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The first kendo kata of Dai Nippon Butokukai
In my article "Kendo Origins", published on our website three years ago, I have already touched upon the transitional period of transformation from the art of the sword [kenjutsu] to the way of the sword [kendo]. I advise on reading the section "Kenjutsu Becomes Kendo" to refresh your memory, or better the entire article if you have not yet done so.
This article, however, will discuss a fragment of kendo history that most members of the kendo community consider lost... The modern kenshi is well acquainted with the fact that kendo, in addition to techniques with the bamboo sword, studies ten kata — forms with the wooden sword [Zen Nihon Kendo Kata]. Their history and the circumstances of their creation, as well as their practical benefits — the standardisation and preservation of old techniques of swordsmanship within the framework of modern kendo — are well known to anyone who follows the way of the sword. There are many articles about the process of creating these forms and their creators publicly available. These materials are commonly accompanied by vintage photos. One can even find old recordings of the first demonstrations of the kendo kata by some of those who devised them. This allows comparison with modern interpretations and the tracing of the evolution of kata performance almost from the very beginning.
However, on any path to perfection, much that is hidden from the public eye is in fact fraught with errors, falls, and failures. The same applies to the Zen Nihon Kendo Kata. In 1895, the Society for the Promotion of Japanese Martial Virtue [Dai Nippon Butokukai] was founded, which undertook the preservation and integration of traditional Japanese martial arts into modern Japanese society. The first unsuccessful attempt of the Dai Nippon Butokukai to introduce kata standartisation will be the subject of this discussion.
Usually, when the Zen Nihon Kendo Kata are mentioned, only the fact is noted that in 1906 the Dai Nippon Butokukai made its first attempt to create a set of standardised kata for teaching its students. Seventeen members of different traditional fencing schools jointly created three kata under the name Butokukai Kenjutsu Kata [武徳会剣術型], which comprised three forms: Ten, Chi, and Jin. For unknown reasons, the kata either were not popular or were not successfully implemented, and they disappeared from history.
I managed to find a small note in Japanese that may shed some light on the content of these kata. We have specially translated it into Russian and English to preserve the memory of this small piece of kendo history.
The first Dai Nippon Butokukai Kenjutsu Kata
As for the kenjutsu kata established by the Dai Nippon Butokukai, a commentary book published in 1912, featuring a public demonstration [embu] by Takaharu Naitō and Tadashi Monna (Hokushin Ittō-ryū), is available from the National Parliament Library.
For practitioners of Shindō Munen-ryū, it is evident that these kata belong to this school. They originate from the swordsmanship style of the former Ōmura domain and became the foundation for the techniques of Nobori Watanabe and Unpachirō Shibae.
Nobori Watanabe, having received the approval of Prince Komatsu Akihito, President of the Dai Nippon Butokukai, published the description of the approved forms on the pages of the Butoku magazine in an article titled "New Butokuryū Kenjutsu Kata." The embu was performed by Nobori Watanabe hanshi and Sekishirō Tokunō (Jikishinkage-ryū). Watanabe himself performed as uchidachi and Tokunō as shidachi. Observing the depiction of Nobori Watanabe sensei in this demonstration, one can catch a glimpse of the authentic form of Shindō Munen-ryū, which is most interesting.
Both parties stand ready. The uchidachi assumes jōdan and, when his spirit is fully concentrated, the shidachi assumes seigan (chūdan) and advances three steps with the right foot, directly facing the uchidachi's jōdan.
The uchidachi shows intention to strike the shidachi's right kote. The shidachi, anticipating the strike, turns his sword slightly to the right to prepare for the blow.
The uchidachi approaches and, with a lunge, delivers a large descending diagonal cut to the shidachi's left arm. The shidachi draws his left foot diagonally back behind his right foot, and as he brings his right foot close to his left, simultaneously slides his sword up into tate jōdan to deflect the opponent's blade with the technique suriage. Then, stepping in with his right foot, he strikes down (uchi-otoshi) the opponent's sword with the left side of his own blade (Ten no Shi) and, again with a fumikomi with his right foot, thrusts the uchidachi in the chest.
