Jedi Sword Work

These explanations refer to actual Martial Art and Sword fighting techniques and as such can be dangerous. If practiced with a live blade.

First Cadence:
Preparation: 19 candles, 19 candles stands of about 3 1/2 feet high, lighter, and a sword.

Cadence: Start by placing one lighted candle and stand directly ahead of you at a distance of one to one and a half meters. Then, from the rest position, draw your sword and strike the wick. Your objective is to completely cut the wick without harming the candle. Having successfully completed one candle, place two stands and candles in front of you, by hand, with a 10-degree angle between them. The first few times you perform this maneuver you should check that accuracy of your placement. No more then a two-degree error is permissible.
When you become comfortable with placing them, you should be able to place them with no more then a tenth of a degree error without needing to check
. Then as you did with the first cut the lighted wick without cutting the candle.
Having successfully completed two candles, you should attempt three, again spaced at 10-degree intervals ahead of you, at a distance of one to one and a half meters. Then four then five, and so on until you cover the full 180-degree spread with nineteen candles and stands.
There are a number of orders that you should practice this in: From right to left; left to right; alternating left and right working out from the center; alternating left and right working in towards the center, and, random. Only when you can perform all possible permutations two-handed, left-handed, right-handed, and blindfolded with equal skill are you ready to advance.
This is both a physical and mental training exercise.

Second Cadence:
Preparation: 72 candles, 72 candles stands of about 3 feet high, lighter, and a sword.

Cadence: The candles and stands must be placed at five-degree intervals (Rather then 10-degree intervals as in the first cadence); by the end of the cadence a full 360-degree circle is covered. There should be two candles at the zero position, so that you can start and end at zero-degrees.
This cadence requires the Jedi to be able to strike at all points around him. In the beginning, you are permitted to turn to face the point at which you are striking. Once you have mastered this, you are expected to be able to strike at any point around you without having to turn at all simply reach out with the sword and use the Force to guide the stroke.

Third Cadence:
Preparation: 180 candles, 180 candles stands of about 3 feet high, lighter, and a sword.

Cadence: The Candles are placed at 2-degree intervals, and the strike patterns used involves cutting every fifth wick, then every fourth of the remaining, then every third, and so on until none are left.

Footwork
If your feet pass each other they should move in little arcs, coming first in toward the other foot before arcing out to their final position. More often your feet will not pass each other, as the leading foot needs to stay in front for the combat system to remain effective, especially against another Jedi.
Move the foot closest to your opponent into position first, then pull the other foot into position as fast as possible to avoid being off balance for too long. The feet should slide or skim the floor so that you are never really off balance. If the foot is lifted at all it is usually the heel that lifts leaving the toe to skim the surface. There are similar to silent stalking techniques used by Ninja and North American natives, where all movement is toe-to-heel rather than the usual heel-to-toe.
An interesting note is that most samurai and apparently Jedi also, wore long flowing robes to conceal their footwork, as it gives away their next move.

The Grip
Most actions are taken with the weapon held in both hands, the lower, left hand does all the work while the right guides the blade. Interestingly enough, there is no left handed grip in Japanese martial arts. In fact, a left hander actually has a slight strength advantage with a slight loss of directional control with this grip.
The proper grip is firm, yet relaxed until just before the moment of contact with your opponent's body. Then, the grip tightens, not unlike wringing water from a towel, as the wrists transmit the final snap of power into the blow in a kind of whipping action.

# Grip the base of the handle using your left hand with no part protruding below the smallest finger. The smallest finger grips most tightly, with grip decreasing in strength up to the index finger and thumb. The web of skin between thumb and forefinger does not touch the handle.

# Your right hand grips just below the guard. The strength of grip is similar to the left hand. Some martial artists have the right forefinger very loose, crooked almost as if it were on the trigger of a gun.
# Your hands should be about 2 finger widths apart.

# Your left hand is the primary source of power. Your right hand guides the blade.

Moves
The following are based on a mix of Batto Jutsu, Kendo and Arnis. Batto Jutsu is a combat art using katana and was last used in combat by Japanese officers as recently as WWII. I used Kendo and Arnis as the basis for blocks, as you can block with bamboo swords and rattan stick, but a katana should never be used in that way. There are other Japanese sword arts, such as Iai Justsu, which is the art of cutting someone down as you draw your sword.
In order to allow energy to flow easily, all moves must form flowing circular arcs. This means that Return to Ready Position will be a smooth arc from where you finished the previous move.
Each move assumes we start from the Hasso En-Guarde Position, so they often move through another ready position before actually striking your opponent. In some cases these alternate ready positions could also act as blocks. In addition I end each description with "Return to Ready Position". In most cases this is simply moving of the hands back to Hasso but several will also require an adjustment in foot position. In others I mention returning to Hasso through another position, usually a block. In combat this will make some moves better than others, depending on which side your opponent is standing. Some strikes will also take longer to execute, which will make their use more dangerous.
I have also included the Japanese words for each position or move
Basics
Salute Hold in both hands, right hand above left, and bring handle up vertical to the face as though you were going to kiss it.



