Born in 1887, in Kumamoto, Japan. Her family produced fire-fighting equipment. Komako's mother was heavily involved in the arts, so it comes as no surprise that Komako would also be drawn into that life. She took to the stage when she was only 4, training in traditional arts like shamisen, dancing and drama. This became the foundation for her success later in life, as well as her feminist pursuits. Komako attended various schools throughout her childhood including Kumamoto Girls School. She was immensely inspired by the Swedish feminist Ellen Key, who was a avid supporter of government-funded child support. Komako was also encouraged by the school principal, Junko Takezaki. Mrs. Takezaki didn't just teach girls to be wives and mothers; she wanted to motivate them to explore their interests and speak up for their beliefs. Key & Tamezaki would serve as pillars in Komako's life, that helped fan the flames for the budding suffragist.
Despite an unassuming outer appearance, Komako was resolute and devoted to the cause of women's suffrage. She rejected Japanese norms and expectations, much to the chagrin of her family. When she was 14, on her way to her wedding ceremony, to a man she'd never met, she fled the carriage and escaped to the city of Nagoya; thereby stymieing her family's attempt to marry her off. Once arriving in Nagoya, Komako sold her wedding clothes and accessories and began working as a dancer. Komako's defiance of her marriage, was considered a huge scandal in early 20th century Japan.
She rebelled even further when she eloped with the young doctor, Hideo Kimura. Dr. Kimura was also born in Kumamoto, he attended Doshisha, the university that Yae Yamamoto established. Sources vary in the timelines but either before or after marrying Komako, Hideo went to the US to study at the prestigious, UC Berkeley California. Under the guidance of American yogi, Pierre A. Bernard, learned a "secret tantra", that he carried back to Japan, where he founded his own spiritual organization, Kanjizai-shuu: named after the Buddhist deity for compassion. His wife, Komako, would become an integral part of the organization.
Komako gave birth to a son, Shouji, in 1907. The family moved to Tokyo 2 years later, where Komako served as her husband's spiritual assistant and garnered a reputation for her clarivoyant (psychic) abilities and acupuncture skills. While she worked with her husband, Hideo encouraged her to pursue her own goals and it was in Tokyo, where she began her work as a feminist.
Japan in the early 20th century wasn't an easy place for women, especially those like Komako. Despite the country rushing to modernize and develop more advanced industries and technology: women's roles were still grounded in strict Confucianist beliefs and this prevented women from having a role in areas such as politics. The Japanese government at the time also used a heavy-handed approach to censorship, especially on discussions about subjects like feminism. Many women put their lives at risk to defy these restrictions and make a stand for what they believed to be right.
In 1913, Komako, along with fellow suffragists, Fumiko Nishikawa & Mitsuko Miyazaki established, "New Real Women's Society" (Shin shin fujin kai). They believed that women should make a stand against the traditional patriarchy, instead of bowing their heads and remaining meek and demure. Komako also edited and published the society's magazine "New Real Women".
On top of her women's rights work, Komako also managed two theatres in Tokyo called, the Komako Kimura Theatre and the Tokizawa Theatre. She also performed as a stage actress including roles in Shakespearean plays; which were particularly frowned upon by Japanese authorities. Komako responded to this criticism by opening her theatres and letting people in with free admission; this defiance led to Komako's arrest. But Komako remained unfazed.
It comes as no surprise that feminist societies and publications were constantly affected by heavy censorship by the Japanese government. Some of Komako's colleagues also backed down due to pressure from their husbands and/or employers but Komako strove onwards. When money dwindled, Komako decided to expand her horizons and travel to the US, hoping to further her cause.
In 1917, Komako went to New York along with her husband, Hideo and son, Shouji. She intended to learn English and learn ways to advance the suffragist movement in Japan. One of the most famous pictures of her was taken at this time, while she marched with other suffragists in New York. Komako did several interviews with American newspapers, likely to help spread awareness about her goals for Japanese feminism. One reporter described her "in the softest of voices, and with the most delightful accent imaginable; but the softness of the expression could not conceal the decisiveness of the convictions."
Many of the publications about Komako took on a tone of disinterest and often strayed from the message that Komako was intending to convey. She was often referred to as "little lady" and once she was even compared to the heroine of the Puccini opera, Madame Butterfly. The newspapers almost derisive tones didn't dampen Komako's determination and passion; many women reached out to her while she was in the US. Komako's career as an actress also drew a lot of attention and she performed at Carnegie Hall on Broadway, receiving plenty of admiration.
After eight years in the US, Komako and her family returned to Japan, in 1925. Accounts of her activities after returning to Japan are sparse but it remains clear she never gave up striving for the betterment of other's lives. Komako shifted her focus back to the arts and Kanjizai-shuu, her husband's spiritual organization. She also went on to publish a few books including, A Textbook on the Art of Dancing (Buyou Geijutsu Kyoutei) and The Art of Kannon (Kanjizai-jutsu). Komako also attempted to open an art's college; she built temporary school buildings on Mikawa Island, but this dream was not too be.
Japanese women finally gained the right to vote, in 1945. Komako continued living a widely unconventional life until her death in November 1980, at the age of 92.
Side notes:
shamisen- a traditional Japanese instrument, similar to a Western lute.
https://unseenjapan.com/kimura-komako/
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We Won't Stay Silent
Non-Fiction"We need women who are so strong they can be gentle, so educated they can be humble, so fierce they can be compassionate, so passionate they can be rational and so disciplined they can be free" ...
