Martial Arts Of The World - Webs
Martial Arts Of The World - Webs Martial Arts Of The World - Webs
702 Women in the Martial Arts: Japan boo strips were attached to the end of a wooden shaft, in imitation of kendô shinai. This weapon replica is light and whippy, allowing movements impossible with a real naginata. As rules developed and point targets were agreed upon, the techniques useful for victory in competition began to differ from those used by the old ryû, each of which had been developed for different terrain, varied combative situations, and a welter of sociopolitical objectives. Naginata practice began to develop into something new— a competitive sport. Not all teachers were opposed to this universalistic trend, given its congruence to the strong centralization of state power at this time. During World War II, some naginata teachers, notably Sakakida Yaeko, in conjunction with the Ministry of Education, created the Mombushô Seitei kata (standard forms of the Ministry of Education). Sakakida had been (and remains) a student of Tendo-ryû and was an avid participant in matches pitting naginata against kendô. She states that she found that the different styles of the old ryû were not suitable to teach to large groups of schoolgirls on an intermittent basis. Given the conditions in which she had to teach, she felt that it was too difficult for the girls to learn the sword side of the kata, so she began to emphasize solo practice with the naginata. In addition, she was concerned that they might study one style in primary school and another in secondary school, thus being required to relearn everything each time they switched schools. As a result of these difficulties, she and several associates created totally new kata that focused on naginata versus naginata. The Mombushô forms, made for the express purpose of training schoolgirls and adopted for use in 1943, were the result. Something, however, seemed to be lost in the process. Geared for children rather than warriors, these forms are, as a result, simplistic and somewhat lacking in character. The singularity that made the old ryû strong was sacrificed in favor of a generic mean. Teachers and students of the classical ryû received basic but scanty instruction in the new kata and were assigned “territories” made up of several grammar schools. As part of their preparation, the teachers were instructed in how to give pep talks to the girls. These talks included warnings about the barbarism of invading armies and the need for girls to protect themselves and their families. Yet the protection was not intended for the sake of the integrity of the girls themselves, but for the sake of being “mirrors of the Emperor’s virtue.” Nitta Suzuyo, nineteenth-generation lineal successor to the Toda ha Buko-ryû, subsequently recalled teaching these forms to girls aged 12 to 17 years. She stated that, although still a young woman herself, she was dispatched to teach because her teacher, Kobayashi Seiko, had no desire to teach the Mombushô kata, preferring to continue to teach her traditional
yû in private. As part of the training for teachers, Nitta was told that the most important thing was to boost the girls’ morale and strengthen their spirit in case of an enemy landing. Nitta said that the girls professed to enjoy the training, which was done in place of “enemy sports” such as baseball or volleyball. Training after World War II In 1945 the war ended for Japan. The occupation forces were fearful of anything that seemed to be connected to Japan’s warlike spirit, and the Americans severely restricted martial studies. Thousands of swords were piled on runways, run over with steamrollers, and then buried under concrete construction projects. Donn Draeger, noted martial arts practitioner and scholar, recalled the sight of those swords, flashing in the sun in shards of gold and silver, crackling and ringing under the roar and stink of the steamrollers. After a few years, however, these bans were lifted, and the first All Japan Kendô Renmei (federation) Tournament was held in 1953. At a meeting held afterwards, Sakakida and several of the leading naginata instructors of Tendo-ryû and Jikishin Kage-ryû made plans for the institution of a similar All Japan Naginata Dô Renmei. It was decided to adopt the Educational Ministry kata as the standard form of the federation, with only a few minor changes. They also decided to eliminate the writing of naginata in the traditional characters, which had meant “long blade” or “mowing blade,” and, to indicate their break with the past, they used the syllabary, whose characters only have sound values. This martial sport has come to be called atarashii naginata (new naginata). This change in the way of writing naginata may seem to be a trivial one, but it is not. The change in how naginata is written states decisively to practitioners that atarashii naginata is no longer a martial art, using a weapon either to train combat skills or to demand, through its paradoxical claim as a “tool for enlightenment,” a focused and integrated spirit. Instead, they have created a sports form, martial in both appearance and “sound,” but not in “character.” Atarashii naginata is composed of two elements: kata and shiai. According to some of their leading instructors, particularly those of this generation, the kata were created by taking “the best techniques from many naginata ryûha.” This is propaganda at best, absurd at worst: The forms of the various ryû are not mere catalogues of separate techniques, to be selected like bonbons in a corner candy store, but interrelated wholes, permeated with a sophisticated cultivation of movement and designed for combative effectiveness and spiritual training. Sakakida herself only states that she observed the old ryû and tried to absorb their essence. Then, forgetting their movements entirely, she devised the new kata. Women in the Martial Arts: Japan 703
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702 Women in the <strong>Martial</strong> <strong>Arts</strong>: Japan<br />
boo strips were attached to the end of a wooden shaft, in imitation of<br />
kendô shinai. This weapon replica is light and whippy, allowing movements<br />
impossible with a real naginata. As rules developed and point targets<br />
were agreed upon, the techniques useful for victory in competition began<br />
to differ from those used by the old ryû, each of which had been developed<br />
for different terrain, varied combative situations, and a welter of sociopolitical<br />
objectives. Naginata practice began to develop into something new—<br />
a competitive sport.<br />
Not all teachers were opposed to this universalistic trend, given its<br />
congruence to the strong centralization of state power at this time. During<br />
<strong>World</strong> War II, some naginata teachers, notably Sakakida Yaeko, in conjunction<br />
with the Ministry of Education, created the Mombushô Seitei kata<br />
(standard forms of the Ministry of Education). Sakakida had been (and remains)<br />
a student of Tendo-ryû and was an avid participant in matches pitting<br />
naginata against kendô. She states that she found that the different<br />
styles of the old ryû were not suitable to teach to large groups of schoolgirls<br />
on an intermittent basis. Given the conditions in which she had to<br />
teach, she felt that it was too difficult for the girls to learn the sword side<br />
of the kata, so she began to emphasize solo practice with the naginata. In<br />
addition, she was concerned that they might study one style in primary<br />
school and another in secondary school, thus being required to relearn<br />
everything each time they switched schools.<br />
As a result of these difficulties, she and several associates created totally<br />
new kata that focused on naginata versus naginata. <strong>The</strong> Mombushô<br />
forms, made for the express purpose of training schoolgirls and adopted<br />
for use in 1943, were the result. Something, however, seemed to be lost in<br />
the process. Geared for children rather than warriors, these forms are, as a<br />
result, simplistic and somewhat lacking in character. <strong>The</strong> singularity that<br />
made the old ryû strong was sacrificed in favor of a generic mean.<br />
Teachers and students of the classical ryû received basic but scanty instruction<br />
in the new kata and were assigned “territories” made up of several<br />
grammar schools. As part of their preparation, the teachers were instructed<br />
in how to give pep talks to the girls. <strong>The</strong>se talks included warnings<br />
about the barbarism of invading armies and the need for girls to protect<br />
themselves and their families. Yet the protection was not intended for the<br />
sake of the integrity of the girls themselves, but for the sake of being “mirrors<br />
of the Emperor’s virtue.”<br />
Nitta Suzuyo, nineteenth-generation lineal successor to the Toda ha<br />
Buko-ryû, subsequently recalled teaching these forms to girls aged 12 to 17<br />
years. She stated that, although still a young woman herself, she was dispatched<br />
to teach because her teacher, Kobayashi Seiko, had no desire to<br />
teach the Mombushô kata, preferring to continue to teach her traditional