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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.

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.

 http://www.kyudo.com.html-- Revised November 22, 2002
Copyright© 1998 Dan DeProspero at meishin@kyudo.com