Left foot is forward on centreline of the body with knee bent, right foot is back and slightly bent with feet flat on ground and heels about 3 foot lengths apart. Weight is balanced between both feet, hips are rotated to face forward. Weapon is held at shoulder level to the right side of your head just behind your ear with blade vertical, tilted slightly backward and slightly to the right. Shoulders are rotated slightly to your right and upper arms are horizontal.
Defensive Moves - Blocks
Block Up to Left Rotate hips to left and swing hands across body to place handle just below your face and slightly forward. Tip of lightsaber is almost fixed in space. Rotate hands, again with tip almost stationary, until handle is above head level with blade almost horizontal above your head. This will result in your shoulders dropping and both knees bending.
Note: Blade should not be horizontal, but sloping with tip higher than handle. Your lever action is greatest closer to the handle so you need to keep the tip up to allow you enough power to deflect the blow.
Return to Ready Position through Center Ready Position.
Block Up to Right Similar to previous move but the block goes to your right. This time your hips rotate to the right as your hands move to just above head height to the right of your body. The blade is again almost horizontal with the tip slightly elevated.
Return to Ready Position
Block Left Drop hands across your body to your left side at waist level rotating your hips strongly to the left just as you contact your opponent's blade. Blade is almost vertical with tip forward and handle slightly further out to your side.
Note: From the front the blade should just be to one side of your body.
Return to Ready Position through Block Right.
Block Right Swing hands across your body towards the left side then drop your hands to your right side at waist level. Rotate your hips strongly to the right just as you contact your opponent's blade. Blade is almost vertical with tip forward and handle slightly further out to your side.
Note: From the front the blade should just be to one side of your body.
Return to Ready Position.
Block Low Left Pull left foot back parallel to your right foot. Drop hands and swing blade out and down across your body to your left side at chest level whipping the blade and rotating your hips strongly to the left just as you contact your opponent's blade. Blade is almost vertical with tip forward and slightly further out to your side.
Return to Ready Position
Block Low Right Pull left foot back parallel to your right foot. Swing hands across your body towards the left side then across your body to your right side at chest level whipping the blade and rotating your hips strongly to the right just as you contact your opponent's blade. Blade is almost vertical with tip forward and slightly further out to your side.
Return to Ready Position
Aggressive Moves - Attacks
Chop - "Shin Choko-Giri" Left elbow lifts over head bringing upper arm almost vertical and bringing both hands to centerline of body behind head with blade horizontal. At the same time slide your left foot to your left and bring your right foot up then circle out to about 3 foot lengths apart, square to your opponent, arching you back and raising your power as you move. Swing down bending your knees and lowering your center of gravity to add power as you strike your opponent. Swing through until your elbows act as a brake on your stomach.
Note: the left hand is doing all the work here, your right hand is merely steering all the force from your left. This move is rarely used in combat, except for dispatching an injured opponent, as it leaves you wide open to attack.
Return to Ready Position by moving your left foot first then sliding your right foot back into position while holding you lightsaber in Center Ready Position.
Slice Left - "Kesa-Giri" Drop tip back and down, push hands to upper right of head and lift left elbow above your head with blade almost horizontal above your head. Step forward with right foot placing it on centerline, heels about 3 foot lengths apart. Swing lightsaber forward and downward at 45 degrees slicing across your opponent's body from shoulder to hip. Arms are fully extended and blade is almost horizontal at point of contact. Swing through and allow your elbows to act as brakes by hitting your body (this stops you hitting the ground or yourself.)
Return to Ready Position through Block Right.
Slice Right - "Kesa-Giri" Drop tip back and down swinging left arm up and across your face bringing your hands to the left side of your head with blade almost horizontal above your head. Bring right foot up almost touching your left foot then step forward with your left foot, heels about 3 foot lengths apart. Swing lightsaber forward and downward at 45 degrees slicing across your opponent's body from shoulder to hip. Arms are fully extended and blade is almost horizontal at point of contact. Swing through and allow your elbows to act as brakes by hitting your body.
Return to Ready Position.
Swing Left - "Yoko-Giri" Rotate hips and shoulders to your right rotating your right foot, on its heel, out to your right side, perpendicular to your centerline. Swing tip back and down dropping hands down to your chest level with blade horizontal behind you. Shift most of your weight onto your right foot and swing your left foot to your rear so that both feet are about 3 foot lengths apart and square to your opponent. Swing the blade horizontally across your body like a baseball bat, leading with your left elbow as you slide your left foot to the left. As you make contact with your opponent's body shift your weight to your left foot and rotate your hips strongly to the left. Follow through but avoid going beyond your left shoulder. The right foot can pivot on the ball, but avoid lifting the heel - it means you've gone too far.
Return to Ready Position through Block Right.
Right Swing Pull your left foot back in towards your right then slide it out to your left until it is about 3 foot lengths apart from your right foot. Rotate hips and shoulders to your left while dropping your lightsaber tip back and down swinging left arm up and across your face and your hands down to your chest level with blade horizontal behind you. Rotate hips and shoulders to your left rotating your left foot, on its heel, out to your left side, perpendicular to your centerline. Shift most of your weight onto your left foot and swing the blade horizontally across your body like a baseball bat, leading with your left hand. As you make contact with your opponent's body shift your weight to your right foot and rotate your hips strongly to the right. Follow through but avoid going beyond your right shoulder. The left foot can pivot on the ball, but avoid lifting the heel - it means you've gone too far.
Return to Ready Position
Upper Cut Left - "Kiri - Age" Rotate hips and shoulders to your right rotating your right foot, on its heel, out to your right side, perpendicular to your centerline. Swing tip back and down dropping hands down to your side to point tip at ground, elbows almost locked a little like a golf swing. As the tip comes forward slide your left foot forward and move hips forward, rotating left and leaning into the blow as the blade swings up and across your opponent. Arms are fully extended at point of contact and hips rotate strongly to the left as you cut through your opponent's body from hip to shoulder and follow through. Blade ends up almost vertical with tip out to the left and arms fully extended.
Return to Ready Position through Block Right.
Upper Cut Right - "Kiri - Age" Pull left foot back beside your right foot, drop tip back and down swinging left arm up and across your face bringing your hands to the left side of your head with blade almost horizontal above your head. Rotate hips and shoulders to your left rotating your left foot, on its heel, out to your left side, perpendicular to your centerline. Swing tip around and down dropping hands down to your side to point tip at ground, elbows almost locked a little like a golf swing. As the tip comes forward slide your right foot forward and move hips forward, rotating right and leaning into the blow as the blade swings up and across your opponent. Arms are fully extended at point of contact and hips rotate strongly to the right as you cut through your opponent's body from hip to shoulder and follow through. Blade ends up almost vertical with tip out to the right and arms fully extended.
Return to Ready Position. Thrust - "tsuki" Move your hands to the Center Ready Position. and thrust the blade into your opponent's chest bending the leading knee to drop your center of gravity. Lean forward into the thrust.
Note: This move is rarely used against a skilled opponent, as it is very easy to block and counter. Return to Ready Position