The uchidachi assumes chūdan (waki jōdan), the shidachi assumes seigan. The shidachi assumes seigan and advances three steps with the right foot. They face each other directly, both raise their swords over their heads (Chi no Ni), strike forward, and immediately cross swords. The uchidachi assesses the shidachi's strengths and weaknesses, controls his sword. When the uchidachi judges the moment is ripe, he presses down the shidachi's sword (osae) and thrusts at his dō.
The shidachi dodges the attack by stepping with his left foot in a parallel to the right one, and while drawing his right foot back behind, he swings his sword from right to left. Recognising that the uchidachi's body is being carried forward by the momentum of his attack, the shidachi delivers a large diagonal cut to the uchidachi’s head (soku-men).
Both the uchidachi and the shidachi assume gedan and advance directly, cutting at the shidachi's leg (Jin no Go).
The shidachi, pivoting on the ball of his left foot towards his right, lowers his sword, and parries the uchidachi's strike with the left flat side of his blade. While drawing his right foot diagonally back to the right, he strikes the uchidachi's sword from the left by performing the technique maki-otoshi. Using the momentum of the strike, the shidachi swings his sword with a rotating movement from right to left, wrapping and sweeping down the uchidachi’s blade (maki-otoshi). Then, bringing his left foot to his right, he assumes jōdan, and taking a couple of steps forward with his left foot, delivers a strike to the centre of the uchidachi's forehead (sho-men).
The uchidachi moves his hands from right to left and receives the strike.
About Sekishirō Tokunō
Sekishirō Tokunō (Jikishinkage-ryū), who performed as shidachi for Nobori Watanabe sensei, was described by Watanabe sensei as "the epitome of exquisite swordsmanship."
Tokunō appeared as an elegant gentleman, wearing brand-name gold-rimmed spectacles and a frock coat, and he excelled in swordsmanship despite being small-statured. His swordsmanship was outstanding and at Gekiken-kai demonstrations, they spoke of him: "Among the police officers today, there are many outstanding individuals. The most renowned are Sōsuke Hemmi and Sekishirō Tokunō." Takano Sasaburo sensei rated him as the most skilled swordsman of the Tokyo Metropolitan Police Department [Keishichō]. After attaining the rank of sergeant on the force, Tokunō became an instructor of martial arts at the Keishichō, Tokyo Imperial University and at Dai-ichi High School.
On 18 July 1908, the front pages of all newspapers were emblazoned with headlines: " Japan's Greatest Swordsman Commits Suicide." Sekishirō Tokunō had slashed his own throat with his beloved tantō, wiped it clean, and fell face down on his futon. Inspector Kikuchi, who rushed to the scene, observing the wound on the throat made with a single cut, exclaimed in admiration: "As expected of Sensei. What a magnificent end!"
Tokunō's suiside was driven by illness.
This Aricle and the translation of a portion of the original material © 2026 (Andrew Bragin) by KAMINARIKAN is licensed under CC BY-NC-ND 4.0. The original material was published at Ren Pei Kai website.
◂ BACK TO BLOG
This article, however, will discuss a fragment of kendo history that most members of the kendo community consider lost... The modern kenshi is well acquainted with the fact that kendo, in addition to techniques with the bamboo sword, studies ten kata — forms with the wooden sword [Zen Nihon Kendo Kata]. Their history and the circumstances of their creation, as well as their practical benefits — the standardisation and preservation of old techniques of swordsmanship within the framework of modern kendo — are well known to anyone who follows the way of the sword. There are many articles about the process of creating these forms and their creators publicly available. These materials are commonly accompanied by vintage photos. One can even find old recordings of the first demonstrations of the kendo kata by some of those who devised them. This allows comparison with modern interpretations and the tracing of the evolution of kata performance almost from the very beginning.
However, on any path to perfection, much that is hidden from the public eye is in fact fraught with errors, falls, and failures. The same applies to the Zen Nihon Kendo Kata. In 1895, the Society for the Promotion of Japanese Martial Virtue [Dai Nippon Butokukai] was founded, which undertook the preservation and integration of traditional Japanese martial arts into modern Japanese society. The first unsuccessful attempt of the Dai Nippon Butokukai to introduce kata standartisation will be the subject of this discussion.
