Giho 56 Wakige barai/ 腋毛払
Wakigebarai
This is a beginner’s battoujutsu and in Tenshinryuu a technique to learn very fundamental 体捌き (taisabaki – roughly “body movement/management/handling”) and 手の内 (te no uchi).
Battou with the kaisho 真 (shin)
This time I am going to explain 腋毛払 (wakigebarai – “underarm hair wipe/sweep”), one of the 立合抜刀術 (tachiai battoujutsu).
Well then, let’s start with the explanation.
The opponent tries to assault me with a straight slash from right in front of me – at that exact moment, I place my right hand on the tsuka, bring out my right foot to the front and attach the kissaki of my sword to the right side of their chest. The height I’m aiming for is that of their right nipple.
From there, using 体捌き (taisabaki), I move my body to the right as I cut through their right armpit.
From around the height of their right nipple place the sword beneath their armpit and cut through slightly diagonally.
From here there are to kinds of noutou methods we can use, but this time I will perform 曲腕納刀 (gyowan noutou – roughly “bent-arm sheathing”).
The characteristic of Wakigebarai
So, let’s move on to the detailed explanation of 腋毛払 (wakigebarai).
The characteristic of 腋毛払 (wakigebarai) is the large movement to the right. However, if you move to the right immediately from the very start, the opponent might end up noticing that motion and change their own.
Therefore, for the beginner’s or 守 (shu) movement it’s essential that you move your right foot straight to the front when drawing your sword.
Then, attach the kissaki to the opponent’s chest and, by using taisabaki, cut through them.
Please pay attention to these points when practising the movement.
About the battou
Next, let’s talk about the battou.
For 腋毛払 (wakigebarai) we don’t draw the sword in 半身 (hanmi), but rather with a frontwards facing chest, hence we do a 対面 (taimen) draw. As for the gap between our feet at this time, we assume 江戸立 (edotachi).
As a reference, if we place our left knee on the ground from this stance, it will be on the same line as our right heel.
About the orientation of the left foot
Next, let’s have a closer look at the orientation of our left toes.
Draw the sword, then, when placing the kissaki on the opponent’s chest, assume 鉤足 (kagiashi – lit. “hook foot”) with your left foot.
Then, as previously explained, do a 対面 (taimen) draw here. As such, be careful that not only your chest, but also your pelvis goes into 対面 (taimen). Since there are people whose chest and pelvis unintentionally go into 半身 (hanmi), let’s pay attention when practising.
About the 体捌き (taisabaki)
Now, let’s talk about the 体捌き (taisabaki). Usually in Tenshinryuu we turn our body and face our opponent after we cut, but not with 腋毛払 (wakigebarai).
It’s important that you keep the forward-facing chest after the 対面 (taimen) draw and cut the opponent with 体捌き (taisabaki). It’s similar to 嚏抜 (kusamenuki).
If you’re wondering why you should keep a forward-facing chest while doing the 体捌き (taisabaki), the reason is that we would like you to put the effort into practising the 体捌き (taisabaki) here and internalize the movement.
As such, draw your sword, and from here when performing the 体捌き (taisabaki), please be sure to move to the right as far as possible.
Important point about the taisabaki
A good example of what NOT to do is when you think too much about moving around that you end up breaking your posture like this. Doing so will obstruct your very next action.
So, when practising, please keep to the correct posture and drawing technique and, as much as possible, move the maximum distance.
Important point when pulling back the right foot
So, how far do we have to move? Allow me show you in actual practice.
Just like this, once I’ve moved this far, my opponent’s sword can’t reach me. Keep practising until you are able to move this far.
Battou with the sousho 離 (ri)