GUIDE TO PROPAGANDA

• Document Type: CREST
• Collection: General CIA Records
• Document Number (FOIA) /ESDN (CREST): CIA-RDP81-01043R002300230001-6
• Release Decision: RIPPUB
• Original Classification: U
• Document Page Count: 198
• Document Creation Date: December 23, 2016
• Document Release Date: August 26, 2013
• Sequence Number: 1
• Publication Date: June 25, 1958
• Content Type: REPORT

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STAT
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GUIDE TO PROPAGANDA
Compiled by
Japan Communist Party
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TABLE OF CONTENTS
HOW TO DELIVER SPEECHES
1.
Anybody Can Make a Speech
1
2.
Defects in the Public Speech of the Past
4
3.
"Hit the People" Speeches Must Be Avoided
7
4.
New Method in Speech
9
5.
Practising Speech
12
6.
About the Listeners .
33
7.
Consideration of Time and Place
36
8.
What the Chairman Should Know
52
THE ROLE OF THE POSTER AND HOW TO MAKE THEM
1. The Role of the Poster 58
2. Understanding the Poster 59
3. Notes on Making and Distributing Posters 65
KNOWLEDGE OF 8MM MOVIES
1. The Present State of 8mm Movies 71
2. Practical Questions Concerning the 8mm 74
3. The Application and Future of 8mm Movies 79
HOW TO CARRY OUT PORTABLE MOVIE ACTIVITIES
1. What Is a Portable Movie 81
2. Various Portable Movie Activities 82
3. Problems of the Portable Movie . 87
4. Budget for a Movie Meeting 98
5. Publicity for Movie Meetings 103
0. Preparation and Work to Be Done on the Day
of the Meeting 103
HOW TO PUT ON A KAMISHIBAI (PICTURE-STORY SHOW)
AND HOW TO MAKE BEST USE OF IT
1. The History of the Kamishibai 112
2. The Characteristics of the Kamishibai 114
3. How to Put On a Kamishibai 128
4. How to Make Best Use Of the Kamishibai 143
APPENDIX (VOL. 1)
1. Laws Concerning Propaganda
2. Related Laws Concerning Advertising Vehicles & the
Opinion of the Tokyo Municipal Traffic Division
3. Ordinances Concerning Meetings, Group Parades and
Group Demonstrations
4. Annual Events
1
9
17
22
APPENDIX (VOL. 2)
1. Present Situation of the Radio and Foreign
Broadcasts 1
2. About Foreign Broadcasts 5
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CHAPTER ONE - HOW TO DELIVER SPEECIES
I. Anybody Can Make A Speech
We all live in communities. This means that everYdaY
we spend some time talking to someone or other. Everyone can
talk, and everyone is talking. Nevertheless, there are many
people who believe that talking with a purpose or to a group or
a crowd is something very difficult. Expecially, when it comes
to making a speech, too many people think that there must be
some particular way of doing it, or that speeches are meant for
wiser people and not for everyone.
In Japan, the precept "the people shall obey but shall
not know" has predominated in the teach4ng of the common people
for over a thousand years. For this reason it has become second
nature to accept the predominating idea that speeches are made
by the ruling class and that the ruled are there only to listen,
to take orders and to be pushed around. This long life of for-
ced silence, of having to repress any desire to speak out the
pending discontent or dissatisfaction, has resulted in confin-
ing innumerable people within a servile spirit. Consequently,
a large number of people have the idea that speaking in public
is an expression of some terrible disobedience. They even
believe that by speaking in public some unexpected misfortune
may befall the person and this idea, in turn has further
aggravated the servile spirit.
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7
The new constitution recognizes, though still somewhat
inadequately, political freedom and the basic rights of man.
The scope of freedom of speech has been broadened considerably
compared to the old constitution. Anyone is now allowed to say
what he wants freely. However, actually when we '4ive this mat-
ter furthe7 thought, we see that there are still many barriers
In the way. Ever since the 'Red Purge', it has become dangerous
to support the Communist party or to express agreement with
their policies. There have been actual instances in many dif-
ferent places of work whe?e people who have shown such tenden-
cies have been discharged in very underhanded ways.
With such situations still existing, how can we say
that freedom of speech is assured? People are actually afraid
of making speeches in public and thereby attract attention or
perhaps be blacklisted because of what they say. This cannot
be real freedom of speech at all.
Nevertheless, the united strength of the laborers and
the farmers has been gradually clearing the field for more free-
dom in speech as a result of the struggles they have been
carrying out during the ten years oi? so after the war. Little
by little their just opinions are getting to be heard. Of
course, the way these laborers and farmers speak is not polished.
They cannot make 'good' speeches. Yet, what is more eloquent
than the truth they have to say? Everyone is beginning to try
to speak this truth and these people are gradually finding out
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that speech-making is not reserved only for the leaders and
the wise. Actual instances have proven the eloquency of these
working people and they have come to realize this fact them-
selves.
Furthermore, even women have awakened to the fact that
they can speak out without any fear in front of other people.
These women, who were made to believe that speaking in public
was for them impossible, gathered together for peace Congresses,
or Anti-Nuclear Bomb Meetings, or Mothers' Rallies and have
cried out the truth as they know it. In doing so they have
broken all conventional rules.
All this proves that anyone who can talk can also
make a speech. You do not have to have a trained voice nor a
loud voice. By using a microphone anyone can reach out to any
kind of a crowd. As long as you can speak and are willing to
make some preparations, mentally and otherwise, you can now
deliver a good speech.
It is gradually becoming pointless to think that there
must be some special way to make a speech or to feel that a
certain form must be followed. Actually, old-fashioned ora-
torical speeches are rather coming to be considered out-dated
and queer. To overstrain oneself or to strike a certain atti-
tude in speech may even sound comical. Times have changed and
the normal form of speech attracts the listener most naturally.
All.in all, grave decisions need not be made.in order to make
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? 'a
f
a speech. Anyone can make a speech.
However, speeches are aimed at a great number of peo-
ple. And since there is no doubt about this, it would be rude
and impolite to the listeners for anyone to make a speech that
is too carelessly prepared or too perfunctorily delivered.
The purpose of this chapter is to clarify the most
basic ideas and things to bear in mind when making a speech,
so that anyone will be able to deliver a speech.
2. Defects In The Public Speech Of The Past.
There is an old Chinese saying that tells us to 'Probe
into the old and learn about the new'. So, before going into
any further explanations of modern forms of speech, we shall
take a brief glance at the speeches of the past.
Of course, in this small guide book, we do not have
the space to delve into the long history of speech that may take
us thousands of years into the past. What we will do is to look
back upon the past forty or fifty years from around the end
df the Meiji era through the Taisho and up to the Showa era
and find some examples in the speech of our own country.
It is generally accepted that the term 'speech(ENZETSU)'
came into existence when YUkichi Fukuzawa established the KEIO
GIJUKU(Keio University) at Mita in Tokyo and erected a 'Public
Speech Hall(ENZETSU KAN)! in a corner of the school premises
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Ne,
with the purpose of training students in public speech. This
word became popularized throughout Japan around the years 188L
to 1881 (13th and 14th years of Meiji) when the local young
leaders of the Liberal Party, awakened to the new era of demo-
cratic rights, barnstormed the entire nation. Therefore, it
can be said that the origin of speech in Japan comes from the
cries that were directed towards the government demanding of
political freedom.
In the language used by the students of this time, there
were a lot of words transcribed into Japanese frpm the Chinese
language. Rhetorically this influence made the language ornate,
and since the students were always indignant over something or
other, their style in public speech could be called 'ornate
indignation style.' Very few students seemed able to speak
deliberately and logically and to convince the listener in a
cool way. Consequently, it became common to think of speech
as being a very loud and exaggerated manner of expressing one-
self. It was not until the latter part of the Meiji reign that
the term 'lecture(KOEN)' was used for the quiet and more academic
type of speech.
Whatever these historical facts may tell us, there is
no doubt that, in the course of time, the word speech came to
mean generally, and had to be, the 'ornate indignation style'.
And this style was accepted until the development of the radio
and the microphone. Even to this day, there are old-fashioned
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politicians and aged Buddhist priests who believe that a speech
must be made with superfluous adjectives and Chinese expressions.
For them the most elozuent type of speech must also have a cer-
tain rhythm. These people so stronglY insist on this ornate
oration that this type of speech shows no sign of disappearing
yet. In spite of the fact that our language is changing fairly
rapidly, the spoken aria the written languages are coming closer
together, the newspapers are limiting the number of Chinese
characters used in their pages, and the modern use of KARA
prevails, the old-fashioned style of oration is still enjoying
an existence. It is not uncommon to hear someone crying out
in a grated voice neglecting even the very convenient micro-
phone. And we have to bear with it.
We need not go far for any proof of this miserable
situation. Just wait until the general elections begin. Once
the candidates hit the road, their speeches and the way in
which they will be delivered will be living exhibitions of an
out-moded style, mechanical ignorance and senselessness.
One of the reasons for this existing situation lies
in the minds of the politicians. They arrogantly believe that
the common people should listen to anything they have to say,
and they still believe that when the rulers or leaders have
anything to say it must be said in the most pompous and
Ingratiating way.
The second reason stems from the laziness of the poli-
ticians to understand the movements in the new age. They
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forget that the common people are moving along busily everyday
with the current of time and that these people are also grow-
ing with time. They somehow manage to remain ignorant to t4e
fact that the language, the way of thinking and the mechanical
culture of the world are progressing day by day. Our speeches
also, in the past, have been redundant with stereotyped Marxist
terms. We were self-satisfied with what we were saying. Being
so blind, how is it possible to befriend the common people?
We must be willing to part with all the defects of
speech being used so far. There must be a plainer, clearer
and more familiar way to communicate ideas. And only when we
master this way of communication can we be called good speakers.
3. "Hit the People" Speeches Must Be Avoided
We often hear people say that they are going out to
make a speech and 'to hit the people hard ' But when we
come to think of this expression, there really isn't anything
so arrogant and contemptible. We want the people to listen to
our speeches, and not to hit and hit and hit them hard. It is
only from self-centered subjectivism,. from contempt of the
people and from the desire to drag the people around that such
a grave misconception stems.
Now, to agitate does not mean the same thing as hitting
the people. No matter hog loud a voice one may use in speech,
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if the listener is not moved emotionally, the speech has not
been agitating. To be agitated means to be moved to action.
If the listener after hearing a speech is moved to do something,
to feel that he must face any difficulty and surmount it, he
has been agitated. This cannot be done by forcing logic down
the listener's throat or roaring at him at the top of one's
voice. Such emotion can be stimulated only when the facts are
shown one by one and when there is a quiet persuasiveness.
Agitation means to stimulate the emotion in this manner and
direct it into one right way. Whatever the case may be we must
try to avoid making speeches with the idea of hitting the
people. All the superfluous excitement is waste of energy for
the speaker and for the audience.
One of the greatest shortcomings and at the same
time one of the characteristics of the speech in the past has
been this meaningless excitement and the exaggerated indigna-
tionapparant in it. But it may be difficult to do away with
this completely. For when aAyone decides to make a speech
before a great number of people, it is almost inevitable that
that person becomes tense and feels excited, whether he be con-
scious of it or not. Yet it is not only pointless to exag-
gerate this excitement but even harmful. With such unnecessary
emotion it is impossible to make a good and responsible speech.
good speech cannot be made by hitting the people.