Usually, when the Zen Nihon Kendo Kata are mentioned, only the fact is noted that in 1906 the Dai Nippon Butokukai made its first attempt to create a set of standardised kata for teaching its students. Seventeen members of different traditional fencing schools jointly created three kata under the name Butokukai Kenjutsu Kata [武徳会剣術型], which comprised three forms: Ten, Chi, and Jin. For unknown reasons, the kata either were not popular or were not successfully implemented, and they disappeared from history.
I managed to find a small note in Japanese that may shed some light on the content of these kata. We have specially translated it into Russian and English to preserve the memory of this small piece of kendo history.
— the author of the website KAMINARIKAN
* * *
The first Dai Nippon Butokukai Kenjutsu Kata
As for the kenjutsu kata established by the Dai Nippon Butokukai, a commentary book published in 1912, featuring a public demonstration [embu] by Takaharu Naitō and Tadashi Monna (Hokushin Ittō-ryū), is available from the National Parliament Library.
For practitioners of Shindō Munen-ryū, it is evident that these kata belong to this school. They originate from the swordsmanship style of the former Ōmura domain and became the foundation for the techniques of Nobori Watanabe and Unpachirō Shibae.
Nobori Watanabe, having received the approval of Prince Komatsu Akihito, President of the Dai Nippon Butokukai, published the description of the approved forms on the pages of the Butoku magazine in an article titled "New Butokuryū Kenjutsu Kata." The embu was performed by Nobori Watanabe hanshi and Sekishirō Tokunō (Jikishinkage-ryū). Watanabe himself performed as uchidachi and Tokunō as shidachi. Observing the depiction of Nobori Watanabe sensei in this demonstration, one can catch a glimpse of the authentic form of Shindō Munen-ryū, which is most interesting.
天 – TEN (Heaven)
[the First Kata]
Jōdan-no-kamae
Both parties stand ready. The uchidachi assumes jōdan and, when his spirit is fully concentrated, the shidachi assumes seigan (chūdan) and advances three steps with the right foot, directly facing the uchidachi's jōdan.
The uchidachi shows intention to strike the shidachi's right kote. The shidachi, anticipating the strike, turns his sword slightly to the right to prepare for the blow.
The uchidachi approaches and, with a lunge, delivers a large descending diagonal cut to the shidachi's left arm. The shidachi draws his left foot diagonally back behind his right foot, and as he brings his right foot close to his left, simultaneously slides his sword up into tate jōdan to deflect the opponent's blade with the technique suriage. Then, stepping in with his right foot, he strikes down (uchi-otoshi) the opponent's sword with the left side of his own blade (Ten no Shi) and, again with a fumikomi with his right foot, thrusts the uchidachi in the chest.
>>>PHOTO OF THE FIRST KATA WITH DESCRIPTION <<<
地 – CHI (Earth)
[the Second Kata]
Chūdan-no-kamae
The uchidachi assumes chūdan (waki jōdan), the shidachi assumes seigan. The shidachi assumes seigan and advances three steps with the right foot. They face each other directly, both raise their swords over their heads (Chi no Ni), strike forward, and immediately cross swords. The uchidachi assesses the shidachi's strengths and weaknesses, controls his sword. When the uchidachi judges the moment is ripe, he presses down the shidachi's sword (osae) and thrusts at his dō.
The shidachi dodges the attack by stepping with his left foot in a parallel to the right one, and while drawing his right foot back behind, he swings his sword from right to left. Recognising that the uchidachi's body is being carried forward by the momentum of his attack, the shidachi delivers a large diagonal cut to the uchidachi’s head (soku-men).
>>> PHOTO OF THE SECOND KATA WITH DESCRIPTION <<<
人 – JIN (Human)
[Third Kata]
Gedan-no-kamae
Both the uchidachi and the shidachi assume gedan and advance directly, cutting at the shidachi's leg (Jin no Go).
