the weight evenly distributed so that the center of gravity is maintained between both feet. Slight pressure, devoid of excessive tension, is applied to both legs, and the knees are stretched naturally into place. The bow and arrows are held at hip level aimed toward the center line of the body, with the top of the bow held about ten centimeters above the floor.
DOZUKURI - (correcting the posture)
          Once the feet are set, the posture of the upper body must be aligned accordingly. Special attention must be given to the so-called three-cross relationship, where the shoulders, hips and feet are held in line with one another, parallel to the floor and straight to the target. The spine and back of the neck are gently stretched upwards, but the shoulders are kept flat. The bottom end of the bow is rested on the left knee and held so that the upper curve is in line with the center of the body.
YUGAMAE - (readying the bow)
          As mentioned above, there are two styles of yugamae in modern kyudo: shomen no kamae (shown here) and shamen no kamae. Both ways include preparatory movements known as torikake (setting the glove), tenouchi (gripping the bow), and monomi (viewing the target). The explanation for these movements is quite complex and differs according to the teacher's methods and the influence of style. Shown here is the method taught by Master Hideharu Onuma. Other instructors may have a different explanation.
          Torikake - To make torikake hold the glove just below the nocking area on the string and set the string in the groove at the base of the thumb, then depending on whether it is a three- or four-finger glove, lay the first two or the first three fingers across the thumb. Slide the thumb up the string until it meets the arrow. Use a slight inward torque of the hand to hold the arrow in place.
          Tenouchi - Keep the hand straight with the fingers extended and held close together. Place the hand so that the outside edge of the grip rests along the line just under the fingers. Fold the last three fingers in to meet the thumb.Do not use the forefinger to grip the bow, but bend it inward toward the bow instead.
          Monomi - Look at the target with calm, half-closed eyes. Monomi is not an aiming technique, it is a method of sending one's spirit to the target before shooting. From monomi on, do not blink or look away from the target.
UCHIOKOSHI - (raising the bow)
          In the case of shomen no kamae, the bow is raised perfectly straight with the nocked arrow held parallel to the floor. Normally, the bow is raised to a point where the hands are just above the head and the arms are at a forty-five degree angle. The arms and chest are kept relaxed. The shoulders are kept flat as they are stretched forward, toward the bow.
HIKIWAKE - (drawing the bow)
          The Japanese bow is drawn differently according to the style. In shomen no kamae there are two stages to the draw. The first, called daisan, is a preliminary move that sets up the actual draw. Daisan is formed by pushing the bow to the left as the right arm folds at the elbow. The arrow is drawn to half its length and the right hand is a little above and just forward of the forehead. In the second stage of hikiwake the bow is pulled into full draw using the muscles of the back and chest.
KAI - (completing the draw)
          Kai means "Meeting." The term is used in kyudo to show that each of the previous stages of shooting combines to form kai. The release is a natural result of their meeting. The success or failure of the shooting is not determined after the release, it is determined in kai. It is said that kai holds the essence of kyudo: if hikiwake is the physical draw then kai is its spiritual complement.
HANARE - (the release)
          If kai holds the essence of kyudo, then hanare reveals its mystery. Hanare has been compared to the moment when flint and iron combine to create a spark, or to when snow falls under its own weight from a leaf. Most teachers suggest that the length of kai should be about six to eight seconds in order to achieve a good hanare.

ZANSHIN - (continuation)
          In kyudo, the shooting does not end with the release of the arrow, it ends with zanshin. The word zanshin is a homonym. It can mean "remaining body" or "remaining spirit." Both definitions are used to explain the period following the release, when you continue to hold your position and send forth your spirit, even after the arrow has reached the target.
YUDAOSHI - (lowering of the bow)
          Included within the context of zanshin is a separate move called yudaoshi, the lowering of the bow. In yudaoshi maintain visual contact with the target as you slowly lower your hands to your sides, so that the end of the bow is once again in line with the center of the body. After that, step with the right foot in a half-step toward the center of the body, then bring the left foot over to meet the right to bring the basic shooting procedure to a close.

ONE POINT LESSON
Lesson #8 - December '01
Movement
                                                   We all learned to walk at an early age. So you would think we would have it down pat by the time we begin our practice of kyudo. The truth is, walking, and other simple kyudo movements like standing, kneeling and turning, are the elements that first reveal your understanding of kyudo to an experienced teacher. I have a fond memory of a visit to America some years back with Onuma sensei and a group of high ranking kyudo sensei and other practitioners when one of the hanshi on the tour pulled me aside and told me that when I learned how to sit and walk like Onuma sensei I would truly understand kyudo. Unfortunately, I am still trying. Onuma sensei would float when he moved. Even at the age of 80 years he could kneel down in kiza and rise again from the floor with seemingly effortless grace. I am afraid I cannot offer much advice here on how to replicate his movement but I can tell you that constant practice and diligence are the key.

           All too often in kyudo practice we tend to forget the simple things as we progress to ever more complicated techniques. But I was taught that from the moment you enter the dojo floor you must pay close attention to every action and movement you make. Do not focus on the shooting to come, but rather on the moment at hand. Be aware of your gaze. Check to be sure that your eyes do not wander and your head does not turn or bob. Does your body remain straight as you walk, or do you sway from side to side? Are your footsteps of regular stride and rhythm, or do you walk as if you are going for an afternoon stroll in the park? When you sit you should glide smoothly down to the floor in a straight line and when you stand you should float straight up without wobbling to and fro. Onuma sensei's suggestion was to "rise as smoke rises."
Naturally, this all takes time and effort...a great deal of time and effort. But diligence now will pay off later when your kyudo technique begins to ripen because there is nothing so ugly as an accurate, technically experienced archer who lacks the grace and fluidity of movement that distinguishes kyudo from all other forms of archery.

          For past "One Point Lessons", visit the ARCHIVE.

           Other aspects of kyudo technique will be presented in this section in the future. If you have specific questions, please contact us at kyudo@mail.icomnet.com and we will try to get back to you with an answer. Items of common concern may be addressed on this homepage.