It should be made by speaking in a very ordinary way what anyone
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would say anywhere and anytime. Only in this way can delivery
of good speeches be achieved. Especially when we consider the
fact that we are willing to correct any wrong that may have
risen from ignorance in the past, we should by all means stop,
at this moment, the kind of speech that has the arrogant atti-
tude of hitting the people.
4. New Method In Uech
From what has been said, it is possible to discern a
certain course towards a new method in speech. It is quite
clear that the first step towards the new method of speech is
to say in the most natural way what anyone can say anytime,
anywhere.
But we, in this guide book, are trying to make clear
the way of speaking for the working class people. And from this
viewpoint it is not sufficient to encourage only a natural kind
of speech. We must at least always bear the following two points
In mind. Namely, first, for whom we are making the speech, and
second, what we are speaking for. At the same time it is impos-
sible to forget that we are learning from the common people and
offering our services to them. The most important thing in
relation with this is to hold a world view based an class strife,
and to be sure to understand thoroughly the dialectical materi-
alism. It is nonsense to remember by rote any particular thesis
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without the person himself holding a definite world view. A
rendition of the news like a parrot cannot be called a speech.
Mao Tse-tung tells us that 'One who does no research
work by himself has no right to speak', a saying we nll must
remember well and put to action. We must make our speeches only
after we have given our own deep thoughts to it, listened to
what other people have to say about the subject, made a thorough
investigation on it, studied it, and done the best we could to
prepare for it. Then actually it does not matter whether there
may be some shortcomings in the facts from the eyes of higher
authority. What At most important is not to make a speech
with unconvincing assumptions and facts that have not been
verified. When we take up a certain social incident, we must
be careful to see its historical background, its geographical
setting, its human relations, its political implications, its
economic standing, and perhaps even its influence on future
developments. Only after we have given the subject this much
careful strdy can we grasp a definite view on social life.
It is said that 'truth is always truth only under a
certain condition'. And we know that this 'certain condition'
is constantly changing along the law of evolution. Both in the
fields of natural science and social science we are not allowed
to be lazy. We must always give serious thought to our imme-
diate questions. We must try to derive a solution that will
lead the common peopl. toward happiness, and we must let the
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people know what that solution is. It is important to work acti-
vely with the people. 'The philosophers were able to understand
the world. But what is important is to reform the world' are
words from the FUEURBACH thesis and words that we must not for-
get.
Since we are speaking of public speech, we must be
ready to take assume responsibility for what we say. We also
must do our best to work towards the realization of what we say.
In other words the new method of speech depends on
how well we can base our arguments on material dialectism, how
simply and straightforward we can deliver it, and how much it
will contribute directly to the betterment of the people. If
the speech we deliver cannot help the people, if the common
people cannot understand it and if they turn away from it, we
must say that that speech was a failure. On the other hand, no
matter how much your speech may attract the attention of the
people, if it leads in the opposite direction from what we aspire
as the law of social evolution, then such a speech also should
be considered a failure.
The way to master the new method of speech is not as
simple as taking the escalator or the elevator to a higher
floor. The way is similar to the path leading to the summit of
a mountain. Each strong step leads us that much higher. And
nobody else will take these steps for us. Of course, it is
almost impossible to run up this mountain path. But why hurry?
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Anyone, as long as he is willing to walk up step by step,
will certainly reach the top. Furthermore, if one is healthy
enough and has that much preparation, this path is one that can
be taken by anybody. This mountain we are talking about is by
no means a mysterious mountain. It is not a mountain reserved
only for a limited nuniber of privileged people.
Let us all join hands, cooperate, and together climb
this new mountain!
5. Practising Speech
a. The Structure Of Speech
The primary thing to bear in mind when you make a
speech for the first time is to make clear what you are expect-
ed to do. For example, say you are asked to make speeches to
boost a candidate in an election. You must make sure of a
number of things: are you supposed to introduce the candidate?
or is the subject you are supposed to speak on related to
international problems, internal national problems, economic
problems, or cultural problems? or again whether you are sup-
posed to talk beftre the candidate or after him, whereabouts
you come and about how long you are expedted to talk. All
these matters should be clarified before you begin to gather
material for your speech. If this much preparation is not Made,
it is most likely that there will be over-lapping among the
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different speakers,and sometimes even contradictions. The
most important point is to avoid by all means any great amount
of repitition of what the candidate himself has to say.
Again, for instance, if you are supposed to speak in a meet-
ing discussing the social security problem, you should try to
find out, somehow beforehand, what the other speakers are going
to say, and to prepare your own speech on a different line, or
if changing the subject is difficult, at least, change your the
approach to the same question.
The best thing to do is for all the speakers to meet
once before the meeting and decide what particular portion of
the entire subject each person should handle. If this is
impossible, the sponsor or the person in charge of the whole
program should make similar arrangements.
Now, when you are asked to be a speaker, you should
by all means make a draft of your speech. Perhaps the occas-
sion may not call for a well written manuscript, yet you should
try to make a draft.
Let us take a brief look at the time element. Two
hundred and forty to two hundred and seventy words(Japanese)
can be read in a minute. This x.eans that if you are using the
regular four-hundred-word manuscript-paper, by spacing your
sentences and paragraphs adequately, you will be able to read
each page in about a minute. Eight or nine of these pages
will take about ten minutes, and seventeen to eighteen pages
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would probably take about twenty minutes. If there are other
statistics and illustrations to be shown, that much extra
time should be taken into consideration beforehand.
Now, on making a draft, it may be a good idea to
keep a memo into which you can jot down some of the main points
you would like to speak about. Next you must decide in what
order you want to present your idea. At this point there is
one important thing you must try to remember. Do not think
you can say everything related to the subject in one speech.
Instead you should try to limit your speech to one of the main
points in the subject and center the speech around this one
main point. After you have made this decision ymi are now
ready to sit down and write a draft. Be sure you space your
lines and paragraphs carefully and do not forget to write in
a way you usually speak.
After you have made your first draft, read it out
loud. If you have a friend who is willing to listen, have
him listen and time you, and ask for his comments. Then you
should go over your draft once more. Try to make sure whether
the order of paragraphs is right, whether there isn't anything
else that must be said, or whether there isn't any portion that
ought to be deleted. There may be some expressions that do not
sound quite right. Some of the words you have used may be too
difficult or misleading.
Go over your own draft from these different viewpoints,
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and with a red and blue pencil put in marks for remembrance.
Places that should be emphasized can be underlined, while other
marks can be used to show places that may be deleted in case
time runs out.
The best thing to do after this draft is made is to
rewrite the speech on a card or some cards. Of course, the
whole speech need not be written. It is best to write only the
main points. But if all this is too much work, the next best
thing to do is to go over the draft thoroughly, and then read
it nut loud once more as if you were actually giving the
speech.
When you are doing this reading, it is a good idea
to time yourself two or three times. You should try to see how
long it takes when you read the speech slowly and also when
you read it fast, since when we say it takes a minute to read
240 to 270 words we, of course, are talking of the average.
The time can easily be shortened to thirty seconds or again
stretched to two minutes. All this depends on the practice
you do. You must know your own normal pace so that you can
plan more carefully in the future. After you have done this
much it may be another good idea to mark places that ought to
be said rather slowly for emphasis and faster for effect.
There are roughly four ways in which you can const-
ruct your speech. The first is to place your theory at the
beginning and then to bring in the facts that will back up your
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theory. The second is to show the facts at the beginning and
from these facts draw out your theory. The third, of course,
is a mixture of these two. You also can consruct your speech
strictly from the logical point of view. It is difficult to
say which of the four ways is the best for any speech. The
choice should depend on the subject of the speech, the speak-
ing habit of the speaker, or again on the nature of the audi-
ence or the atmosphere of the meeting. In mapy cases, though,
it has been considered best to start out with concrete facts
which can be understood easily and which might be more familiar
to the audience and then to go on to a theory drawn out of
these concrete facts. Live facts are most eloquent in speech.
When the speaker can talk of some personal experiences
that he has actually seen or heard of, or of some fact about
which he hqd made personal investigations, then his speech
breathes with life. It levelops the power to attract other
people and moreover there will be no worry that he may say the
same thing as some one else. One of the main things to remember
when composing a speech is to strictly avoid saying anything
about something you are not too sure about. Second-hand infor-
mation also has only that much attractiveness. This should
also be avoided.
We must learn to treasure live facts above anything
else. Do nnt say anything that is based on unconvincing assum-
ptions. Try to compose your speech upon facts that have been
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ascertained. Thus, as is probably clear by now, it is extremely
important to construct a tightly organized speech. You do not
have to worry about writing beautiful words. Say only what
you think must be said in a language that you yourself are sure
about.
Now, when you get on the platform, try tilt to look at
your manuscript. Remember it is there just in case you want
to make sure what you were supposed to say.
; b. Physical Conditions
Makirg a speech requires more energy than you can
imagine. The purpose of this short section is to mention some
of the points that should be borne in mind in connection wiPi
your health and physical condition.
First, it is impossible for consumptive people to
make speeches.
Next, people who have weak tonsils or a '-iad nose
should receive complete medical treatment. Otherwise, making
speeches will probably only help to worsen their illness.
Toothaches can interfere with a long speech. When a tooth is
loose or missing, it may cause mispronunciations and other
inconveniences for the speaker. Sometimes when speechs are
made after exhaustion or lack of sleep the speaker may lose
his voice temporarily.
Now, about food. Try not to make speeches directly
after a full meal or again when you are very hungry. This
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may cause dizziness or a stomach ache, or again, the voice
may become hoarse. It is important to see that there is at
least an hour after the meal? But, of course, you need not
be too sensitive about meal hours if the speech to be given
is a very short one.
There are people who drink a lot of water while
speaking. That is not good for your throat. Speaking in a
loud voice cause a slight degree of inflammation in your
throat. Therefore, though cold water may feel soothing, it
does not help the throat at all. The more water you drink the
hoarser your throat will get. If you are not straining your
voice, you should be able to speak for about an hour without
drinking any water. But if you do have the habit of drinking
water during your speech, you should ask the people who are
managing the meeting to warm the water a little bit and be
careful not to drink too much at a time.
People wearing glasses have a handicap because they
cannot speak with their eyes. If you are only slightly near-
sighted it would be much better to speak with your glasses
off. The movement of your eyes can help you in your speech
for more than you imagine. It is said that 'the eye is the
window to your heart'. So to close these two windows con-
stitutes a disadvantage in the effects of your speech.
Of course, a large rerson has more advantages than
a smaller person, especially in a big hall. When the plat-
form is large and the rostrum is large and microphones are
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standing on the rostrum, the small person becomes smaller and
shows little appeal to the audience.
People with a weak heart must be very careful. Too
much excitement must be avoided. The same care applies to
penple who have hi7,h blood pressure.
All in all, to have a healthy body is the first
condition to be fulfilled to make a good speech. It is impos-
sible to expect a good speech from an unhealthy body. But
there are times when a speech must be made despite the con-
dition of one's health. In such cases, every care must be
made to create optimum conditions under which the person is to
make his speech.
c. Voice and Language
Your voice is made when a small amount of breath
comes through your throat and vibrates the vocal chord. This
voice is amplified in the hollow portion of your mouth and nose
and comes out through your lips. In other words, to speak
means to breathe. Now, in order to breathe properly you must
inhale and exhale properly. Therefore, when we talk of a
good voice we must consider this breathing method. That is,
we must learn to take in as deep a breath as possible in the
most natural way. To do this we must try to take regular deep
breathing exercises.
We breathe with our breast, with our shoulders and
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with our stomach. And to go a step further we our also
breathing through our skin pores. Among all these breath-
ing methods the one that allows us to take the deepest breath
is the breathing using the stomach and coving the diaphragm.