The shidachi, pivoting on the ball of his left foot towards his right, lowers his sword, and parries the uchidachi's strike with the left flat side of his blade. While drawing his right foot diagonally back to the right, he strikes the uchidachi's sword from the left by performing the technique maki-otoshi. Using the momentum of the strike, the shidachi swings his sword with a rotating movement from right to left, wrapping and sweeping down the uchidachi’s blade (maki-otoshi). Then, bringing his left foot to his right, he assumes jōdan, and taking a couple of steps forward with his left foot, delivers a strike to the centre of the uchidachi's forehead (sho-men).
The uchidachi moves his hands from right to left and receives the strike.
>>> PHOTO OF THE THIRD KATA WITH DESCRIPTION <<<
* * *
About Sekishirō Tokunō
Sekishirō Tokunō (Jikishinkage-ryū), who performed as shidachi for Nobori Watanabe sensei, was described by Watanabe sensei as "the epitome of exquisite swordsmanship."
Tokunō appeared as an elegant gentleman, wearing brand-name gold-rimmed spectacles and a frock coat, and he excelled in swordsmanship despite being small-statured. His swordsmanship was outstanding and at Gekiken-kai demonstrations, they spoke of him: "Among the police officers today, there are many outstanding individuals. The most renowned are Sōsuke Hemmi and Sekishirō Tokunō." Takano Sasaburo sensei rated him as the most skilled swordsman of the Tokyo Metropolitan Police Department [Keishichō]. After attaining the rank of sergeant on the force, Tokunō became an instructor of martial arts at the Keishichō, Tokyo Imperial University and at Dai-ichi High School.
On 18 July 1908, the front pages of all newspapers were emblazoned with headlines: " Japan's Greatest Swordsman Commits Suicide." Sekishirō Tokunō had slashed his own throat with his beloved tantō, wiped it clean, and fell face down on his futon. Inspector Kikuchi, who rushed to the scene, observing the wound on the throat made with a single cut, exclaimed in admiration: "As expected of Sensei. What a magnificent end!"
Tokunō's suiside was driven by illness.
This Aricle and the translation of a portion of the original material © 2026 (Andrew Bragin) by KAMINARIKAN is licensed under CC BY-NC-ND 4.0. The original material was published at Ren Pei Kai website.
◂ BACK TO BLOG
The first kendo kata of Dai Nippon Butokukai
In my article "Kendo Origins", published on our website three years ago, I have already touched upon the transitional period of transformation from the art of the sword [kenjutsu] to the way of the sword [kendo]. I advise on reading the section "Kenjutsu Becomes Kendo" to refresh your memory, or better the entire article if you have not yet done so.
This article, however, will discuss a fragment of kendo history that most members of the kendo community consider lost... The modern kenshi is well acquainted with the fact that kendo, in addition to techniques with the bamboo sword, studies ten kata — forms with the wooden sword [Zen Nihon Kendo Kata]. Their history and the circumstances of their creation, as well as their practical benefits — the standardisation and preservation of old techniques of swordsmanship within the framework of modern kendo — are well known to anyone who follows the way of the sword. There are many articles about the process of creating these forms and their creators publicly available. These materials are commonly accompanied by vintage photos. One can even find old recordings of the first demonstrations of the kendo kata by some of those who devised them. This allows comparison with modern interpretations and the tracing of the evolution of kata performance almost from the very beginning.
However, on any path to perfection, much that is hidden from the public eye is in fact fraught with errors, falls, and failures. The same applies to the Zen Nihon Kendo Kata. In 1895, the Society for the Promotion of Japanese Martial Virtue [Dai Nippon Butokukai] was founded, which undertook the preservation and integration of traditional Japanese martial arts into modern Japanese society. The first unsuccessful attempt of the Dai Nippon Butokukai to introduce kata standartisation will be the subject of this discussion.
Usually, when the Zen Nihon Kendo Kata are mentioned, only the fact is noted that in 1906 the Dai Nippon Butokukai made its first attempt to create a set of standardised kata for teaching its students. Seventeen members of different traditional fencing schools jointly created three kata under the name Butokukai Kenjutsu Kata [武徳会剣術型], which comprised three forms: Ten, Chi, and Jin. For unknown reasons, the kata either were not popular or were not successfully implemented, and they disappeared from history.
I managed to find a small note in Japanese that may shed some light on the content of these kata. We have specially translated it into Russian and English to preserve the memory of this small piece of kendo history.
