The era of pro wrestling where women are not to be outdone (Pro Wrestling Training Camp Visit)
15th October 1955
The international tournament between Rikidozan and Azumafuji against Carnera and Ortega sparked a pro wrestling boom throughout Japan.
In response to this, Mildred Burke, the champion of authentic American women's pro wrestling, and five other wrestlers who visited Japan last autumn, had a spectacular debut match. These women, who had once been known for creating the clumsy atmosphere of cabaret wrestling, had now rediscovered the true essence of pro wrestling, focusing on ingenious techniques and speed, leading up to the first All Japan Women's Pro Wrestling Championship. Nearly 200 female wrestlers across Japan are now striving to claim the post-war "woman's" position, shouting out cries like "Eii!", "Kyaa!", and "Pantan!" that surpass those of the men. Before the big showdown, let's first interview Noboru Igari of the All Japan Women's Wrestling Club, a pioneer of Japanese women's professional wrestling, about his upbringing, establishment, and seven years of pioneering work.
Seven Years of Pioneering Women's Professional Wrestling
All Japan Women's Wrestling Club
Noboru Igari
In post-war Japan, where women's sumo already existed, it was only natural that women's wrestling would emerge.
"I was in charge of stage design in the early days of the Nichigeki theater, and before the war, I was in Shanghai, where I worked as a second in pro wrestling.
After the war, I gathered old friends at the Shinjuku Moulin Rouge, and while taking on a part in the literary department and acting, I came up with the idea of comic sports for events held at the occupying forces' clubs at the time.
This started as a so-called "Western-style women's sumo" with Kabuki (Sadako Igari) as the main character, but there were no applicants. That's when Katsumi Tayama appeared. Tayama was a master of acrobatics, so the sports show was a huge success, and at the end of 1948, it was officially renamed "Women's Wrestling" and premiered at the Daiei Film Company in Kyoto. Therefore, they were working on it much earlier than the Rikidozan era.
However, members of the local university wrestling club said indignantly as they sat down, ""To call it wrestling and then perform dubious techniques in a theater is a grave insult to us," they declared.
They became the first to suffer repercussions.
Prior to that, Chairman Hatta of the Amateur Wrestling Association was very understanding of us, and my sister had also received instruction from him, so I conveyed Mr. Hatta's words, and we finally reached an agreement.
The next incident involved her appearance at the Nichigeki Music Hall's "Onna no Bakubaku*," which led to Judge Nakagomi accusing her of indecent exposure.
We ate filthy food, endured many hardships, and as our number of performers gradually increased, we even toured the countryside. Our third ordeal was when we were completely broke in Kogota, Tohoku. We managed to make ends meet by selling an iron that we had won an award for in a singing contest. At that time, a traveling rōkyoku performer, Mr. Noichisei, was so impressed by my sister's voice that he held her hostage to pay for our train fare. The ups and downs of touring are endless.
Thus, the news of Ishii's victory and gold medal in the amateur wrestling world brightened our future immensely. As an aside, we were also the ones who first introduced men's professional wrestling to Tokyo. Yamaguchi, Kiyomikawa, and others held the first demonstration match on a tatami ring at the Kuramae Kokugikan."
So, where do women's professional wrestling matches currently take place?
"Well, they're mostly held in community centers, gymnasiums, and theaters. When it was announced a few days ago, there were criticisms from people like Haruko Sugimura, but now it's receiving warm encouragement and support from people like Katsuhiko Hida and Junzaburo Ban.
Even when taking it to the countryside, local promoters have no idea what kind of ring to set up. Even during the open practice sessions for the recent show at Ryogoku Kokugikan, the ring was just a makeshift setup with iron bars.
But, seeing the boat from America, has fuelled the enthusiasm of Japanese female wrestlers, and the audience's discerning tastes have also improved.
Apparently, the wrestlers over there, first tap the mat when they step into the ring. Next, they check the condition of the ropes, and only if all the equipment is perfect do they feel confident performing their big moves.
In the U.S., the sport has a thirty-year history, whereas here it has only seven; judging by this limited experience, it seems that a fierce contest overly fixated on winning or losing tends to fail. For instance, in a twenty-minute single-fall match, the first fifteen minutes—two-thirds of the time—belong to the audience; the ideal approach is to use the final five minutes to leverage one's training and secure a pin without resorting to fouls.
However, if the wrestlers spend fifteen minutes thrashing about and writhing on the mat, someone in the audience might shout, "Stop the fixed match!" If the wrestlers get worked up by this and things escalate into a bloody brawl, the crowd then complains, "We didn't come here to watch a street fight." Ultimately, this is likely because neither the wrestlers nor we promoters are able to consistently lead the audience with a cool head and the kind of thrill that stems from a mastery of the fundamentals.