The Seven Forms
Since the dawn of Jedi History, seven fighting disciplines have arisen, Known as the Seven Forms. The Forms represent differing styles and philosophies of combat. Each Form has it's respective merits.

Form I
Form I is based on ancient sword-fighting traditions, since the principles of blade combat has remained much the same. The basics of attack, parry, body target zones, and the practice drills called cadances are all here. (This would be akin to standard run of the mill sword combat taught as the basic's of almost every style of sword combat)

Form II
The ultimate refinement of weapon to weapon combat became Form II, advancing the precision of blade manipulation to its finest possible degree and producing the greatest dueling masters the world has ever seen. (This would be akin to Fencing with rapier not foils. )

Form III
The third great discipline focuses on deflection and defense as arts alone. It is a highly refined expression of non-aggressive Jedi philosophy. Form III maximizes defensive protection in a style characterized by tight, efficient movements that expose minimal target area compared to the relatively open style of some of the other forms. Form III Masters are considered invincible.

Form IV
Form IV is the most acrobatic Form, heavily emphasizing Jedi abilities to run, jump, and spin in phenomenal ways by using the Force. Masters of Form IV incorporate all the ways in which the Force can help them go beyond what is normally possible for a person to do. Their combat is astonishing to watch, filled with elaborate moves in the center of which a Jedi may be all but a blur.