The first Dai Nippon Butokukai Kenjutsu Kata
As for the kenjutsu kata established by the Dai Nippon Butokukai, a commentary book published in 1912, featuring a public demonstration [embu] by Takaharu Naitō and Tadashi Monna (Hokushin Ittō-ryū), is available from the National Parliament Library.
For practitioners of Shindō Munen-ryū, it is evident that these kata belong to this school. They originate from the swordsmanship style of the former Ōmura domain and became the foundation for the techniques of Nobori Watanabe and Unpachirō Shibae.
Nobori Watanabe, having received the approval of Prince Komatsu Akihito, President of the Dai Nippon Butokukai, published the description of the approved forms on the pages of the Butoku magazine in an article titled "New Butokuryū Kenjutsu Kata." The embu was performed by Nobori Watanabe hanshi and Sekishirō Tokunō (Jikishinkage-ryū). Watanabe himself performed as uchidachi and Tokunō as shidachi. Observing the depiction of Nobori Watanabe sensei in this demonstration, one can catch a glimpse of the authentic form of Shindō Munen-ryū, which is most interesting.
Both parties stand ready. The uchidachi assumes jōdan and, when his spirit is fully concentrated, the shidachi assumes seigan (chūdan) and advances three steps with the right foot, directly facing the uchidachi's jōdan.
The uchidachi shows intention to strike the shidachi's right kote. The shidachi, anticipating the strike, turns his sword slightly to the right to prepare for the blow.
The uchidachi approaches and, with a lunge, delivers a large descending diagonal cut to the shidachi's left arm. The shidachi draws his left foot diagonally back behind his right foot, and as he brings his right foot close to his left, simultaneously slides his sword up into tate jōdan to deflect the opponent's blade with the technique suriage. Then, stepping in with his right foot, he strikes down (uchi-otoshi) the opponent's sword with the left side of his own blade (Ten no Shi) and, again with a fumikomi with his right foot, thrusts the uchidachi in the chest.
The uchidachi assumes chūdan (waki jōdan), the shidachi assumes seigan. The shidachi assumes seigan and advances three steps with the right foot. They face each other directly, both raise their swords over their heads (Chi no Ni), strike forward, and immediately cross swords. The uchidachi assesses the shidachi's strengths and weaknesses, controls his sword. When the uchidachi judges the moment is ripe, he presses down the shidachi's sword (osae) and thrusts at his dō.
The shidachi dodges the attack by stepping with his left foot in a parallel to the right one, and while drawing his right foot back behind, he swings his sword from right to left. Recognising that the uchidachi's body is being carried forward by the momentum of his attack, the shidachi delivers a large diagonal cut to the uchidachi’s head (soku-men).
Both the uchidachi and the shidachi assume gedan and advance directly, cutting at the shidachi's leg (Jin no Go).
The shidachi, pivoting on the ball of his left foot towards his right, lowers his sword, and parries the uchidachi's strike with the left flat side of his blade. While drawing his right foot diagonally back to the right, he strikes the uchidachi's sword from the left by performing the technique maki-otoshi. Using the momentum of the strike, the shidachi swings his sword with a rotating movement from right to left, wrapping and sweeping down the uchidachi’s blade (maki-otoshi). Then, bringing his left foot to his right, he assumes jōdan, and taking a couple of steps forward with his left foot, delivers a strike to the centre of the uchidachi's forehead (sho-men).
The uchidachi moves his hands from right to left and receives the strike.
About Sekishirō Tokunō
Sekishirō Tokunō (Jikishinkage-ryū), who performed as shidachi for Nobori Watanabe sensei, was described by Watanabe sensei as "the epitome of exquisite swordsmanship."
Tokunō appeared as an elegant gentleman, wearing brand-name gold-rimmed spectacles and a frock coat, and he excelled in swordsmanship despite being small-statured. His swordsmanship was outstanding and at Gekiken-kai demonstrations, they spoke of him: "Among the police officers today, there are many outstanding individuals. The most renowned are Sōsuke Hemmi and Sekishirō Tokunō." Takano Sasaburo sensei rated him as the most skilled swordsman of the Tokyo Metropolitan Police Department [Keishichō]. After attaining the rank of sergeant on the force, Tokunō became an instructor of martial arts at the Keishichō, Tokyo Imperial University and at Dai-ichi High School.