In the upcoming inaugural title match, our two (Igari and Tayama) will be the ones being targeted; from our perspective, this puts us in a reactive position where we don't know exactly who the target is.
Currently, the landscape of women's professional wrestling has expanded to include around 200 wrestlers across four major Tokyo-based promotions;
1. All Japan Women's Wrestling Club
2. Tokyo Women's Pro Wrestling Association
3. All Japan's Women's Wrestling Association
4. Universal
There are now Hiroshima-based teams and various smaller clubs.
With Mr. Saiichi Ueno (President of the International Stadium at the Ryogoku Kokugikan) appointed as the first commissioner, we must avoid conflict between the clubs, unite as one, and return to the true essence of women's pro-wrestling."
Unique to women's wrestling
"With the "Rikidozan boom" having made audiences discerning about wrestling techniques, female wrestlers—while perhaps unable to match their male counterparts—should aim for goals such as raising awareness of their respective clubs and cultivating wrestlers with distinctive personalities. To give an extreme example, I would like to see them display an attitude in the ring akin to a cat toying with a mouse.
Women can harbor an even fiercer competitive spirit than men; however, they must guard against becoming vicious or cruel.
There is also the matter of respecting the individual characteristics of each wrestler's physique and attire—such as a specific wrestler's skill with a headlock; without this, the proceedings would end up looking like nothing more than an amateur square dance class.
Furthermore, the development of referees, coaches, and seconds remains an untapped area in this world. It is often said that without a competent referee, the appeal of professional wrestling is cut in half.
Consideration is also being given to a unique path forward for the Referees' Department.
Our club became an officially recognized member of the "American Wrestler Sportsman Club" in 1952, and my younger sister and Mr. Tayama are honorary members.
The female wrestlers eagerly participating in this championship match stand before the fans of the capital. Undeterred by the hardships they have faced, they are ready to demonstrate the progress made through their rigorous daily training and hope to satisfy the audience. While their skills may still be developing compared to men's professional wrestling, we earnestly ask for your warm applause and encouragement."
A peek into the training facility ahead of the title match
I visited the All Japan Women's Wrestling Club, the birthplace of women's professional wrestling, located at 1-390 Osawa, Mitaka City, Tokyo.
The office is located at 1-8 Asakusabashi (Tel: 875-267), but today, wrestlers from the Tokyo Women's Pro Wrestling Association (a subsidiary of Toyo Kigyo) in Asakusa have gathered for a joint training session; consequently, a large crowd of neighborhood children is peering into the building—which bears a sign identifying it as a research institute—facing Itsukaichi Kaido (buses bound for Osawa are available from Mitaka Station).
The landlord here was a member of the Minegishi family—related to Isamu Kinkyo—and the proprietor was the grandson of Kojiro Kokenai; by a curious coincidence, the establishment was a converted version of a tavern where cattle dealers from the nearby Mitaka slaughterhouse used to gather for a drink. Beyond the eighteen-foot-square ring lay a tatami room with the air of a farmhouse and a dim kitchen; lacking gas or running water—as it was in the suburbs—the property featured a well, a bathhouse, a chicken coop, and pigeons, all set within a spacious garden where flowers bloomed in wild profusion—retaining the authentic, rustic atmosphere of the Musashino countryside*.
"Always win by a fall."
"A wrestler's true essence lies in bodily flexibility and tenacious strength."
[Prohibited Moves]
(1) Grabbing or kicking vital points.
(2) Putting a hand into the opponent's mouth or gouging their eyes with fingers.
(3) Biting.
(4) Grabbing the opponent's hair or trunks.
(5) Throwing the opponent out of the ring over the top rope. Throws must be executed from between the middle and bottom ropes.
There was a backstage scene where a plywood ceiling met the exposed, rough-plastered walls typical of a farmhouse; a fluorescent light hung overhead, while a *kamidana* (household altar) in the tatami room held a *Daruma* doll with one eye filled in (the other blank). Meanwhile, Mr. Igari’s baby slept soundly in a hammock, lulled by the sounds of holds acting as a lullaby.
Vice Chairman Shimizu is one of Azumafuji's close friends, while Igari handles everything with his excellent managerial skills.
After years of hard work, things are finally beginning to bear fruit. We look forward to seeing how much this form of entertainment—which clearly defines the boundaries between women's wrestling and striptease—can grow as a sports show, showcasing the thrill of techniques performed through the beauty of the female body.