This is the reason why we should try to do take regular exer-
cises in this deep breathing. Thece is no difficulty in
doing this at all. All you have to do is practice breathing
with your stomach as you were probably taught in school.
Practice moving your diaphragm and by doing so you can
strengthen is. With this practice you will be able to take
in deep breaths very effectively. Doing this exercise morn-
ing and evening is not only good for your health but good
for your voice. So we encourage you to keep it up if you
wish to improve your speech.
Nmal as we have been saying, to make a sound means
the same thing as to exhale. Therefore it is very important
to use your breath sparingly when speaking. Almost all
people have the habit of using too much breath for the first
few woris. So the best thing is to be careful not to do so.
Probably another thing that is still more important is to
utilize hundred per cent the resonance effect of the mouth
and the nose and to develop a beautiful resounding voice.
Recently the microphone has come into use and this
has made the old-fashioned training of the voice for a great
crowd quite unnecessary. Yet, even before the microphone, a
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clear resounding voice has the best effect. It may be a good
idea to train yourself a little in singing. This may help
you a great deal.
To have a beautiful voice is a definite advantage
when making a speech. But from =any experiences in the past
we have seen that people who have beautiful vbices are liable
to rely too much on their voice and too little on sincerity.
Such a person must take extra care to avoid such mistakes,
while on the other hand do all he can to develop his beauti-
ful voice further.
In contrast to this we see many people having a
very hard time and worrying about their poor voices. But
we must remember that anyone can, by training, develop his own
characteristic voice and make it sound attractive. By practi-
cing deep breathing daily, by training yourself to place as
little stress on the vocal chord as possible and still more
by using your whole body as an instrument of resonance and
getting to know the knack of making the entire hall resound,
you will then have a very attractive voice.
The next problem will be about the language. Since
a speech is not a singing recital, it is very important to
concentrate much attention on the language usage.
There may be infinite problems related with the
use of our language, but in this section we will limit our-
selves to language usage only in relation to speech.
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The first thing to be noted is to try to use the
standard language.
Secondly, since the speaking language depends entire-
ly on sound to convey the meaning of a word to the listener,
it is very important to use understandable words and to avoid
words that have the same sound and may be misleading. Of
course, in our language it is possible to discern words that
sound the same from the context of the sentence. In any case
you must be very careful in using such words.
To give an example there are probably more than ten
words that have the same pronunciation tSEIKO....(success,
steel manufacture, elaborate, crude, work in fine weather,
pure and dignified, etc ) When you refer to any of these
words in speaking you should try to say the same thing in
easier terms, but again there are words that can be understood
clearly from the context. All in all, you must never forget
that the listeners have only their ears to discern what you
are saying, so therefore you must be careful in the words
you Use.
Thirdly, you must avoid using terms that can be
understood only by a certain limited number of people. For
instance you cannot expect the housewives in your audience to
understand you when you say, "Comrade So-and-So is uncompro-
misingly steeped in the principles of indoctrination, and
hence his tendencies into radicalism...." It is quite clear
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that instead of using these difficult Marxist terms and
foreign words you should try to use words more familiar to
the common people. You should try to use words that are used
daily and also to explain the difficult terms with factual
examples.
Fourthly, your language should not be too rough nor
too polite. Try to set your standard at the level of the
common daily language of the common people, using the standard
language with a correct pronunciation and understandable words
"As round eggs can be cut into squares, so one same thing can
be said with an edge." 'This old saying tells us that one
misuse of a word may irritate some people, bring grief to some
people, and even cause mirth in others. This means that we
should use our very best common sense and be careful to use
words that will convince everybody.
Finally, above all, you must be sincere in what
you are saying. No matter how nice the speech may be, how
well it is delivered, how beautiful your voice may be, and
how well it may be understood, if there is no sincerity in the
way you give it, the words are as good as dead.
On the other hand, if you can show that you honestly
mean what you are saving, then no matter how simple your words
may be, they will touch the listeners' soul. It is amazing
how sensitive the listeners are in detecting whether there is
this honestry in the speech or not from the words that flow
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that instead of using these difficult Marxist terms and
foreign words you should try to use words more familiar to
the common people. You should try to use words that are used
daily and also to explain the difficult terms with factual
examples.
Fourthly, your language should not be too rough nor
too polite. Try to set your standard at the level of the
common daily language of the common people, using the standard
language with a correct pronunciation and understandable words.
"As round eggs can be cut into squares, so one same thing can
be said with an edge." This old saying tells us that one
misuse of a word may irritate some people, bring grief to some
people, and even cause mirth in others. This means that we
should use our very best common sense and be careful to use
words that will convince everybody.
Finally, above all, you must be sincere in what
you are saying. No matter how nice the speech may be, how
well it is delivered, how beautiful your voice may be, and
how well it may be understood, if there is no sincerity in the
way you give it, the words are as good as dead.
On the other hand, if you can show that you honestly
mean what you are saving, then no matter how simple your words
may be, they will touch the listeners' soul. It is amazing
how sensitive the listeners are in detecting whether there is
this honestry in the speech or not from the words that flow
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out of the speaker's mouth. When we think of this we know
that the spirit that should underly all our speeches is none
other than sincerity.
d. Attitude and Gesture
A good listener is said to be able to appraise a
speaker by the way he carries himself onto an the platfoom, by
the time he has lifted his face to utter the first word of the
speech. This shows how important the attitude of the speaker
is even before he actually utters a word.
If the speaker has self-confidence in what he has
to say and is enthusiastic about the speech, then there can
be seen an inexplicable nuance of this confidence in his
eyes and in his face and in his whole attitude. Most
listeners are 'sensitive to this.
In the past, speakers were expected to appear on
the platform with a pompous attitude. Today, this is not so.
But, of course, this does not mean that one is allowed to be
indiscreet.
In many cases we may not be able to wear nice
clothes, but the important thing is not expensive clothes as
much as clean simple clothes and a warm attitude.
In many cases we are apt to turn our eyes away
from the audience when making the speech, down to our
manuscript:ot just down. We must somehow force ourselves
out of this bad habit and learn to look into the faces of
the audience. Of course, it is not necessary to throw back
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your shoulders and strike an attitude, but to produce a
better voice and also to relieve your vocal chords from any
unnecessary tension you must avoid stooping over. When you
are in a position in which your two arms are carrying most
of your weight leaning heavily on the rostrum, it will not
be good for your breathing and furthermore, this position
will restrict your gestures.
The best way to carry your body in delivering a
good speech is to stand with your feet slightly apart, per-
haps with one foot placed a little forward than the other.
Set your hips straight on your legs and take an attitude
similar to 'parade rest'. When you are speaking always be
careful to keep your weight on your feet and not to lean
forward - this will make you look down and take your eyes
away from the audience. Also leaning forward will put that
much strain into your posture and tire you. When you are
planning to make a speech of more than thirty minutes you
must be careful about this habit, too. Furthermore, today
the microphone has become very popular and in most cases one
is found standing on the platform. The contrast will not be
too good when the speaker is bending forward like a bent nail
whereas the microphone is bolt straight. This slightly stoop-
ing posture will make you use more energy in adjusting your
voice. All these things point to the fact that you must learn
to stand with the right posture in making your speech.
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Next, about your gestures. Gestures have never been stipu-
lated as a rule in speech making. They should come naturally.
Through training them the natural movements of your body can
be transformed into something appealing.
Some people do not use their left hand or arm.
When this reaches the extreme, they even lead people to believe
that gestures are meant only for the right arm, and we see
people waving their right arms around most unnaturally;
Gestures' of the whole body are something that will
help in the expression of words. They may be used to empha-
size certain points. In any case they should come naturally
from the speaker himself and should express his awn chara-
cteristics. People's gestures should not be imitated, but odd
mannerisms in your own gestures should be corrected by all
means. To make your head, hands and arms, shoulders, and
your legs hetp express your thoughts in words, freely and
without giving other people a sense of peculiarity, takes
a lot of training.
Therefore our best advice is to tell you not to go
to any length trying to develop gestures that really do not
belong to yourself. If they come naturally then it is
alright. Be careful to develop such natural gestures so
that they will grow to be one of your valuable assets. This
can be done only after you have given careful thought to
the many practices you might experience.
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e. EYes and Ears
Where to rest your eyes on when you stand in front
of a great audience is a problem. Try to remember that the
most natural way to settle ybur eyes is to face the audience
straight and keep your eyes a little above the middle of
the crowd. Do not look around too much, but remember that
it is also important tb always keep in touch with the people
in the audience to your right and left or directly in front
and way above.
As a rule the speaker should not take his eyes
off his audience. Reading the manuscript, then, becomes a
great disadvantage. Even when you reach out for your water,
you should try to find the glass with your hand and drink
the water without moving your eyes away from the audience.
In other words, we understand the speech to bd a
communication of human emotions of the speaker and of the
listeners through words, and that the eyes take on a very
important role in this communication. The speaker should
constantly be aware of the listener's attitude, while the
listener should watch the movements of the speaker's eyes
and try to understand the thoughts and passions, the depth
and the strength, through them. Looking at this in a very
severe way, we can say that a speech is like a serious duel.
One wink of the eye may lead to your own death, or again
could give you an unexpected opportunity.
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When you get used to speaking, you will gradually
be able to read the expressions in the faces of the members
of the audience. Then you can tell whether you should drop
your voice and speak quietly or raise your voice and go on
in an emphatic way, or again talk slowly or quickly, or
make the audience laugh or make them thnse. When you can
read the expressions on the faces of your listeners you
will be able to make the above decisions reflectively.
Along with the eyes, the ears also play a very
important role. You should be able to tell how far your
voice is reaching, whether your voice is just right for the
microphone or not, or again whether it is too loud or not.
You must be able to detect all these things for yourself and
at the same time be able to listen to the hum of voices,
the sighs, the clapping of hands, the cheerings, and the
laughs in the crowd. You must be able to catch these
expressions very quickly and be able to react to them effect-
ively.
All in all, a speech is not merely moving your
mouth and saying something. You must alert all the nerves
in your body and call forth their cooperation. When we
are speaking to one person we use our senses actively and
respond to the other person's reactions. In a speech we are
actually facing hundreds and sometimes even thousands of
people. Wouldn't you think it natural that that much more
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4
physical energy would be used and that that much more nerves
before such great crowds should be strained?
By now it should be obvious what we mean when we
say that a epeech is like a serious duel. There never can
be too much preparation, and enough training is never
really enough. Don't you think it would be a good idea to
form small groups that can get together and listen to each
other's speeches, encourage each other, and criticize each
other for constant improvement in the future?
f. The Microphone and Tape-recorder
Now, let us go into a brief explanation of the
4
4 microphone and the tape-recorder. (Further detail will be
given in the section 'Amplifier and Tape-recorder'.) Here
we will give only a few hints in connection with giving a
speech.
Today, hall with fairly large audience capacities
usually are equiped with public address systems, but there
seems to be very few people who can really use the micro-
phone properly. We will, therefore, begin with general
remarks.
First, all microphones have a directional nature,
which means that outside of A certain angle your voice will
not enter the microphone.
Secondly, the microphone receives only a limited
pitch and volume. Voices that range beyond this limit cannot
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be amplified adequately and will rather tend to become
bothersome noises, and there is nothing more trying for
the listener.
Thirdly, there are various types of microphones,
good and bad. Each type of microphone has its own special
range. You should know the differences in order get the
best results. Don't presume that you know all about micro-
phones, but go to someone and ask him precisely what you
should do to get the best results from the microphone you
are supposed to use for the speech.
