Martial Arts Of The World - Webs

Martial Arts Of The World - Webs Martial Arts Of The World - Webs

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700 Women in the Martial Arts: Japan newspapers. And, even though the fighters probably tried to exert some control, there were many injuries. In addition to challenge matches, members of the troupe would engage each other in contests, pitting women armed with wooden naginata against men armed with wooden or bamboo swords. One of the most remarkable of these female fighters was Murakami Hideo, who became a seventeenth-generation headmistress of the Toda-ha Buko-ryû. Murakami’s life story cries for a novel. Born in Shikoku in 1863, she studied Shizukaryû Naginata-jutsu as a girl. When her teacher died, she left home while still teenaged to study other systems. Then this staunch, tiny woman continued her wanderings in Honshu, traveling alone, testing her skill against other fighters, studying as she went. Imagine, if you will, a young woman, little more than a girl, marching through the Japanese countryside alone, without employment, walking from one dôjô to another. Murakami reached Tokyo while in her early twenties and became a student of Komatsuzaki Kotoko, and possibly Yazawa Isako, the fifteenthand sixteenth-generation teachers of the Toda Ha Buko-ryû. By now she was very strong, and so she was awarded the highest license (menkyo kaiden) in the school while still in her twenties. Unable to read or write, Murakami was unable to make much of a living, so she joined the gekken kôgyô. Fighting with a chain-and-sickle or naginata, she took all challenges from the audiences. There are no reports of her ever losing. In her later years, she was able to make ends meet as a teacher—her dôjô in the Kanda area of Tokyo was called the Shûsuikan (Hall of the Autumn Water)—but she was always poor. According to those who knew her in her old age, she was a tiny, kind, but wary woman, always ready to invite one to supper. She could drink anyone under the table. As far as is known, she lived alone and she died alone. As these matches were for the paid entertainment of the audience, they soon degenerated to what must be considered the pro wrestling of the Meiji period (1867–1910), with waitresses serving drinks in abbreviated kimono and drunken patrons cheering in the stands. Matches became dramatic exhibitions, vulgar parodies of the austere warrior culture from which they had emerged. Discouraged at times by the police, who regarded them as a threat to public order, the gekken kôgyô were disbanded by the 1920s. Nonetheless, they can be regarded as the first precursors of modern martial sport in Japan—competition for the sake of comparing skills and entertaining an audience. Women’s Martial Art Training, 1920–1945 As martial arts continued to be integrated into public education, the practice of naginata came to a crossroads. Jûdô, kendô, and later karate were

designed to be practiced in standardized formats. While this had not happened to naginata practice yet, it did as it began to be featured in public schools, since when taught en masse to groups of young people, even the most conservative traditions must change. Pre–World War II photographs show lines of children diligently swinging weapons in unison, while other pictures show young children phlegmatically plodding their way through kata. Form practice means something very different to warriors trying to get an edge in upcoming battles and to teenagers attending gym class at the local high school. So, to make the training relevant to young people, competitive practice became more and more popular. Competition led to modifications in equipment. The light wooden naginata covered with leather was used first; later, for safety’s sake, bam- A sparring match between Murakami Hideo and Kobayashi Seiko of the Toda-ha Buko ryû. (Courtesy of Ellis Amdur) Women in the Martial Arts: Japan 701

designed to be practiced in standardized formats. While this had not happened<br />

to naginata practice yet, it did as it began to be featured in public<br />

schools, since when taught en masse to groups of young people, even the<br />

most conservative traditions must change. Pre–<strong>World</strong> War II photographs<br />

show lines of children diligently swinging weapons in unison, while other<br />

pictures show young children phlegmatically plodding their way through<br />

kata. Form practice means something very different to warriors trying to<br />

get an edge in upcoming battles and to teenagers attending gym class at the<br />

local high school. So, to make the training relevant to young people, competitive<br />

practice became more and more popular.<br />

Competition led to modifications in equipment. <strong>The</strong> light wooden<br />

naginata covered with leather was used first; later, for safety’s sake, bam-<br />

A sparring match<br />

between Murakami<br />

Hideo and Kobayashi<br />

Seiko of the Toda-ha<br />

Buko ryû. (Courtesy<br />

of Ellis Amdur)<br />

Women in the <strong>Martial</strong> <strong>Arts</strong>: Japan 701

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