Our club counts among its members Mr. Seijiro Igari—who has served as a referee since our inception seven years ago and is a former bantamweight boxer—who also coaches our female athletes. We are also fortunate to have Mr. Tetsuji Nakaji, a judo second-degree black belt who has spent nearly three years training as a referee and is another promising coach for women's wrestling. The fraternal bond shared by the Igari brothers permeates the club’s warm atmosphere; indeed, our activities have flourished to the point where we are now preparing to introduce local youths to the proper practices of wrestling. In that sense, the inaugural championship tournament marks a fresh start for women's wrestling in our country, and we envision a future where our representative athletes travel to the United States. How wonderful it would be if these goodwill matches—conducted through the sport of wrestling—could go beyond merely "draining" Japanese funds and actually earn foreign currency. Please lend your support and be sure to look into the eyes of the female wrestlers, where you will see a pure, spirited determination shining through.
Starting with this event, women's pro-wrestling matches have been divided into four weight classes.
Lightweight - (13.5 *kan* or less)
Middleweight - (Up to 16 *kan*)
Heavyweight - (Up to 20 *kan*)
Super Heavyweight - (20 *kan* or more)
The ideal weight for optimal movement is considered to be between approximately 16 and 17 *kan* (approx. 60–64 kg).
The club's recruitment requirements are as follows: 1. A resume and either proof of residence or a guarantor's certificate;
2. A photograph (full-body or upper-body shot; please write your height and weight on the back);
3. Applicants must currently reside in Tokyo or be able to live on-site at the training facility;
4. Further details to be discussed during the interview.
Women's Pro-Wrestling
Regarding the various staging elements for the show: preparations are currently in full swing for the upcoming Nagoya "Ice-Wrestling" event. As the name suggests, the ring is set up right over the pool; while the autumn breeze makes it a bit chilly, the real highlight is surely the big splash when someone falls in.
Q: I imagine there are all sorts of ways to stage it.
—There’s also the "garter grab." It apparently originated with a certain type of woman who would tuck bills into her garter for men to retrieve; local promoters were adamant that I perform it, too. (Laughs wryly)
Q: What about things like no-holds-barred matches? For those, you need real technical skill—and sometimes they’re fought in the mud. They were mostly for cabarets, I suppose... but they’re pretty bizarre spectacles.
—Ultimately, the real spectacle of the match lies in the display of refined technique pushed to its limits, and the decisive moments born of constant, rigorous training.
Q: With the arrival of Ortega and the female competitors from abroad, the athletes' mindset regarding that aspect has certainly shifted, hasn't it?
—Since there’s a tendency to veer toward making a spectacle of the women, we assembled a lineup of five athletes—each a distinct "performer" with different hair colors and personalities—who were not only skilled in technique but also masters of facial expression... They were truly "masters" of the craft, capable of making a mark internationally with such a diverse, global lineup.
Q: When you were planning that trip to the U.S....
- First, I want to thoroughly hone the technique and present themselves—unmistakably—as a Japanese woman; they need to be able to dance something like 'Spring Rain'—even if it means turning down other offers... But you know, all the girls in my troupe went and cut their hair short across the board—I actually scolded them for it the other day.
Q: As for the uniforms... are they swimsuits? It’s best to choose ones that match the skin tone, isn't it?
—Some clubs use a standard uniform, but we let everyone wear what suits them best.
Q: "Wildcat" Boat Carrie was a blonde, wasn't she? She had a birthmark right on her backside.
- —I suppose that accessory choice was calculated, too, you know. (Laughs)
Q: Was she the innocent type? She was incredibly popular. She captivated the spectators at the first U.S. Women's Professional tournament; she was supposedly a grandmother, but she wore pigtails or something like that...
- That’s exactly why it’s a problem if everyone starts copying that Hepburn hairstyle.
Hiroshi Tazuhama's initial impressions of female professional wrestlers
It is stated that "in short, the impression left by this women's professional wrestling event was merely that it was an object of curiosity; however, the only promising aspect was that the women seemed capable of genuine anger—more so than the men."
As one sports newspaper admiringly reported—"Surugami, who was watching from the sidelines... skillfully employed a series of moves that rivalled our own; it was highly instructive"—this inaugural public exhibition featured Sadako Igari*, Katsumi Tayama, and Yoi Hōjōji from this club, alongside Masako Hashimoto (who had stepped in for the All-Japan team), all appearing in the prestigious preliminary match.
In that preliminary bout, "Rose" Tayama—with her commanding, big-sisterly presence—was truly the Mildred Burke of Japan, and both Igari and Hōjōji performed admirably. I also cannot forget how Hashimoto, with her lipstick applied in a bold, striking red, fought with such fierce determination.
Q: Apparently, she left really distinct kiss marks!
—Hahaha! The audience was overwhelmingly male, but you're going to see a lot more female fans from now on.