On 18 July 1908, the front pages of all newspapers were emblazoned with headlines: " Japan's Greatest Swordsman Commits Suicide." Sekishirō Tokunō had slashed his own throat with his beloved tantō, wiped it clean, and fell face down on his futon. Inspector Kikuchi, who rushed to the scene, observing the wound on the throat made with a single cut, exclaimed in admiration: "As expected of Sensei. What a magnificent end!"
Tokunō's suiside was driven by illness.
This Aricle and the translation of a portion of the original material © 2026 (Andrew Bragin) by KAMINARIKAN is licensed under CC BY-NC-ND 4.0. The original material was published at Ren Pei Kai website.
◂ BACK TO BLOG
This article, however, will discuss a fragment of kendo history that most members of the kendo community consider lost... The modern kenshi is well acquainted with the fact that kendo, in addition to techniques with the bamboo sword, studies ten kata — forms with the wooden sword [Zen Nihon Kendo Kata]. Their history and the circumstances of their creation, as well as their practical benefits — the standardisation and preservation of old techniques of swordsmanship within the framework of modern kendo — are well known to anyone who follows the way of the sword. There are many articles about the process of creating these forms and their creators publicly available. These materials are commonly accompanied by vintage photos. One can even find old recordings of the first demonstrations of the kendo kata by some of those who devised them. This allows comparison with modern interpretations and the tracing of the evolution of kata performance almost from the very beginning.
However, on any path to perfection, much that is hidden from the public eye is in fact fraught with errors, falls, and failures. The same applies to the Zen Nihon Kendo Kata. In 1895, the Society for the Promotion of Japanese Martial Virtue [Dai Nippon Butokukai] was founded, which undertook the preservation and integration of traditional Japanese martial arts into modern Japanese society. The first unsuccessful attempt of the Dai Nippon Butokukai to introduce kata standartisation will be the subject of this discussion.
Usually, when the Zen Nihon Kendo Kata are mentioned, only the fact is noted that in 1906 the Dai Nippon Butokukai made its first attempt to create a set of standardised kata for teaching its students. Seventeen members of different traditional fencing schools jointly created three kata under the name Butokukai Kenjutsu Kata [武徳会剣術型], which comprised three forms: Ten, Chi, and Jin. For unknown reasons, the kata either were not popular or were not successfully implemented, and they disappeared from history.
I managed to find a small note in Japanese that may shed some light on the content of these kata. We have specially translated it into Russian and English to preserve the memory of this small piece of kendo history.
— the author of the website KAMINARIKAN
* * *
The first Dai Nippon Butokukai Kenjutsu Kata
As for the kenjutsu kata established by the Dai Nippon Butokukai, a commentary book published in 1912, featuring a public demonstration [embu] by Takaharu Naitō and Tadashi Monna (Hokushin Ittō-ryū), is available from the National Parliament Library.
For practitioners of Shindō Munen-ryū, it is evident that these kata belong to this school. They originate from the swordsmanship style of the former Ōmura domain and became the foundation for the techniques of Nobori Watanabe and Unpachirō Shibae.
Nobori Watanabe, having received the approval of Prince Komatsu Akihito, President of the Dai Nippon Butokukai, published the description of the approved forms on the pages of the Butoku magazine in an article titled "New Butokuryū Kenjutsu Kata." The embu was performed by Nobori Watanabe hanshi and Sekishirō Tokunō (Jikishinkage-ryū). Watanabe himself performed as uchidachi and Tokunō as shidachi. Observing the depiction of Nobori Watanabe sensei in this demonstration, one can catch a glimpse of the authentic form of Shindō Munen-ryū, which is most interesting.
天 – TEN (Heaven)
[the First Kata]
Jōdan-no-kamae
Both parties stand ready. The uchidachi assumes jōdan and, when his spirit is fully concentrated, the shidachi assumes seigan (chūdan) and advances three steps with the right foot, directly facing the uchidachi's jōdan.