Form V
Form V arose to address a need for greater power among the Jedi. Jedi who feel that Form III could be too passive train in Form V. A Form III master might be undefeatable, but neither could he necessarily overcome his enemy. Form V focuses on strength and attack moves. A dedication to the power and strength necessary to defeat an enemy characterizes the philosophy of Form V, which some Jedi describe by the maxim "peace through superior firepower." To some Jedi Knights, Form V represents a worthy discipline prepared for any threat; to others Form V seems to foster an inappropriate focus on dominating others.

Form VI
This Form balances the emphases of other forms with overall moderation, in keeping with the Jedi quest to achieve true harmony and justice without resorting to the rule of power. It is considered the "diplomat's Form" becuase it is less intensive in its demands than other disciplines, allowing Jedi to spend more time developing their skills in perception, poltical strategy, and negotiation. In practice, Form VI is a combination of Forms I, III, IV, V. Young Jedi spend their first few years studying Form I and then a year or two with each additional Form before completing their training. By comparasion, A master of any other Form will spend at least ten years studying only that form after completing the basic Form I training. Form VI well suits the modern day Jedi' role in society, in which a Knight overly trained in martial combat might be at a loss to resolve a complex political conflict between others, However full masters of other Forms sometimes consider Form VI to be insufficently demanding

Form VII
Only high-level masters of multiple Forms can achieve and control the ultimate discipline known as Form VII. This is the most difficult and demanding of all the Forms, but it can eventually lead to fantastic power and skill. Form VII employs bold, direct movements, more open and kenetic then Form V but not so elaborate in appearance as Form IV. In addition to very advanced Force-assisted jumps and movements, Form VII tactics overwhelm opponents with seemingly unconnected staccato sequences, making the Form highly unpredictable in battle. This trait makes for a much more difficult execution than the graceful, linked move sequences of Form IV. Form VII requires the intensity of Form V, but much greater energy since that focus is wielded more broadly. Form VII draws upon a deeper well of emotion then even Form V, yet masters it fore fully. The outward bearing of a Form VII practitioner is one of calm, but the inner pressure verges on explosion. Form VII is still under development since so few can achieve the necessary mastery to advance the art.

The Marks of Contact

All Jedi Forms involve the same "marks of contact," target objectives organized as categories of damage fighters can inflict upon their opponents. In the names of these marks, the language of the earliest Jedi sages has come down unaltered to us today. The ancient traditional marks of contact help focus a Jedi's attacks and defenses on a few clear categories rather then diffusing awareness across an infinte number of possibilities.

Sun Djem ( "sun jem" )
Damage or Destroy Weapon
Sun Djem (disarming) was a goal of early Form I masters, since destroying an opponent's weapon could win victory without causing injury --- always a Jedi aspiration. However, the advances of Form II soon mad Sun Djem nearly impossible, since combatants trained studiously against having their weapons taken or damaged.

Shiim ( "she-eem" )
Wound
Any kind of wound with just the edge of the blade is shiim. An inconclusive mark of contact, shiim is considered inferior to other marks that decisively end a battle. It's appearance thus expresses struggle with a powerful opponent.

Shiak ( "she-ack" )
Stab
Jedi Tradition considers Shiak (stabbing) an honorable method of inflicting serious injury since it causes the least visible injury to the opponent's body. Shiak can thus express Jedi respect for an opponent and the living Force even as it delivers a fatal blow.

Cho Mai ( "cho my" )
Cut off Weapon Hand
Cho mai instantly ends an opponent's ability to use a weapon but does not kill, making cho mai a preferred Jedi move. The precision of cutting of only a hand is considered the mark of superior skills.

Cho Sun ( "cho sun" )
Cut off Weapon Arm
Cho sun (dismembering), cutting off an opponent's entire weapon arm, is a move lacking the precision and elegance of cho mai, but cho sun is the move most often necessary under suprise combat conditions or where no chances can be taken.

Cho Mok ( "cho mock" )
Otherwise Maim
Cho Mok (maim) describes cutting off of an opponent's leg or (in case of non humans) other limbs or appendage such as tails.

Sai Cha ( "sigh cha" )
Behead
Sai Cha, from the ancient words for "separate" and "head," describes the chilling Jedi ability to behead an opponent in a flash of blade. Jedi commit sai cha only when battle is at its most deadly serious and threatening, or when an opponent is considered extremely dangerous even to a fully trained Jedi.