You should also train your ears to detect, when
you utter your first few words, how far the voice is reach-
ing out into the audience. This may, at first, be a little
difficult, but if you have a good ear and at the same time
if you watch carefully for any reactions in the audience
you will be able to tell quite accurately how far your
voice has reached. By all means, train yourself in this
detection.
Any noise other than your words coming out of
the microphone is an utter nuisance. Don't make any noise
yourself on the table where the microphone stands. Avoid
holding and kicking the microphone. Remember to speak into
the microphone from the right distance.
Now, next about the tape-recorder. There still
seems to be a lot to be learnt in the use of this very
convenient instrument.
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When you have to make the same announcements
in several different places, the best thing to do is to
have the announcements recorddd in a man's voice and a
woman's voice over and over again. The best portion in
this recording should be picked out and used for the
announcements. By doing so you can save a lot of trouble
and be very efficient. Yet even this much evidently is not
being done very properly.
You can use the tape-recorder for speech practice
too. For instande, go over your speech four or five times
and then make a recording. Go over the speech again five
or six times and then make the second recording. After
another series of practices make your third recording and
listen to all three of them, making comparisons. You can
also go further by picking out the best parts. from the
three recordings and arranging them into one speech.
Listening to this edited speech of yours, you may even be
surprised at how well your own speech sounds. This may
encourage you and become a standard for you and help in
further improvements.
Of course, there can be a more scientific approach
to your speech. Use a stop-watch and see how long it takes
to say certain phrases and how long some of the pauses
are. Time some of the phrases while you read them quickly
and also while reading them slowly. Carefully note down
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all these timings and variations and after going over it
two or three times build your speech up in a strictly
scientific way.
This method can be used not only for pacing your
speech, but for emphasis and intonation in your speech. In
either case, to use the tape-recorder in this way will
undoubtedly hep you greatly to understand the defects in
your speech and to set a standard for your speech.
Another good idea is to have a group of people
listen to your speechtirrorgh the recording. Criticising
the recording sometimes does not bother the speaker so
much because he can listen to it somewhat more objectively
himself. Try to keep a reserve of reels and through this
training with the tape-recorder, let us do our best to reform
the old-fashioned speeches into more modern speeches.
Further effects of using the tape-recorder can
be seen when.a person who has trained himself in this met-
hod makes a radio broadcast. It is surprising how self-
assured and confident you can be. Also when you stand in
front of an ordinary microphone you will have by this time
learned not just to roar into it.
There are still unexplored fields in the use of
the tape-recorder. We hope that originality and creativity
will produce further experiences in this field for the bet-
terment of our speech.
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6. About The Listeners
There can be no speech without an audience before
the speaker. Not only that, but with the development of the
microphone, we can today speak to thousands and sometimes
even tens of thousands of people at once. In such large
audiences there can be old and young, men and women, and
so the crowd is not necessarily limited to any one category
of people.
People who have just started out in making speeches
say that it scares them to speak before a large crowd.
There may be differences in atmosphere according to the mass
psychology of the crowd, but the difficulty in speaking
before a crowd does not come only from the size of the
audience. A more significant reason for this difficulty
may stem from the type of people who make up the audience,
such as, most of the people being young or perhaps middle-
aged, the majority being men or women, laborers, farmers,
merchants, intellectuals, br perhaps children. The dif-
ficulty in such cases stems from the fact that you will
have to center your speech around this particular class
of people and focus your speech to that point.
Formerly, people used to say to people who were
afraid of crowds, 'Don't think they are people. Consider
them as a bunch of pumpkins or something.' This is a
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pretty rough way to go around teaching speech. We cannot
afford to do such things today.
What is more important today is respecting your
audience and not feeling any inferiority. Whatever the
case may be, never look down upon your audience. You
need not be afraid of them', but be sure not to think that
the audience is just a stupid crowd. This misconception
may lead you into trouble. In an audience there most
probably will be someone or other who has deeper thoughts
or who may be more active in practice than the speaker
himself. Each face in the crowd may not look too impres-
sive individually, but the audience as a whole has a
tremendous strength. It is very important not to forget
this fr,.ct.
The audience will soon see through any unconvinc-
ing poses struck by the speaker. Half-hearted speeches
can never grasp the attention of the audience.
To speak for the betterment of the common people,
to draw out the discontent of the people in a concrete
form, and to organize the request of the people in a very
brilliant way - this is the kind of speech for which we
aspire.
To achieve this effect you must observe the
audience very carefully, you must analyze the audience,
organize it and decide precisely where you want to aim
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your speech. After doing this you must bravely, frankly,
and straightforwardly jump right into the crowd. You may
actually be standing on a platform, a little higher than
the audience, but this does not mean that you should feel
satisfied with this high position. You must try to deve-
lop your speech in harmony with the movement of the audience,
as a friend of the people. At the same time you should
not feel inferior to the crowd. Have confidence in the
realization that you are their friend. Speak in their
language and speak persuasively what you must say.
!Listen well and you speak well' means that if
you want to become a good speaker, you should always be
conscious of being one of the common people and to be in
with them and th listen to as many speeches as possible.
Repeating this, you will be able to grasp the psychology
of the crowd, not just theoretically, but through your
own experience. You will be able to see for yourself the
subtle nuances in their psychology. This will naturally
lead you to the best kind of speech.
Furthermore, by living in with the people you
will be able to observe and know very intimately their
clothes, attitudes and expressions. Keep piling these
experiences up and you will find yourself understanding the
feeling of the audience without much trouble. This is one
of the most important daily practices you should try to
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observe.
7. Consideration of Time And Place
a. The Relations Between Time and Place
So far we have been talking about meetings held
under most ordinary conditions. But recently there are
meetings held in the open. There are times you have to
make speeches on the street of in a small area where you
work. Sometime you might even have to stand in court.
There may also be some difference according to the season,
like spring, summer, fall, and winter, and even between
morning, afternoon and evening or night.
To make detailed remarks about each of these
cases would be almost impossible because of the infinite
differences in the outward conditions. So, here in this
book we will limit ourselves to the basic things to be
noted and things we come across frequently in our daily
life.
First, we shall talk about the question of time.
'Summer is warm, and winter is cold.' No one
has to be told this foreknown fact. And quite naturally
it is best to arrange any meeting during the summer to be
held in a cool place, and in winter to be held at a time
of the day that may not be too cold. Whether indoors or
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outdoors, you must have this most common fact in mind.
To open or close a window and, in case of a street meeting, .
to consider the direction of the wind are all done for the
sake of the audience. If the audience becomes bored mainly
because of the heat, or if they have to stand shivering in
the cold, it will most likely be impossible to get good
listening.
To make speeches in a loud annoying voice early
in the morning or again late in the night is something we
should know not to do as common sense.
Differences in weather and climate are great
between Hokkaido and Kagoshima. There are also different
customs according to the regions. These differences should
be carefully considered.
Next, let us take a look at speeches made out of
doors, expecially in the streets. Here we must be careful
about the following disadvantages.
First, the audience usually is not a stable crowd.
Secondly, there are constant bothering noises.
Thirdly, we never can tell when it might begin
to rain or blow, or when any other emergency may come up.
Fourthly, it is very possible that interference
(such as antagonists, police, or traffic, etc.) will come
In. From such circumstances, we know that it is impossible
to make long, complicated talks. We must try to make our
arguments short and precise and to speak clearly and _
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impressively. The thing is to impress the audience. The
speaker should stand on a box or something to make himself
seen, at least the upper half of his body, from the whole
crowd. The speaker's gestures should be more exaggerated
than the gestures he usually makes indoors. The voice
should be louder and in a higher pitch. This is only
natural in order to surmount all the hindrances and to
keep the attention of the crowd.
Even though the speaker may be very good and is
able to draw a large crowd, it is quite impossible to hold
that crowd longer than an hour. Physical conditions will
not allow this.
It is best not to let anyone stand behind the
speaker, It is not only very inconvenient for the speaker
to have someone listening behind him but is also liable
to cause trouble. If such places can be found, it is
best for the speaker to stand with a wall or a fence or
a small hill behind him.
When using the microphone, especially when the
microphone is a good one, be careful not to make it blare
out too loudly. It is far more effective to keep the volume
down so as to be just right for your crowd and in consider-
ation with the surroundings. A blaring microphone may
bring adverse reactions.
Even outdoors, there may be places like parks
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and squares where several hundred or a thousand persons
can gather for the purpose of listening to a speech.
Under such conditions it may be possible to settle down
and make a fairly long speech, but still it will be very
difficult to achieve the sort of intimate atmosphere that
you would be able to get in a hall.
In cases of large meetings such as those held
on May Day Eve, May Day, National Conventions or Comme-
morative Meetings where there will be huge crowds of
thousands and more, the conditions for the speakers are
just about the same as we have mentioned so far.
In regards to the microphone it must be said
that fast talking should be avoided. Each word must be
pronounced clearly and slowly and the speech itself should
be short and impressive. The microphone probably will be
turned up to its highest volume and, if so, unclear and
running pronunciations may all emerge as meaningless noise,
The larger the crowd is the more careful you
must be to remember this: If you talk into the microphone
as you would in a small meeting, then most likely your
voice will become all mixed up and the audience will not
be able to grasp a word of you are saying. Ordinarily
you may think it too slow, but under such conditions slow
speaking may not even be slow enough. Speak slowly and
clearly.
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In court or when you are standing in front of
a demonstrating group of people, that is, when there is
an audience behind you, you must be careful about your gesis
tures. In speaking, remember that the crowd is behind you
and try to make your voice bounce back from the wall in
front of you. Otherwise your speech will become very
weak.
Speeches made in the place where you work can
be made under numerous conditions. Since it is impossible
to touch on all these different conditions we will leave
it out.
Basically it is the one same thing: The impor-
tant thing is to take y-mr stand in the crowd, with the
crowd and for the crowd. Sacrifice yourself and cry out
for the people.
On the other hand, no matter how passionate you
may be, you must also be cool. You must do all you can
to consider the conditions of the place and the time best
suited for the people. Do not part from the people. It
is as clear as day that any speech made from a position
too fax above the common people will result in a tragic
failure.
b. Response And Jeers
?
Applause and jeers, along with cheers and
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murmurings, are all responses and expressions of the
audience. The speaker should in his turn catch on sensi-
tively to these expressions and react to them effectively.
In Japan, since the history of speech itself is
so short, manners in clapping hands and jeering are not
as refined as in foreign countries. Yet, if we listen
carefully we can distinguish these expressions from the
applause.
1. expressing agreement
2. expressing an urge
3. expressing a demand to stop
Lf. expressing i interference
5. expressing deep admiration
6. expressing perfunctory gratitude
The speaker and the chairman should be able to understand
these differences.
Whatever the case may be, during the applause,
the speakerrs voice cannot be heard. Here the speaker
should pause for a while and after asking the crowd to
quiet down by some gesture (raising your hand as to stop
something is most common), go an with the speech.
When you find that the crowd wants you to stop
or is interfering with the speech you must quickly grasp
the cause of this discontent and do something about it.
If you try to force ybur speech through without really
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having that much ability, the meeting is apt to end up
In great confusion,
If you think you have the ability and are confident,
you can tell the crowd this, 'There seems to be many among
you who disagree or are not satisfied with what I have
been trying to tell you. But please bear with me for a
little while longer. From what I have said so far it may
be difficult to understand what I really want to say
And after saying this much you can go on to tell them your
honest opinion undauntedly.
