ACKNOWLEDGEMENTS
I would like to thank a number of people who have assisted in the bringing about of this study, either with background information and technical expertise, or by just supporting the venture and for putting up and practising with me over the past years.
Special thanks to:
Hideko and Les Denniston
Shoji Enomoto, Associate Professor in Faculty of Art and Letters, Nanzan University, Nagoya, Japan
Victor Harris, Curator Japanese Antiquities, British Museum
Kenji Hirose, Hanshi, Kodokan Kendo Dojo, Kyoto, Japan
Nobuo Hirakawa, Professor Meiji University, Tokyo, Japan
Terry Holt
Masayoshi Imasato, Associate Professor, Kendo Dept. Kyoto Sangyo University, Japan
Takeshi Kudoh, Kyoshi 7th Dan, All Japan Kendo Federation
Brian Kay, Director Eikoku News Digest, London
Jumpei Matsumoto, friend and fellow student in Kendo
Torao Ono, Kyoshi, Seijudo Kendo Dojo, Setagaya, Japan
Hiroyuki Shioiri, Associate Professor, Saitama University, Japan
Masatake Sumi, Professor, Dept. of Health and Physical Education, Fukuoka University of Education, Japan
Dr Haru-Hisa Takamatsu DVM.MS Ph.D
Peter Wells
To Yoshinori Inoue, fellow practitioner of the Kata, Tsuyako Suzuki for all her patience and kindness and to Goro Ohtaki, life long student of Musashi and without whose guidance and friendship this project would never have been attempted.
‘Humility is indeed endless.’
Finally to my wife Helen, for her tolerance and understanding throughout.
Photos in the technical section by Malcom Birkitt.
Books used in reference and photographic reproduction courtesy of Shoji Enomoto.
Jikishin kage Ryu No Kata by Meishin Saito 1901 (Meiji 34)
Budo Hokan-Showa Tenran Shiai Huroku Dai Nihon Yuben Kai 1930 (showa 5)
Shinsei Kendo Kyokasho by Goro Saimura and Kinji Kaneko 1931 (showa 6)
Kai Tei Teikoku Kendo Kyohan by Kinnosuke Ogawa 1937 (showa 12)
Other photos courtesy of Kodansha Ltd., Tokyo, Japan
Pictures of Sasamori sensei via Victor Harris
Front Kanji (Japanese Lettering) by Kenji Hirose
Inside Kanji for Technical section by Tsuyako Suzuki
Note on the origins of the calligraphy illustrating this book:
Kenji Hirose sensei was born in Kyoto in 1905, and joined Kodokan dojo in 1924. His teacher was Kinnoske Ogawa who was not only the founder of Kodokan, but was recognised as one of the greatest kendo teachers of his age. Hirose sensei was a diligent student and studied with sincerity under Ogawa sensei until his teacher’s death in 1962. Throughout his kendo career he won countless national and local competitions, and now at the age of 85 is still an active member of the same dojo he joined 66 years ago, teaching children and adults alike. He is 7th. dan Hanshi, and one of the most respected kendo teachers in Japan.
PREFACE
As a Kendo friend of the author, Mr. Paul Budden, since our first meeting in 1983, on occasion of the Kendo Summer Camp organized by the All Japan Kendo Federation for kendoists abroad, I am very happy to be granted a chance to write some comments in order to celebrate his book on Kendo-kata.
I am convinced that readers will find many important things, not only technical clues for practising Kata correctly, but also the historical facts which will be of great help to understand how the essence of Kata was established into ten forms as it is now.
We Japanese are taught to follow three steps when learning Budo, (martial ways), Sado (tea ceremony), Kado (flower arrangement) or any kind of traditional arts. It is 守 (shu, obeissance to Kata or what is taught by Sensei), 破 (ha, literally the destruction of it, but we may safely say it is the stage of individualization or digestion of Kata or what is taught) and 離 (ri, separation from it but always on the correct way without thinking or trying to be so).
The first step for us to master Kendo is to learn and practice Kihon (the fundamentals); Suburi (swing with a Shinai). Ashisabaki (footwork), Kamae (postures), and Tenouchi (grip of a Shinai). To repeat Kihon is an attempt, in other words, to put oneself into a Kata following in perfect obedience to one’s Sensei. You may find it uncomfortable and constrained to follow the Kata at first, but once you master it, you will get to know the fact that to be in Kata is very comfortable, and that the Kata is not in the least restrictive but even very creative.
I sincerely hope that readers of this book will practice Kata repeatedly until you can find by experience that Kata is very profitable for your Kendo both mentally and technically.
Associate Professor of Saitama University International Committee Member of All Japan Kendo Federation,
Sasaburo Takano and Hakudo Nakayama from the Budo Hokan-Showa-Ten Ran Shiai Huroku Dai Nihon. Yuben Kai 1930
INTRODUCTION
This study has several aims, the most important being to offer some small insight (so vast is the subject) into the history, background and formulation of nihon kendo kata, thus forming a testimonial to the greatness of the masters who conceived the wonderful standardisation originally known as Dai nihon Teikoku Kendo Kata. Such is their importance to Kendo that I had hoped to be able to link up the individual forms of dai nihon teikoku kata to their original influences. Unfortunately, this has proved to be virtually impossible, although the genealogical reference diagram does indicate the masters of the various committees involved, and it is possible from this to determine the influences and origins of Kendo and the Kata. Indeed, the foremost influence is to be found within the kodachi forms where there is a strong resemblance to Itto ryu Kodachi Kata.
The modern Nihon Kendo Kata should be practised and studied with great reverence and respect, partly because of the important tradition and partly as an acknowledgement of the many schools and styles associated with those great men.
‘By practising now in the present, we pay homage to the past
