This essay will examine the meaning
of the term “johakyu” (序 破 急)
and how the concept is expressed in iaido kata. I will first examine
the term’s history, application and meaning; and following this,
the expression of examining johakyu in Ipponme Mae of the Zen
Nihon Kendo Renmei Seitei Iai.
Johakyu is an ancient term
originating in Noh Theatre. It first appeared in the 14th
century writings of the master Zeami Motokyo, who used it to describe
the development of story and action in Noh drama. In theatre,
music, and literature, johakyu encapsulates the idea, in
simplest terms, of a beginning, middle and end.
The characters with which johakyu
is written provide much more meaning than the three simple words
“beginning, middle, end” however. While “jo” (序)
commonly does mean “beginning,” “ha” (破)
and “kyu” (急)
have much larger meanings. “Ha,” when it stands alone, is
read as “yaburu,” meaning to tear, break crack,. “Kyu”
means “sudden, rapid, urgent, emergency.” These meanings for
“ha” and “kyu” give a very different feel to
the idea of “johakyu” than simply “beginning, middle,
end.” These meanings, when combined with the basic idea of
“beginning, middle, end” provide a sense of tension or stress
beginning and building to a moment when the tension breaks into
action, the resolution of which brings us to the end.
Looking at Ipponme Mae in this light
gives insight into the structure of the kata as it practiced
in the Zen Nihon Kendo Renmei Seitei Iai. The kata begins
with the iaidoka in seiza, sitting peacefully. As he
becomes aware of his neighbor’s intention to attack, he slowly
moves to draw his weapon to prevent the attack. Throughout this
period, the tension increases as the iaidoka comes closer and
closer to drawing his weapon and his opponent does the same. This is
clearly “jo” (序),
the beginning that builds towards the action. “Ha” (破)
occurs at the moment that the tension breaks into action, when the
kissaki leaves the saya. At this moment the “jo”
is over, the beginning has ended.
Using “ha” (破)
to describe this transition is particularly appropriate for budo
kata, where the beginning and the middle are so different in feeling
and in the character of the movement, and where the transformation
happens so abruptly that it truly does feel like something being
torn. In Ipponme Mae, the iaidoka must express this
development by pressuring teki with her metsuke and
her deliberate drawing of the sword. Combined with the action of
rising and pressing forward, these actions put pressure on teki
to abandon his intention to attack. When it becomes clear that teki
will not stop, will without doubt attack, the iaidoka breaks
the moment, cutting (rather than tearing) the fabric of the situation
with her attack to teki’s eyes. This cut both forestalls
teki’s attack, preventing him from drawing his sword, and
drives him back, off balance and into a position where he can neither
draw his sword nor otherwise move effectively.
From the moment the kissaki
leaves the saya, we are in the middle, the ha of the
kata. Following the nuki uchi, which drives teki back
and off balance, the iaidoka drives forward, maintaining
pressure on teki and leaving him no opportunity to assemble
himself for his originally intentioned attack. The tension that
began with the iaidoka’s realization of teki’s
intention to attack has not been released by the preemptive attack;
it has been extended and even increased. As the iaidoka
drives forward, pushing teki still further back with pressure
of his attack, he raises the sword above his head.
This brings us to the final portion
of the action, what might be termed the climax in Western literature.
The iaidoka has arrived at the moment of “kyu.” The
finish of the kata is the final kirioroshi. Teki
has been driven back, and in this moment when he is open, the iaidoka
finishes the action. This kirioroshi must be powerful,
containing all of the energy and tension that has developed through
the jo and kyu sections of the kata. This is
culmination of the entire kata. Everything in the kata
has to drive to this point, with the energy and intention of the
iaidoka leaving no room for any other resolution once teki
has fully committed to the attack.
Following kyu the kata is
not over, but the tension and drive have been resolved. The iaidoka
cannot allow himself to become inattentive because his foe has been
defeated, but must maintain zanshin, awareness until
conditions change, and the kata is truly complete.
There
is a line of thought that each portion of johakyu has its own
johakyu. While extremely interesting, this is more than can
be covered in this essay. We have instead looked at a kata on the
broad level of johakyu,. We can see in this concept not only that
performances have a beginning, middle and end, but also very
particular ideas about how these sections develop and the transition
from section to section. In the Zen Nihon Kendo Renmei Seitei Iai
kata Ipponme Mae, we see johakyu in the development and
action of the kata.Jo is the peaceful opening and the
development of tension and movement until the moment of nuki
uchi., at which point, ha occurs. This is the middle, and
it starts with cutting of the peace, tense though it might have been,
of the beginning. Kyu is the rapid completion of the action
of the kata, which resolves the conflict.
This article is based on Peter
Boylan's Yondan Shinsa Essay September 28, 2006