The uchidachi shows intention to strike the shidachi's right kote. The shidachi, anticipating the strike, turns his sword slightly to the right to prepare for the blow.
The uchidachi approaches and, with a lunge, delivers a large descending diagonal cut to the shidachi's left arm. The shidachi draws his left foot diagonally back behind his right foot, and as he brings his right foot close to his left, simultaneously slides his sword up into tate jōdan to deflect the opponent's blade with the technique suriage. Then, stepping in with his right foot, he strikes down (uchi-otoshi) the opponent's sword with the left side of his own blade (Ten no Shi) and, again with a fumikomi with his right foot, thrusts the uchidachi in the chest.
>>>PHOTO OF THE FIRST KATA WITH DESCRIPTION <<<
地 – CHI (Earth)
[the Second Kata]
Chūdan-no-kamae
The uchidachi assumes chūdan (waki jōdan), the shidachi assumes seigan. The shidachi assumes seigan and advances three steps with the right foot. They face each other directly, both raise their swords over their heads (Chi no Ni), strike forward, and immediately cross swords. The uchidachi assesses the shidachi's strengths and weaknesses, controls his sword. When the uchidachi judges the moment is ripe, he presses down the shidachi's sword (osae) and thrusts at his dō.
The shidachi dodges the attack by stepping with his left foot in a parallel to the right one, and while drawing his right foot back behind, he swings his sword from right to left. Recognising that the uchidachi's body is being carried forward by the momentum of his attack, the shidachi delivers a large diagonal cut to the uchidachi’s head (soku-men).
>>> PHOTO OF THE SECOND KATA WITH DESCRIPTION <<<
人 – JIN (Human)
[Third Kata]
Gedan-no-kamae
Both the uchidachi and the shidachi assume gedan and advance directly, cutting at the shidachi's leg (Jin no Go).
The shidachi, pivoting on the ball of his left foot towards his right, lowers his sword, and parries the uchidachi's strike with the left flat side of his blade. While drawing his right foot diagonally back to the right, he strikes the uchidachi's sword from the left by performing the technique maki-otoshi. Using the momentum of the strike, the shidachi swings his sword with a rotating movement from right to left, wrapping and sweeping down the uchidachi’s blade (maki-otoshi). Then, bringing his left foot to his right, he assumes jōdan, and taking a couple of steps forward with his left foot, delivers a strike to the centre of the uchidachi's forehead (sho-men).
The uchidachi moves his hands from right to left and receives the strike.
>>> PHOTO OF THE THIRD KATA WITH DESCRIPTION <<<
* * *
About Sekishirō Tokunō
Sekishirō Tokunō (Jikishinkage-ryū), who performed as shidachi for Nobori Watanabe sensei, was described by Watanabe sensei as "the epitome of exquisite swordsmanship."
Tokunō appeared as an elegant gentleman, wearing brand-name gold-rimmed spectacles and a frock coat, and he excelled in swordsmanship despite being small-statured. His swordsmanship was outstanding and at Gekiken-kai demonstrations, they spoke of him: "Among the police officers today, there are many outstanding individuals. The most renowned are Sōsuke Hemmi and Sekishirō Tokunō." Takano Sasaburo sensei rated him as the most skilled swordsman of the Tokyo Metropolitan Police Department [Keishichō]. After attaining the rank of sergeant on the force, Tokunō became an instructor of martial arts at the Keishichō, Tokyo Imperial University and at Dai-ichi High School.
On 18 July 1908, the front pages of all newspapers were emblazoned with headlines: " Japan's Greatest Swordsman Commits Suicide." Sekishirō Tokunō had slashed his own throat with his beloved tantō, wiped it clean, and fell face down on his futon. Inspector Kikuchi, who rushed to the scene, observing the wound on the throat made with a single cut, exclaimed in admiration: "As expected of Sensei. What a magnificent end!"
Tokunō's suiside was driven by illness.
This Aricle and the translation of a portion of the original material © 2026 (Andrew Bragin) by KAMINARIKAN is licensed under CC BY-NC-ND 4.0. The original material was published at Ren Pei Kai website.
◂ BACK TO BLOG