Sai Tok ( "sai tock" )
Jedi consider the bisection of a living opponent's body a form of butchery, a desecration to be avoided if possible. The savage extreme of sai tok is thus normally used only against non living things. Sai tok represents a potentially dark side like desire to destroy one's enemy, whereas the Jedi goal even in combat is inner focus on defeating the danger of opponents rather than hating them and wishing utter destruction upon them.

En-Guarde Positions

All sword arts, from all cultures, have had 'en-guarde' positions. A position, a stance, an attitude, with which to present the sword in readiness. These positions provide maximum opportunity to act and react to the opponent. The same can be said of the Jedi Arts. The closest existing style would be that of Japanese sword arts.
Japanese en-guarde positions are called 'kamae'. They entail not just a physical position but a mental and emotional stance as well, so the word 'attitude' is a better description that just 'stance'. Force using jedi would also be highly aware of their emotional states, and those of their opponents, so the comparison with Japanese sword positions is even stronger.
They are not always static positions. Any 'kamae' can be used in transition. That is, during the fluid motions of the fight, the sword moves from one position to another THROUGH these positions. Imagine you have raised your sword above your head ready to strike, but paused because the opportunity was no-longer there, you are now in a 'high' kamae (Jodan). Imagine you have made a big downward cut, but missed. Your sword is now pointing towards the floor. You are now in the 'low' kamae (Gedan). If your sword is in Gedan, the low guard, and you turn your body to the left 180 degrees, BUT LEAVE YOUR SWORD WHERE IT IS, then you end up in the 'hidden' guard .. Waki, where your sword is held low, to your right, pointing at the ground behind you. To deliver a downwards cut, you would raise it up to over your head (the Jodan position) and then strike down to the Gedan position! See?

Chudan The basic position is the 'middle guard'. The sword is held pointing towards the throat of your opponent. The hilt is slightly in front of your stomach, and the point angles up at 30-45 degrees. All cuts may be made from this position. This is the most powerful position, as when it is correctly held, it presents the ultimate defence. Your opponent must get past your central position or he/she will impale themselves on your point! Classical Kendo techniques often revolve round methods for 'tricking' your opponent into surrendering this 'centre' position. When you see two masters jostling each others swords in this position, they are 'playing-for-centre', for the opportunity to attack. This attitude is 'level', that is there is nothing in it to indicate your emotion or intention to your opponent.

Gedan The low guard. The hands are in the same position, but the sword is lowered to point at the opponents knees. This is a weaker stance, it is often used to tempt the opponent into attacking. It is a submissive position, designed to look weak. Classic Kendo has no upwards cuts to make from here, and so this stance is rarely used (the only direct technique available is an upwards strike with the back of the blade to knock the opponents weapon aside). Older Japanese techniques might rotate the grip and generate a slightly diagonal upwards cut at the opponents hands.

Jodan The upper guard. The sword is held over the head at about 45 degrees. The bottom of the handle points to the opponents eyes. This is a very aggressive stance ... there is very little time required to launch a downwards attack. It takes advantage of the MASS and MOMENTUM of the physical blade. However, this stance limits the techniques available, and makes your movements more predictable to your opponent. Jedi NEVER seem to employ this stance as a static enguarde ... the blade is too quick to use, and a crossways slash across the belly could be used before the Jodan-player could react. As a result, Jodan is only seen in transition, in a split-second pause before a downwards attack.

Hasso The shoulder stance. In ancient times, Japanese Samurai wore very ornate helmets and large shoulder pads. As a result it became almost impossible to hold the sword over the head in Jodan. An alternative kamae was developed in which the sword was held upright, NEXT to the head, over the shoulder. The hands were held beside the jaw, and the elbows pointed downwards. Hasso is as aggressive a stance as Jodan, but seems a little more calm, and has more options available, as the hands are nearer to the body. This stance could be taken on either side of the head, though the right side was the more common. As with Jodan, Jedi tend to use this stance in transition. Jedi Masters habitually adopt HASSO NO KAME. This stance offers many of the advantages of JODAN, but with less risk.

Waki This is the hidden stance. The sword is held low, on the right side, with the blade pointing at the ground behind you. It is VERY rare in modern sword arts and always was! It is VERY slow to use, and requires that the opponent is in a blind unthinking rage. Even then it needs superb timing. Whilst it is a 'standard' kamae, and is taught in the curriculum (or kata) is was almost never used except in transition. If you are in the low Gedan kamae, and turn your body 180 degree to your left, leaving your sword where it is, you end up in Waki. Similar difficulties with regard to upwards cuts apply here, as in Gedan.

From the Jedi Order