A flying kick that puts the guys to shame!
Chiyo Obata of the Tokyo Women's Pro-Wrestling Association was the first to join the joint training session, energetically practicing "flying kicks" against a male instructor.
This is surely a move—rivaling anything a man could do—born of the pro-wrestling boom.
The sight of her leaping into the air to deliver a kick would surely make any lady unfamiliar with women's pro-wrestling gasp in astonishment.
—"I'm sorry if that hurts..." she apologized in a low voice, showing she's definitely a girl. "I shouldn't think, 'She's pitiful...', should I, teacher...?
- That's right, you have to go for it head-on."
In the dirt-floored entryway, high school and junior high students stand motionless, captivated as they watch the very moves performed live that they had previously only seen on TV.
Shizue Ito, a woman of eighteen kan (a unit of weight), possesses a beautiful, fair-skinned body, is receiving training in "kubeage" (neck throws).
She repeatedly threw Kiyo Obata (Chiyo's sister) by the neck, but it wasn't working well—she was told to curl his waist...and it didn't work. When Igari took over and threw her, she didn't drift sideways, but instead flew straight through the air in an arc.
When a male instructor took over the throwing duties, one could only worry that the athlete's feet might strike the ceiling beams; yet, the female athlete, slammed onto the canvas, would repeatedly spring back up with a nonchalant air.
For the "flying throw" utilizing the ropes—which lacked sufficient tension—three large men, including Vice President Shimizu, had to hold them steady to support the move.
The instructor uses the opponent's momentum to hoist them up with his left arm and hurl them through the air.
"You won't pull it off cleanly unless you press your neck against their thigh," the male instructor says as he hoists the woman up and throws her.
Mr. Yukio Kinoshita of the Tokyo Women's Pro-Wrestling Association: "Some people might find it odd for a man to be the instructor, but when we're actually training, it's all about technique clashing with technique—we're completely absorbed in the moment. Wanting them to improve quickly, I sometimes find myself instinctively stepping in to physically guide their movements..."
Mr. Igari: "Everyone, once you're in the thick of the competition, you mustn't move sluggishly like a lump of meat; you need to practice making quick changes in your movements." That is a crucial piece of advice. If you get too hung up on winning or losing, your range of movement tends to become limited.
Next, Tayama and Obata are practicing the hammer throw.
Tayama: "Which way am I throwing?"
Obata: "This way—over here."
"Alright then, I'll give you a wink."
Now, when one person grabs the other's hand to execute a *kimarite* (winning technique), the timing and coordination often go awry—leading to moments of uproarious laughter.
One hour marathon each morning
As for a typical day at the institute, Ms. Sadako Igari explains: "The most important thing is getting plenty of sleep. We wake up at eight in the morning and go for a run—lasting nearly an hour—out toward the Tama area; after that, we do exercises like jumping rope. We take turns with kitchen duties, though breakfast is simple—just miso soup and maybe an egg. The morning is our own time, so I like to play the ukulele or do laundry, and then practice sessions run from one to five in the afternoon. After cleaning the ring and taking a bath, we have dinner around eight o'clock. We have a fishmonger right next door and plenty of fresh vegetables available, so everyone really enjoys the meals.
Q: How much does the uniform cost?
"The shoes, made of nylon and rubber, cost seven or eight thousand yen, whereas the shoes [worn by others] are only two or three thousand."
Lily Igari, who sits composedly as she speaks, possesses a very modest demeanor and a face free of heavy makeup; yet, standing five feet four inches tall and weighing over 100 kilograms—earning her the nickname "Female Rikidozan"—she is a truly impressive woman outside the ring.
During practice, what left a particularly strong impression was Mr. Tayama’s spirited vocal cues of "push" and "drop," his ferocious stance when launching an attack, and his highly expressive acting during the "offensive exchanges," whether he was catching his opponent off-guard or being caught off-guard himself.
Notes
Onna no Bakubaki: Roughly "Woman's Wild Heartbeat".
Musashino Countryside: "But before I go, there is something I must tell you. Your beloved, beautiful Musashino only exists in your dreams. It's a sentimental idea. Factories and schools...and...the dynamic new development of the city of Tokyo...are the reality of Musashino." - the closing quote from "The Lady of Musashino" (1951) - which laments the urban sprawl of the newly built Tokyo, swallowing the rural areas. The film was made four years before this article.
Hiroshi Tazuhama: (August 29, 1905 – August 15, 1991) was a Japanese sports writer and professional wrestling critic.
Surugami: Male wrestler in JWA
Sadako Igari (also known as "Lily Igari"): Widely considered to be the first female Japanese wrestler.
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