When you know that the applause is an expression
of agreement and appreciation you should respond with at
least a smile, although it is unnecessary to bow.
After all, the speaker should by all means try
to react positively to the responses the audience makes.
This will certainly be a great help in heightening the sense
of unity and will further the smooth communication of
intimacy. By all means try not to let the audiences' res-
ponse go by without any reaction on the speaker's part.
Next, let us talk about the jeers. Here again
we can divide them into the following different expres-
sions. Probably the most convenient distinction is:
1. jeers expressing disagreement
2. jeers expressing incomprehension
3. jeers that are nothing but a lot of hot air
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4? jeers meant for interference which can
be done individually and in union.
The speakers now have a microphone on their side
while the people who jeer do not. So actually it is best,
especially for speakers who are not used to jeering, to
go right ahead with their speeches ignoring the jeers. But
in case you do not have a microphone and the jeering can
be heard just as loud as your speech then you should say,
'Wait! I think I can answer that ' or, 'Exactly! Why
you have to say such things is itself the main problem....'
of, 'All right! Let us take a look at what you are saying..
..e. ' Of course, you do not have to say the same thing,
but the important thing is to restrain the excited feeling
and at the same time to change your own strategy.
Formerly, there were people who would stand up
in their awn seats and begin their ywn speeches, but
recently this kind of thing has become very rare.
No jeering will last longer than thirty seconds.
Most of them will stop in about ten seconds. During this
short time the speaker should wait patiently and listen
to what the person is trying to say. If you can stand
there without becoming confused and flurried then it is
quite impossible for the jeerers to upset you.
Unless you have a very good and loud voice or
the microphone is in extremely good condition, you should
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not try to bear down and talk over the jeering. If you
make the audience feel that you are being pushed by the
jeering then you have lost the battle in speech. Try to
hold your composure all the time and rout the jeering.
When you are not too sure about yourself in
the face of jeering, you must be caceful from the begin-
ning not to let the crowd jeer you while even if they do,
you should try to let it pass by. Above anything else
finish your speech before this interference comes in.
The best way to understand how to conquer any
type of jeering is not by logic, but by going to a meet-
ing and doing some jeering yourself.
c. Emergencies and Interference
The hall may suddenly be thrown intb_darkness
because of an electricity accident, or the microphone may
stop functioning, or some part of the hall may fall, and
a commotion may arise. Such emergencies may arise. At
the same time in all cases you must be prepared for some
kind of interference from your adversaries.
When there are such emergencies or interference,
the most important thing is for the speaker to stay com-
posed. You should not be confused and become excited.
Try to stay as cool as possible and think how you calm the
listeners. Of course, at the same time something should
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be done about the accident.
Here is an interesting episode about an emer-
gency in England. A lady, who was apparently a member
of Parliament, was making a speech when someone of the
opposition party shouted, 'Fire! Fire!' The hall was
thrown into a turmoil, but the speaker perceived this to
be a false alarm and, in a very composed voice, started to
sing, 'God save our gracious King 17 the national
anthem. This calmed the audience down and she continued
her speech.
In short, when you are standing on the platform,
all the eyes of the audience are on you and so when there
is any interference by adversaries the thing you must do
is to get those ayes back to you as soon as possible and
then act in the most sensible way.
The most important thing to remember when speak-
ing to a large crowd is to have a firm hold on the people
and to keep them in order. This is the first step to the
prevention of any type of emergency or accidents among
the people. During the time of the meeting the speaker
should consider his life to be in the good hands of the
audience, but at the same time he should also be conscious
of the fact that the lives of the people in the audience
are in his responsible hands. This realization is very
importantt.
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be done about the accident.
Here is an interesting episode about an emer-
gency in England. A lady, who was apparently a member
of Parliament, was making a speech when someone of the
opposition party shouted, 'Fire! Fire!' The hall was
thrown into a turmoil, but the speaker perceived this to
be a false alarm and, in a very composed voice, started to
sing, 'God save our gracious King the national
anthem. This calmed the audience down and she continued
her speech.
In short, when you are standing on the platform,
all the eyes of the audience are on you and so when there
is any interference by adversaries the thing you must do
is to get those ayes back to you as soon as possible and
then act in the most sensible way.
The most important thing to remember when speak-
ing to a large crowd is to have a firm hold on the people
and to keep them in order. This is the first step to the
prevention of any type of emergency or accidents among ,
the people. During the time of the meeting the speaker
should consider his life to be in the good hands of the
audience, but at the same time he should also be conscious
of the fact that the lives of the people in the audience
are in his responsible hands. This realization is very
importantt.
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Not all people can chance on an emergency and
face up with it squarely. They learn how to handle these
difficulties through experience and failures. But what
is really important is being constantly alert.
If we realize that our first duty is to serve
the common people, then it would be impossible to run
away in the face of an emergency for the sake of saving
our own lives. It is only from one's willingness to take
such a disadvantage and t6 sacrifice oneself that a sublime
spirit to lead the common people arises. You may think
yourself to be awfully superior and 'big', but if it is
nothing sincere, the thin veneer will soon wear off in the
face of a sudden emergency.
Let us assume that there were a fire in the hall
where you are making your speech. Unless you are prepared
to tell the people in the crowd very clearly and with
composure the safest way out, and you yourself are prepared
to stay in the hall to the very last to see that all the
people have left the place safely, then you are not qua-
lified to be a speaker.
But, on the other hand, it is more important to
make thorough preparations in connection with the hall so
that such emergencies will not occur. These preparations
must be made before the meeting is held and greatest care
should be given in going over all the details. Of course,
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the main responsibility for all this preparation should be.
taken by the sponsors, but the speaker also should always
be aware of what is going on in the hall, and make sure
how he Should go around in preventing any emergencies.
d. Humor and Wit
The string of a bow, if always kept too tightly
strung will, because of the conkant tension, become
slack." The same can be said of man's nerves. If you
keep them in a tight and attentive condition for too long
a time, they are apt to become tired and slack.
In a meeting where there are to be many speakers,
you may be alloted thirty minutes for your speech, but you
must remember that the audience has been listening to other
speakers for perhaps an hour before or even two to three
hours continuously.
It becomes very important to break the tension in
the audience somewhere. And it is here where humor and
wit come in.
A forced laugh will probably only irritate the
people, but elegant humor, witty remarks, and smooth
satire are usually very agreeable.
To laugh is a comfort to man and a very healthy
release. But then how can this laugh be made?
A laugh can be produced when certain rules are
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applied wisely.
The first key is association. Here are some
examples.
'When the Yoshida "Tosa dog" Cabinet tumbled,
and the Hatoyama "Dove" Cabinet arose, the majority of
the people thought that perhaps the dove would be a little
more peaceful than the dog. This was the beginning of a
mistake. Of course, it is only natural to think that a
dove is quieter than a dog, but the trouble was that the
dove of Hatoyama was not the "peace dove" drawn by
Picasso. This Hatoyama dove was nothing but a carrier
pigeon dispatched by the United States Forces.'
Now, this is a satire based on an association
with the dove (which word appears in Hatoyama's name).
It is not too good an example, but in this way you can
refer to animals to help arouse some kind of an associa-
tion. You can usually cause laughter with this key.
The next key is a play on words.
'I believe that the words used for the present
JIYU MINSHU PARTY (Liberal Democratic Party) are wrong.
It should be "self-playing" (JIYU) and "sleepy-wine"
(MINSHU) party. I really can't think of any other better
word.'
This type of play on words can be applied to
practically anything. But at the same time you should be
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careful because unless the pun is very good the audience
is apt to jeer you down shouting "poor pun!" You must be
sure to use only bright puns.
The third key is to resolve a statement of
seemingly contradictory remarks into one final object.
For instance, 'The buildings of the Tokyo Metropolitan
Government, The National Defense Board, and the Ministry
of Agriculture and Forestry are all new and very much
after the western style, but if you ask me they are
actually no better than the TATAMI mats of a poor tene-
ment house the more you bat them the more dust comes
out.'
The fourth key is to point out serious contra-
dictions. 'The Hat oyama government, when it came into
power, promised an early restoration of relations with
Soviet Russia. Consequently, if they could succeed in
restoring normal relations between Japan and the Soviet
UnionlAdagy would have been accused of breaking a promise.
Then, of course, they would have had to give up their
cabinet. But on the other hand John Foster Dulles tells
them not to open up relations with the Soviet. If this
government loses Dulles' support, it will be just like
taking Shigemitsu's crutches away - the cabinet would
have nothing to do but collapse. They are in a very
similar position s Shigemori of the Taira clan was because
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if they wish to be faithful to the United States then they
cannot be loyal to the people of Japan. If they wish
to be loyal to the people of Japan, then they apparently
cannot be faithful to the United States. Now the time
has come where we must watch to see whether the "HATO" ?
(dove) will give up or whether the people will cry, "so
what (so wat...so viet) did I tell you!" Either way this
cabinet doesn't seem to have too. long a life.'
Now, beyond these four keys there are two or
three more complicated and professional ways of making
people laugh. But our purpose here is not so much to
tell you any superb way of making people laugh as to call
your attention to some ways of relieving the tension in
the crowd who may be getting tired after listening for a
long time.
There is no way to give really adequate instances
of wit. Wit has to come spontaneously. It has to flow
from the mouth of the speaker fluently and in response to
the subtle changes and expressions of the audience.
You have to be careful all the time in order to catch
this subtle movement in the crowd. You will have to be
very sensitive. You will also have to be very alert.
Try to read thedaily papers, listen to the radio, note
the conversations on the street, and observe the opinions
expressed at public meetings.
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e. Debate Meetings
Recently, debate meetings have come to be held
very f?equently. A debate is not as simple as a public
speech.
First, you must find out before-hand as much as
you can about the opponent. You will have to base your
arguments and strategy upon the knowledge you have of this
opponent. Of course, you must make sure what the aim of
the debate will be by asking the sponsor of the meeting.
Second, you must know what kind of people will
be gathering to hear the debate.
Third, you must be sure of just how much you
can say within the time given you. You will have to
prepare arguments to back up your initial argument.
These and other important points related to the sub-
ject should be written down carefully in notes.
Fourth, listen very carefully to what your
adversary has to say and do not forget to take notes of
his main points.
Fifth, try to make as wide and careful a sur-
vey as possible to see what the general public thinks
about the particular subject in question.
Sixthly, the debate should be conducted calmly
and politely, and you shOuld try not to become emotional.
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All in all, the final decision of a debate
must be made by the audience and so you should be care-
ful not to become absorbed in efforts to subdue your
adversary. The important thing is to proceed with your
debate with the idea of convincing as many people as
possible in the crowd. No matter how rough your adversary
may be in presenting his arguments, do not fall tit for
tat. You should be calm and logical, and you should
try to present your argument with the purpose of proving
to the people how right it is. In a debate the one who
becomes excited and emotional is the loser.
At the same time you should be very careful
about the time limit you have to present your argument.
If you insensitively go right on talking into the time
allottJd for other people, it will be very difficult for
you to win the sympathy of the people. The time may be
limited, but it is entirely up to you to present your
argument Eall tnfute your opponent within this given time.
Since doing so much is the true purpose of a debate meet-
ing, you should do your best to practice for it.
8. What The Chairman Should Know
We have written about the chairman of a mass
meeting in the next section, so in this section we shall
confine ourselves to pointing out a few important things
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that the chairman of a speech meeting should bear in mind.
In speech meetings of the past, the chairman
seemed merely to be the person who saw to the smooth
management of the meeting or the person who introduced
the speakers. There should be more for him to do.
