This time, we will brush up on Tsuka-uchi (柄打) and introduce practice methods for Tsuka-uchi. Tsuka-uchi is a simple fundamental technique, but striking with force is not easy.
Correction points
Now, let’s look at the key points to check and the corrections to make.
First, let’s start with the thumb. For beginners, if the koiguchi (鯉口) is loose, there is a risk that the sword may unintentionally slip out.
(This is called saya-bashiru 鞘走る.)
Especially when practicing with a partner, this can be dangerous, so we instruct students to place their thumb deeply on the tsuba (鍔).
However, in practice, it is not necessary to place the thumb so deeply on the tsuba. The swords that samurai carried in daily life(Sashiryō 差料) were different from training swords and were usually not so loose at the koiguchi. This is because accidentally drawing the sword (known as saya-bashiru) was considered extremely embarrassing and improper.
(Of course, in reality, such accidents did happen frequently in the Edo period.)
Therefore, in the beginning, we recommend placing the thumb deeply on the tsuba for safety.
However, as one becomes more accustomed, the thumb should be placed more lightly on the tsuba.
The idea is to place the thumb on the tsuba just enough for it to extend slightly.
By doing so, a gap is created between the tsuba and the index finger. By creating distance between the contact point of the tsuba and the thumb, as well as the pinky finger, the Kojiri (鐺) is less likely to drop, allowing the sword to be kept level.
This is the first important point.
As explained earlier, if the thumb is placed deeply on the tsuba as beginners do, the pinky side will inevitably be closer to the tsuba as well. Since the distance between these two points becomes shorter, the leverage does not work effectively, making the sword feel heavier and causing the Kojiri (鐺) to drop.
(Of course, this does not mean that the actual weight of the sword changes, but rather that the strain on your arm increases.)
Therefore, especially for beginners, a version where the left hand is placed under the saya (鞘) to support it during Tsuka-uchi is encouraged.
This helps the body learn the correct position of the saya (keeping it level).
However, as you become more accustomed, as mentioned earlier, by placing the thumb lightly on the tsuba and increasing the distance between the thumb and pinky, you can raise the Kojiri simply by lightly supporting the saya from below with your pinky. This allows the sword to stay closer to a horizontal position, ensuring that the force is transmitted directly to the target during tsuka-uchi, resulting in a stronger strike.
Of course, Tsuka-uchi is not only used for thrusting strikes but can also be used to strike the forearm (kote 小手). What is being demonstrated here are strikes (thrusts) to targets such as the throat, the area below the nose (jinchū 人中), the chest, and suigetsu (水月 solar plexus). In these cases, it is ideal for the sword to remain parallel to the floor.
However, when striking lower targets such as suigetsu (solar plexus), the body should lean forward, and the sword will also tilt slightly forward. In this case, think of the arm and the sword as being parallel.
When picking up the placed sword, place the thumb lightly on the tsuba. At this point, the index finger should not touch the tsuba but be held slightly away from it.
Analysis and correction
And here is another correction point.
A common mistake seen in tsuka-uchi is aligning both the arm and the sword straight toward the target.
In practice, since the saya touches the right side of the body, it is likely impossible to align both completely straight.
However, if performed with that image in mind, the power of tsuka-uchi will become significantly weaker.
In practice, the arm and the sword will form a crossing shape.
Your right arm and the sword must cross slightly.
In other words, the Kojiri moves slightly to the outside of your body. However, the sword itself remains straight toward the target.
Since it is impossible to make both the arm and the sword completely parallel, the right arm must open slightly outward to keep the sword straight.
This ensures that the tsuka-uchi can withstand the reaction and recoil that occur when striking with force.
If someone presses on the Tsuka-Gashira (柄頭pommel) while you hold the tsuka-uchi posture, you will easily notice the difference.
Try comparing which is stronger: keeping your arm straight or angling it slightly outward.
Introduction to Practice Methods
Now, let me introduce Tenshin-ryu’s unique practice method for tsuka-uchi.
1, Confirming whether it is being performed correctly
2, Training to develop a better posture
3, Training to retreat significantly
This is an excellent training method that allows you to practice all three aspects simultaneously.
First, pair up and sit facing each other, then perform tsuka-uchi simultaneously.
Since both practitioners will be advancing, they need to sit at a greater distance than usual. Adjust the maai individually to a comfortable range, such as Gyo-no-Ma (行の間 approximately 165 cm).
Place your left palm in front of your chest and press down on each other’s Tsuka-gashira with your palm.
After performing tsuka-uchi, push each other’s Tsuka-Gashira forward to check whether both of you are maintaining a stable posture and not losing balance when pressed.
Place each other’s Tsuka-Gashira against the palm in front of your chest and push against each other. If you have a good posture, your stance will remain stable.
Points of Caution
This is not a contest of strength, so do not forcefully push against each other.
After confirming your posture, both practitioners simultaneously push each other’s Tsuka-Gashira with their left hand on the count of “Ichi, Ni-no-San (いち、にのさん one,two,three).”
Use the force of the push against the Tsuka-Gashira to retreat as far as possible, transitioning into shumoku-ashi (撞木足).
If you easily lose balance while pushing against each other, it means your posture is insufficient or incorrect.
If practicing alone without a partner, you can substitute by pressing the Tsuka-Gashira against a strong surface, such as a wall, and pushing against it.
First, try pressing against your partner’s palm or a wall with the Tsuka-Gashira.
Next, have your partner press against your Tsuka-Gashira.
*If practicing alone against a wall or similar surface, there will be no one to push back, so you will simply press the Tsuka-Gashira against the wall yourself.
When practicing alone, there are limitations, but this method allows you to check your posture to some extent and develop a stronger stance.
As explained earlier, if your right arm and the sword are crossed, your tsuka-uchi will be stronger.
However, if you keep them parallel, your posture will become weaker. Consequently, the power of your tsuka-uchi will also decrease.
If this positional relationship is correct, you will be able to push strongly with your body.
You can confirm this by using the previously introduced training method, having someone push you, or using a wall.
The practice method of pushing against each other is an essential practice exercise.
Try to create as many opportunities as possible to practice it.
In Conclusion
Tsuka-uchi is a technique with simple movement steps and is often overlooked as a beginner’s technique.
However, in reality, it is a deeply sophisticated technique.
Therefore, pay close attention to the details and practice carefully.
Precisely because it is a beginner’s technique, having a strong desire for improvement “always striving to refine it and elevate it to a practical level” is extremely important.
Of course, this is not limited to tsuka-uchi.
Basic and beginner-level techniques must be refined and improved in precision year after year.
Since these techniques are practiced frequently, one would expect continuous progress, but surprisingly, improvement often stagnates along the way.
One reason for this may be that the standard becomes simply “being able to do it somehow”, leading to a lack of awareness in deeply pursuing the technique and resulting in compromise.
Therefore, if you ever feel even slightly that something is not going well, focus on that point.
Do not ignore any sense of inadequacy or discomfort—pursue the form with great care and practice diligently.
By doing so, your tsuka-uchi will constantly improve, serving as the foundation for all techniques and your overall strength.
Basic and foundational techniques are essential prerequisites for mastering more advanced and complex techniques.
Unless the basics improve, the overall level will not rise accordingly.
This applies not only to martial arts but to all forms of traditional arts.
Rather than becoming someone who simply practices for a long time without improving, always aim for training that allows for continuous growth.
This concludes the brush-up and training methods for Tsuka-uchi.
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