The chairman is the person who presides over
the entire meeting. He should see that tie meeting pro-
ceed b Smoothly and to achieve this, he should be very
careful in all details. He should make all efforts to
unburden the speaker from any unnecessary encumbrances
and atthe same time to make conditions favorable for the
listeners. In other words he must take on all responsi-
bilities for the management and functioning of the meet-
ing. In face of an emergency, the chairman should help
the speaker in finding temporary measures to bring safety.
The chairman should first know very well what the
purpose of the meeting is. He must know as much as he
can about the kind of people who are expected to come
to the meeting. -He should also know accurately about
the background of the speaker, about his facilities and
his characteristics. After all this information, he
should keep in touch with the prompter and mind the time
and preside over the meeting.
Expecially, in a public speech meeting where
several speakers may come up on the platform, the chair-
man is, from begining to end, the one man presiding
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through the entire meeting. .Consequently, he must be
the person who grasps the feeling of the people in the
audience.
The chairman need not say too much, but he must
show enough sincerity to win the confidence of the people.
Ee shouE,A do all he can to improve the atmos-
phere of the meeting. To do this he must keep close
contact with all the other people in charge of different
things in the hall. He should see to it that all the
seats are taken care of. He must, worry about the ven-
tilation and the microphone, and keep an eye on all the
people who come in or go out of the hall. In this way
he should try to keep the hall always in optimum condi-
tion and thus leave it to the speaker to do his best.
At the same time, when one of the speakers is
making his speech the chairman should see that the next
speaker is ready and that the program is all going well.
He should constantly be thinking about the best effect
in carrying on with the meeting and accordingly should
make most careful preparations. These preparations must
be carried out.
There are many speech meetings where the chair-
man presides merely as a symbol. The lighting ma be
too dark and the faces of the speakers difficult to see,
or the people coming in and going out may be very noisy,
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yet the chairman just sits there and says nothing. Such
examples are not infrequent, but of course such a person
cannot be considered a true chairman.
If the chairman comes to have more authority,
he should be able to change the positions of some of the
speakers. For instance, if one speaker makes a very
serious speech, a speaker in a lighter vein could be
brought in to relieve the tension, or after a man, a
woman speaker could be placed. This type of shifting
should be possible for good effects.
When the chairman thinks it to be most effec-
tive, he should order a recess in the program, or order
a rearrangement of the seating, or again he could take
time out for lighting and ventilation.
Having considered the duties of the chairman
thus far, it becomes quite apparent that it has been a
great mistake to consider tie duty of the chairman to be
merely introducing the subjects and the names of the
speakers. The responsibility of a chairman is very
great. And the authority of a chairman becomes higher
as he gradually shows ability to handle his responsibility
successfully.
This is the reason why the chairman should
know all about the hall where the meeting is to be held.
He should make a careful investigation and be sure that
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every thing in the hall is in its right situation and
condition - the entrances, corridors, toilets, waiting
rooms, balconies, upper floors, ground floor and then the
lighting, the source of the incoming electricity, the
curtains, and the emergency exits. All of these places
should be gone over. Unless he is quite sure about all
these things, it will be very difficult for him to coope-
rate with the speakernin handling any emergency.
The speaker, when he is on the platform can
help in an emergency, but when he has to go around to
some other meeting he will not be able to stay at one
particular meeting from beginning to end and consequently
will be unable to assume full responsibility. On the
other hand, the chairman is the one who presides all
through the one meeting and he is the one who must
assume the responsibility.
Such things as giving the audience infor-
mation(about no smoking, or the toilet, or about eating
in the hall), or as relieving the crowd by making some
witty remarks when too much tension is built up, or
again conversely, when the crowd seems to be too noisy
to bring it under control, or when introducing the
speaker, instuad of just giving his name, to tell the
audience a little about his background, characteristics
and books he has written - all these things fall under
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the responsibility of the chairman.
Many people know from experience how com-
fortable it is for the speaker to speak and how pleasant
it is for the listeners to listen when a meeting is
presided over by a good chairman.
In the future we must endeavor with the cooper-
ation of all to educate good chairmans. If we just
leave the matter to take its own course, it will be
impossible to create a good and effective speech meeting.
People who aspire to become speakers must seek
opportunities for becoming chairmans and gain actual
experience. These experiences are sure to be a great
help to you in the future.
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THE ROLE OF THE POSTER AND HOW TO MAKE THEM
1. The Role Of The Poster
The role of the poster and its importance can
never be over emphasized. An attractive and friendly
poster has much influence upon the people. When we think
how the poster helps in furthering our activities, how
it appeals to the people and makes them think and act,
then we cannot possibly say that posters are useless.
Everyday we look at numerous posters on the
street corners, in street-cars or in buildings. Most of
these posters use pictures, photographs, designs and
cartoons, while there some that have only words.
Some posters are in one color while there are lavish ones
of many colors. When we also consider the size and the
kind of paper used we can see that there are a large
variety of posters.
Primarily, the object of posters is to adver-
tise commercial goods, to announce public events or to
tell of elections and other movements. When we look at
these different types of posters, we recognize that all
much
of them have this/in common g they present to the fore-
most the one matter they want to publicize and all pains
are taken to draw the attention of the people.
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When we consider the poster, we should also
place our aims along this line. The poster is referred
to by some as 'a telegram in picture and word.' It
should waste no words and it should attract the atten-
tion of the people. Not only should it tell one par-
ticular thing but it should also be so effective that
it will remain in the memory of the persons who see it.
This is why we must study the poster. Firtt, we shall
reconsider our attitude towards posters. After that
let us go on to how to make posters, how to use them
and on to the experiences of various activities related
to the poster.
2. Understanding The Poster
In the past we have always been too eager to
make posters and post them around whenever an occasion
arose. We would tell ourselves that each single poster
was helping the revolution. Believing this, we would go
around with a buckets of paste in our hands after our
daily work. We did not mind our physical weariness nor
the fact that we had to work during the night. We were just
eager to get the posters posted. Sometimes posting
posters itself got to be a very important part of our
organizational work. This kind of activity had its
merit.
But recently there are trends to ignore the
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relationship between the poster bf handbill and the
common people. People are beginning to say that in the
past we have been working too much with the walls and
fences, atid they insist that we start working with the
common people and try to further our ties with them.
Of course what these people are saying has
merit, especially insofar as it points oUt the defects
of the narrow-sighted activities of the past. But when
we give this matter further thought, we can see that
both merits are only one-sided. If we look at only one
side of the matter and refuse to admit the ugly part of
the other side, we will not be able to strengthen our
activities.
In order to strengthen our ties with the com-
mon people, we must be able to convince and mobilize
them. We firmly believe that history is made only by
the common working people who are doing the productive
work. We must learn from the experiences and the
creativity of these people. We should be able to
organize what we have learnt and to return it in this
organized form to the people again. These activities
will not only raise the common people but will also
serve to raise ourselves. Thus we will be able to
grasp the common people by thought.
We cannot forget for a moment that or duty
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is to seek direct tles withthe people and to have per-
sonal talks with them. But this alone is not sufficient.
There is a limit to the limit of work one person can do
in trying to make these personal contacts. Our activities
will become narrow and limited if we rely only on this
method.
So it becomes very important to make indirect
contacts with the people. This is the reason why
various surveys have been made to find effective ways
to increase our ties with the people, and this is why
propaganda methods are being studied. When we think of
the great current of mess communication being turned
out by our enemies, we must use the most effective
type of propaganda appropriate to the time and place.
At the same time we will have to grasp accurately their
objectives in infiltrating into the minds while also
grasping the true thinking of the people. All this
must be done by watching carefully theirs and our
own propaganda.
It must be apparent now that the poster is
a very important weapon inxhieving closer ties with
the people
a. Posters That Have Taste
Recently, commercial art has developed remark-
ably. Studies in propaganda art have also been extended.
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We must learn frolv all of these studies.
Yet we must not forget that our posters always
have to exemplify the proletariat spirit, that there
must be a flow of the common people',,, blood in its
expressions. Our posters have to stand with the people.
They have to fulfill a role in the betterment of the
people. In other words, our posters have to say what ,
the people want to say. They must be able to express
what the people want, from the standpoint of the people.
Therefore, we want to make something that will make
everybody say, 'Yet, this poster is different from an
ordinary commercial poster. It is the kind of poster
that we want.' We do not want poste's that are flashy
or eccentric. We do not want any that cannot be under-
stood. What we want are posters that are bright, strong
and fliendly. It is important that they be clear and
clean.
b. The People's Words, The People's Desires
Recently we see many posters that have slogans
in them or posters with slogans only. These slogans,
if you wish, are the voices of the people. They should
be words to which the people can say, 'That's right!
I agree!'
But there are times when we come upon posters
that tell downright, in a commanding way, what should
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be done - the kind in which the leaders are telling
the people what they should do. There are also some
posters that are abviously self-conceited. Such
slogans will tend to repulse the people. They will
just look at them and say, 'Alright you do what you
want, but do not expect us to come along.'
This is a problem of our mind. Our slogans
must show that we are willing to suffer with the
people, to struggle and fight and be happy with the
people. Let us not be fancy with our words, but use
the common living language of the people. The slogan
will lose half of its effectiveness if we worry too
much about the rhetoric, if we play too much with
the words and clutter up our simple purpose. The
phrases should be short and clear, so that they can be
read at one glanc:e. If possible the words should
have rhythm.
When a series of small slogan posters are
used as a set, the entire meaning is clear when they
are posted in order. But we must be careful to see
that each individual poster has a clear meaning in
order to prevent confusion and misunderstanding.
c. Well Designed Posters
We often see on the walls of farm houses
pictures taken from magazines and calendars. Such
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pictures can be seen in other places, too. Even in the
city, in dormitories and in boarding houses, we can see
graphic pictures from magazines cut out and tacked on
the walls. This is proof that the working people are
locking for pictures of high artistic value. It is
an expression of a very strong cultural desire. So you
can see that we should try to make posters not only for
political purposes but with a deep interest in art, and
distribute them to the public. From past experiences
we know that, even for political posters, fine posters
showing the party spirit and exemplifying artistic work
in a true sense are wanted by the people. We must have
the cooperation of artists in our work. If possible,
we should make, in this way, posters that people would
even want to buy.
d. Posters, A Publication
A good poster should be something that people
would want to buy with money. In our organization and
in other democratic groups, we have been publishing
posters financed by ourselves. We even distributed
them free. This practice has actually encouraged the
idea of considering posters as something cheap. The
tendency to use posters as waste paper still pervades.
To eliminate this habit we should establish
the habit of selling posters unless it is a special
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occasion for free posters. In the foreign Communist
Parties the posters are printei by the publication
section of the party and are sold. They are even sold
through book stores. They consider the poster as a
publication. We think that this is a very good thing
in uniting the work of propaganda, finance and organi-
zation smoothly.
3. Notes On Making And Distributing Posters
a. Effective Posters
The posters(handbills, also) should have a
very clear central idea. You cannot possibly put
everything into one small poster. Expecially when we
realize that a poster appeals to the senses, we should
bear this point in mind.
When we walk down the street we can see all
over the place all sorts of posters advertising and
announcing things. But is would be fair to say that
almost all of these advertisements and announcements
do not impress the people enough to linger in their
memory. There are also many that are difficult to
understand and others that are simply disgusting. We
should bear this in mind. But nevertheless, even these
cheap posters will gradually hold a place in our minds
If they are presented to us often enough. This cannot
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be denied. This repetition is very important.
Posters that are beautiful, posters to which
we can agree wholeheartedly, posters that are attractive,
made with soothing colors, have good slogans, neat
letters and pictures, in other words, posters that are
designed very effectively are the ones that are really
impressive.
We know by experience that posters for the
motion pictures and for 'want ads' attract strong Atten-
tion. This is true even though the poster itself may
not be too good.
From what we have observed so far the follow-
ing things should be considered in making a good poster.
1. Repetition is necessary (distribute in large
numbers, widely and as often as possible)
2. They should be posted in places that are
sure to draw the most attention.
3. They should be attractive, beautiful and
friendly.
4. They should be well-rounded but simple.
5. They must match the feelings of the people.
6. The message should be clear and simple.
b. Notes On Making Posters
We ask professional artists to design a
poster for us with the idea of creating unique ones.
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But we often just go to them and ask them without making
the idea too clear. The artist is asked to do the rest.
Many times this results in posters that do not say what
we want and in having to remake the whole thing. Thus
we have to ask some one else and by doing this may put
the prordssional artist to shame. No one gains from
anything like this.
On the other hand, there are times when we
go to the artist and give him a thorough lecture on
the political situation. After this we tell him what
the content of the poster should be, how it should be
done, what kind of a picture should be on it, where
the slogan should come and practically tell him every-
thing as if he were a mere apprentice. This does not
leave much room for the free creative mind of the
artist to go to work. It limits the artist and what
we get is a stylized poster without any appealing
strength. Using the artist in this way does not help
in our relation with him either.
Furthermore, there are times when the artist
comes forth with a wonderful original painting. But
because of our lack of knowledge in printing(about color,
size, proof sheets, etc.) it is possible that the ori-
ginal beauty of the painting is lost. In many cases
we also have to take into consideration the artisan
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'spirit of the printer. Otherwise again we will end
up in getting a poster that lacks the original taste
in the painting. These are bitter experiences.
There have been numerous mistakes made in the
distribution of the poster. The place was not just
right or the time was wrong. Sometimes the preser-
vation of material was bad and caused us a great loss
financially in that we have had to buy the same material
again. There were times when we thought that a certain
poster was so important that, it superceded everything,
even money. Plunging into the production of this poster
without adequate plans has caused us to suffer for not
being able to pay the printers when the posters were
completed. Again there have been times when we made
too many posters or were too late and had to pile them
up in the corner of the room to collect dust. There
were also times when we did not have enough time to
distribute the posters and had to post them all in one
place. We realize that we suffered much from not
having made systematic studies about our posters along
with surverys concerning their influence upon the
people.
We think the following points are important
in making a poster.
1. In making a poster, the opinions of many
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people should be considered.
2. The opinions of artists should be respected,
and they should be allowed to give expres-
sion to their free creative talents.
3. Definite financial and other work plans
should be made based on our own strength
and the strength of our cooperators.
4. Geographical conditions(for instance, places
to post, places likely to draw attention,
etc.) should be investigated.
5. Surveys and studies concerning the pro-
duction work should always be made.
Expecially surveys on the reaction of the
posters should not be forgotten.
6. practical and technical knowledge should
be kept in mind.
7. Materials and equipments needed to make
posters should be well-preserved.
We have now given you a brief outline of the
role of posters and how they can be made, but this does
not mean that all posters should be left to professional
artists for completion. We, in the past, have valuable
experiences in making hand-painted posters ourselves.
Let us not hesitate in studying the methods of making
posters and in actually making them. After this, we
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should try always to reflect upon our past work. Comple-
ted posters will probably teach us much and by learning
from these posters we should continue our endeavors in
improving them.
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KNaWLEDGE OF 8 MM MOVIES
1. The Present State of 8 mm Movies
Recently we often see in the newspapers and
weekly magazines such words as 18 mm. cine' or 'home
movie'. In the city it is not unusual any longer to
see someone taking movies with a small movie camera. It
Is indeed surprising to see the amazing development of
the 8 mm. eine camera in the last two or three years.
This new cine camera will probably be the next boom in
this country.
This new eine camera gets its name from the
width of the film used, which is 8 mm. The 16 mm(used
mainly for making films of portable purposes) and .15 mm
(used mainly for theater films) are also called so from
the width of the film used.
Generally speaking the Japanese people like
cameras. This characteristic seems to be world famous,
and indeed, it is probably because of this basic chara-
cteristic that the new 8 mm. and other small sized
cameras are coming to attract a great many enthusiasts.
a. The Reason For The Enthusiasm In 8 mm. Movies
There are reasons for this widespread popu-
larity in 8 mm. movies. In the past such a hobby was
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possible only among the more privileged salarymen and
the bourgeoisie. But recently the 8 mm. cameras are
being manufactured in this country and the manufacturers,
foreseeing a bright future for these miniature cameras,
have planned the production on a mass production basis.
Therefore they can be purchased fairly cheaply while
the handling is not too complicated.
Among amateur photographers, interest is
shifting from 'still' photos to 'moving' pictures.
These small cine cameras fulfill the desire of these
amateurs very conveniently. Furthermore, the profes-
sional motion picture distributors have ilso started to
handle these small films seriously. They realize the
great possibility in the futwe for these small films
in the field of visual education. One of the reasons
for the popularity of these films is because the dis-
tributors are advancing the practical use of them.
Even the manufacturers are extending their
work to the field of 8 mm. films by transcribing larger
films into this smaller size. They are also conducting
research into the possibility of making 8 mm. talkies.
This all points to a brighter future and more popularity
for the 8 mm. camera.
b. How The 8 mm. Movies Are Being Used
Formerly the 8 mm. camera was used to take
pictures of the family or friends. Some people have
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centered their pictures upon certain subjects, like
scenes of his country side, or pictures introducing
works of handcraft or art. Some people have even exper-
imented in making dramatic pictures. Recently, the 8 mm.
is being used by labor unions and other democratic
organizations. The National Tax Office labor union, the
National Railway labor unionlithe Peace Committee, or
the Kanagawa Branch of the Social Party are using 8 mm.
movie cameras. Although the general trend is still
towards personal use and rather weak in the direction
of uses for organizational work, still, the National Tax
Office labor union has been taking movies of their col-
lective bargaining and other news pictures about their
strikes, and distributing them to their local chapters.
They were also planning to take technicolor movies of
the 1957 May Day rally. During the struggles at
Sunagawa over the Air Base extension dispute in 1956,
the Kanagawa branch of the Social Party took a full
documentary df the event. We presume that there are
members among the various labor unions wh may have
8 mm. cameras. It is necessary to get the cooperation
of these people and to establish 8 mm. movies as a
very effective weapon in our propaganda work.
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2. Practical Questions Concerning The 8 mm.
a. Finances Of The 8 mm.
How much does it cost to have and use a
8 mm. camera? Many people think that it would cost a
great deal. Of course, the amount would differ accord-
ing to the kind of camem you buy and what accessories
you intend to buy with it. But actually, for practical
use it is not too expensive.
Here is a rough estimate of what the cost
would be like.
Camera Japanese camera...middle class: 23-7000 yen
to 34,000 yen. This is just about right for
our uses.
Projector 24,000 yen to 38,000 yen. This will get you
a good purchase.
Film Connector and cement about 2,000 yen
These three things are musts. Besides these it would
help to have the following things.
Editor 4-5,000 yen to 12,000 yen.
Titler 1,000 yen to 4,000 yen. This unit is used
to put titles into your pictures. It is not
necessary if you think you can do the titling
yourself.
If you have these things you will-be able to handle
almost any kind of movie and show them. The total
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cost of all these items of enuipment is still cheaper
than the cost of the Canon VT type camera. Nowadays,
there are stores where you can purchase material through
the easy payment method.
b. The Films
The films sold on the market are 25 feet long,
In taking the pictures you use the film both ways which
makes it double in length or 50 feet. Projected, this
will give you a four minute movie.
The cost for films is:
Ordinary black and white 750 yen (including deve-
- -4,-,
1 , ,
loping)
Technicolor 1,700 yen
Now, when we say one roll makes a four minute
movie, it sounds awfully short, but when it comes to
taking the pictures it is not so easy. From experi-
ence twenty scenes is just about enough. This means
that each scene should be about ten to fifteen seconds
long.
Take the cuts in the newsreels you see at
the theater. The entire news is about ten minutes and
each cut is from five to fifteen seconds. There are
some cuts that last as long as thirty seconds, but in
such cases you may feel that it is rather too long
So you can see that in four minutes you can actually
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take a lot of scenes.
Let us take a look at the film from the view
point of cost. For instance, if we compare the 8 mm.
with the twenty exposure 35 mm. film used in the Canon
camera, the 35 mm. film will cost you 220 yen, deve-
loping will be 60 yen, and printing will be about 20 yen
a piece for the brownie size which will be thus total
about 500 yen. Altogether the cost will come to 780 yen.
Even with an ordinary camera you can never be
sure of getting twenty good pictures. So when you take
everything into consideration, it may be possible to
manage the 8 mm. camera more economically. With news-
reels it is commonly understood that two to three times
the length actually used must be taken to get the pic-
tures needed. When you ace planning for films you
should take this into consideration too. But on the
whole, the 8 mm. movie has a very wide ralage of pra-
ctical use. Therefore, if you purposely and consciously
use 8 mm. movies for propaganda purposes and cultural
enlightenment, you can never tell how valuable the
effect will be.
c. Professionalizing The 8 mm. Movie
Apart from commercial movies, the one advan-
tage 8 mm. movies have is the inexpensiveness of film
and convenience in handling.
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take a lot of scenes.
Let us take a look at the film from the view
point of cost. For instance, if we compare the 8 mm.
with the twenty exposure 35 mm. film used in the Canon
camera, the 35 mm. film will cost you 220 yen, deve-
loping will be 60 yen, and printing will be about 20 yen
a piece for the brownie size which will be thus total
about 500 yen. Altogether the cost will come to 780 yen.
Even with an ordinary camera you can never be
sure of getting twenty good pictures. So when you take
everything into consideration, it may be po'ssible J1,;(po
manage the 8 mm. camera more economically. With news-
reels it is commonly understood that two to three times
the length actually used must be taken to get the pic-
tures needed. When you ace planning for films you
should take this into consideration too. But on the
whole, the 8 mm. movie has a very wide raage of pra-
ctical use. Therefore, if you purposely and consciously
use 8 mm. movies for propaganda purposes and cultural
enlightenment, you can never tell how valuable the
effect will be.
c. Professionalizing The 8 mm. Movie
Apart from commercial movies, the one advan-
tage 8 mm. movies have is the inexpensiveness of film
and convenience in handling.
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.^:
After the recent war, the 16 mm. movies have
become professionalized. Before the war they were
classified as amateur. It was during the war that the
16 mm. movies proved to be far more convenient for
carrying around than the regular 35 mm. movies.
Machines for 16 mm. movies also made rapid progress
and thus this type of movie came to establish itself
firmly. After the war the 16 mm. emerged as the favo-
rite movie for portable use and came to be used very
widely in schools and other organizations. But still
there remain problems economically speaking.
Under such circumstances the 8 mm. has been
attracting attention. Talkies for the 8 mm. and the
duplicating of 8 mm. films both were formerly considered
unfeasible. Sucess has been achieved in breaking
through these limittions and consequently the movie
distributors are paying much attention to future deve-
lopment.
It is time that the 8 mm. movie has something
very appropriate in fitting into the present situation
of Japan. Compared to the 200,000 yen or more needed
for a 16 mm. projector alone, the cost for the 8 mm.
would be only one third including the king of pictures,
the editing and all the necessary equipment. Further-
more, with he 16 mm. systems one reel of film would
"-:
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cost 25,000 yen, whereas if you use the 8 mm. you can
buy from four to five reels with the same amount of
money. From these facts it is easy to understand why
the 8 ram. is being appreciated when used for audio-visual
education. You can do much more even within the com-
paratively cheap limit of this field. Another thingJis
the fact that even the very humble people can now make
their own movies any way they want to. People who have
been making their productions with slides have now an
entirely new field to look forward to in the future.
d. The Effectiveness Of The 8 mm. Movie.
There may be some persons who still think
that the 8 mm. movie belongs in the category of toys.
They think that, at the most, only about five to six
people can enjoy looking at these movies in a small
room. But actually, the 8 mm. does not suffer so much
in comparison with 16 mm. movies.
With a projector manufactured in Japan you
can get a projection on a screen about nine feet across
and six feet down. The distance from the projector to
the screen would be tout ten yards and could probably
be shown to a crowd of 500. The above example is the
maximum. Ideal conditions would be for a projection of
about a little over four feet across, three and a half
feet down at a distance of about five yards. This would
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be just about right for about 50 to a 100 persons. In
other words, such showings would be aproppriate for
classrooms or smaller gatherings in homes. The 8 mm.
movies are gaining a reputation of their own. We
believe that in the future 16 mm. movies will be used
for large eF,semblies and the 8 mm. movies for smaller
meetings.
3. The Application and Future Of 8 mm Movies
Needless to say, propaganda and enlightenment
through the audio and visual senses have great effecti-
veness. But when we want to do something in the line
of audio-visual education in our homes, wor4 places,
within labor union activities or other organizational
work, it seems, under the present situation, that slides
are still the most convenient. In fact, the readiness
with which we can use slides and its characteristic
of being able to be made exactly as we want them seems
to supersede the use of any commercial or ready-made
movies. If we could only make movies with the con-
venience and precise purpose of these slides, the effect
would be far greater. Any one who has had experience
in active propaganda can see this point.
So far, there have been many documentary
productions of our struggle in life, very vividly done,
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in slides. But how much more impressive these expres-
sions would be if we could only put them into action
through the use of 8 mm. movies!
We also have dreams for the future. If we
could only transcribe regular movies onto the more
convenient 8 mm. film; if we could only equip ourselves
with an 8 mm. camera and projector and document our
class struggles and then show them widely to our own
organizations and the public; or if only we could docu-
ment various news events from different parts of the
land; if we could produce films for propaganda and
educational purposes, how greater our range of activities
would grow. For this we ourselves must work very hard,
while at the same time we must secure the cooperation
of professional movie makers.
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HOW TO CARRY OUT PORTABLE MOVIE ACTIVITIES
1. What Is A Portable Movie
We are now interested in the number of peo-
ple who go to see movies, not in the regular movie
thePters but outside of them. According to a survey,
the aggregate number of such persons is approximately
500 million for a year. The same survey tells us that
the aggregate number of people who go to see movies in
the regular theaters amounts to somewhere around 900
million. So compared to this number, the 500 million
is not in the least small.
These 500 million people are seeing movies
that come around to their villages or to the schools.
Of course, the children who see movies used for audio-
visual educational purposes are included in this number.
At present, the projector used most commonly
for these portable movies is the 16 mm. projector. The
number of these 16 mm. projectors being moved around
all over the country is estimated to be about 40
thousand, and surveys show that 500 new projOctors
are being purchased every month. Besides these 16 mm.
machines a number of portable 35 mm. projectors are
also moving around.
The influence of the movie is greater because
it can be shown much more conveniently than dramatic
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plays. This is the reason why various government offices
and companies are using very actively the portable movie
for their respective purposes.
2. Various Portable Movie Activities
The Library of the Educational Agency...This
library bases its aim on the recreational desires of
the people. The contents of the films.have strong
tendencies of preserving the characteristics of the
feudal social order.
Portable Movies of the Professional Enter-
tainers...Their purpose is nothing but money. They
will show anything entertaing for a cheap price.
Movies Sponsored by Commercial Firms and
Companies...Portable movies sponsored by department
stores, drug companies, or newspapers are included
in this category. These movies are solely for adver-
tising purposes. These people have the mopey to make
these films and with these films they go into the
hinterlands where there are no other recreational faci-
lities. The influence of these films is great indeed.
Portable Movies used by Democratic Organi-
zations and Labor Unions...Fundamentally their purpose
is to change the way of thinking of the people, but
at the same time try to fulfill the recreational
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desires of the people. Recently their activities have
become very vigorous.
There -are labor unions that have appropriated
budgets for portable movies. They began with propaganda
and educational activities within the union, but now
they are wiring into the rural and urban areas to get
into closer contact with the farmers, the workers and
citizens through the same propaganda and educational
activities.
The most active of the labor unions in these
movie activities is the National Railway Workers Union.
It has more than 4o projectors working fully over the
country. At headquatters they have a Film Center and
close to a hundred films are prepared for use. In the
Tokyo area they als.D have more than a hundred profes-
sional camera technicians to do the work. These films
are shown at the places of their work, in homes, at
their meetings, and in rural villages.
Now, the National Communication Workers, the
National Telegraph Workers, The National Locomotive
Workers and other large unions are preparing to make
Film Centers. Their various activities are also so
numerous that all of them can fardly be listed here.
For instance, the Tobu Traffic Labor union has a regular
program of showing movies to the people who live along
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their railway line. These people have come to under-
stand the labor movement as a constructive movement that
gives them pleasure, and not as a red-flag-waving orga-
nization that does nothing but go on strikes. The
Niigata branch of the National Railway Workers Union
has made a movie titled 'The People Who Sow' and thus
has brought a closer tie between the farmers and the
other people. In Kyushu and Yamaguchi we hear that the
Teachers' Union and other unions made movies to support
their candidates in elections and thus increased the
votes for the reform faction in the rural areas.
Besides these domestic activities, there are
also international activities going on with Soviet
Russia, the Chinese Peoples' Republic or the People's
Republic of Korea.
We hope that from such movie activities even-
tually there will be born productions of our own.
Activities of the United States Information
Service...During the Occupation the United States
realized the great impact of the movie and distributed
very widely the so-called C.I.E. movies. Through the
Social ani Education Section of the prefectural govern-
ments the C.I.E. equipped all town and village halls
with a 16 mm. projector and trained technicians to use
them. By distributing movies showing the American way
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of living they at the same time used the opportunity
to propagandize against Soviet Russia and Communism.
After the Peace Treaty was signed they transferred all
these items of equipment to the custody of the Ministry
of Education. American Cultural Centers were established
all over the country and they even enforced their acti-
vities by contributing special automobiles for the
purpose of moving libraries.
At present it is said that there are three
thousand 16 mm.(NATCO) projectors and 800 films on
600 different subjects and that 50 new films are being
sent over every year. The number of people who see
these movies through the year is said to be about 150
million.
Activities Sponsored by the Ministry of
Education...Recently USIS movies are not very popular.
So now the Ministry of Education is appropriating every
year a budget of about 70 million yen for the production
of educational movies. The Ministry purchases all the
productions and then distributes them to the prefec-
tural educational councils free of charge. Thus they
are apparently trying to centralize the control of
educational.films. Recently a reform has been made in
the system of the educational council and for the Tokyo
district an Inspection Board for Educational Films has
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.4.
been established. This indicates a revival of controls.
Activities Sponsored by the Monopolistic
Capitalists in their Productivity Improvement Movement
...They center their public relation activities around
the Labor Policy Section of the prefectural government
and set their sights specifically at the medium and
smaller enterprises. They are also playing an impor-
tant role in the labor management of factories. We
should bear in mind their way of moving into the minds
of the workers through such monpolistic methods.
The Audio Visual Library. ..As far as edu-
cational films are concerned, in 1955 48o were pro-
duced while during the first half of 1956 already
close to 300 have been produced. This library purchases
these films and maintains and uses them. There about
600 such libraries throughout the nation.
The movement to establish film libraries in
as many districts of Japan as possible grew actively
during the two years since the National Educational
Movie Promotion Convention was held in August, 1954,
and now, there are many film libraries that have
become independent and are managing their own affairs.
They seem to have superseded the bureaucratic controls
of the Ministry of Education.
The Audio-visual Libraries in the different
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districts of Japan are becoming more active as the
movies are beginning to be used for educational pur-
poses in the schools. But an the other hand there
seem to be a lot of difficulties because of financial
weaknesses in the foundation.
2o satisfy the 500 million people who are
said to be depending on portable movies for their
recreation and education, the activities of demo-
cratic organizations and managements, movie circles,
labor unions and other service groups do, not seem
to be quite satisfactory. These democratic groups
own only one per cent of all the 16 mm. projectors
moving around in this country.
Let us all do our best to bring good movies
into districts where there are no other theaters.
3. Problems Of The Portable Movie
When we reflect upon our past movie acti-
vities, we realize that other than the proselyting
movies shown by large labor unions with their own
projectors and films, there have been very few recrea-
tional movie meetings. Most of our movies were shown
after lectures or speech meetings, and when we did
show movies by themselves, they were solely for the
purpose of advocating peace movements and anti-nuclear
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t: ?
causes. In short we have had little experience in
holding good movie meetings with the purpose of showing
the people what they want to see cheaply.
Therefore what we know about movie meetings
is very limited and perhaps not too systematic, but
we willtr7 to arrange them in the following sections.
a. What Interferes With Movie Meetings
A great many obstacles must be removed
before a movie meeting can be held. Some of the
^
obstacles are financial problems, problems inlaerent
in the rural district:NInterference or relations
with other movie groups.
Finance... In the first place, a movie meeting cannot
be held free. Any small meeting costs a certain
amount of money. Expenditures for the hall, film
expenses, expenses for renting the projector and
employing a technician and expenses for publicizing
the movie must all be included. All these put toge-
ther comes to quite a sum and the money cannot be
acquired easily. To solve this problem we must look
for cheap ways to borrow good films and projectors,
and make detailed plans. For instance, we can make
plan d for a series of tours with one film or act
upon the bargain sale season and ask some of the stores
to invest some money in the plan. Then we can invite
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customers, merchants, and apprentices to the movie
and later make a report on the budget, expenditures
and balance. Such would be a more original way to solve
the problem.
We can also borrow films cheaply from the
Audio-visual Library or utilize the projector of the
public hall of the village. There have been examples
of movie meetings that have succeeded by giving two
showings in the day, one dul'ing the daytime for
children with a special discount and one at night for
, the general public. Recently there are democratice
service groups that will arrange for the use of
16 mm. films in lots that include a drama, newsreel,
cartoon and short documentary. In this way we can
borrow these films for a long term and very cheaply.
Problems in the Rural District...We usually plan movies
in the rural district at times when their field work is
not so active. Yet this simple fact does not work
out so easily all the time. Generally speaking,
there are few films that are suited for showing in
the rural districts. There are also old customs that
tie down these districts. We know of an example of
a village in one of the prefectures where the villa-
gers had organized a movie association. They would
come together and decide upon what movie they wanted
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?
to see, then they would solicit members who were will-
ing to pay a ten yen fee for membership. Thus they
managed to hold regular movie meetings. In these
rural districts there is one important thing to be
careful about. That is the possibility of making
rather dogmatic ddcisions on what movies are good and
imposing these movies upon the people. By using such
high-handed methods we are liable to arouse adverse
effects and be disappointed. Great care should be
taken concerning this matter. People who have had experi-
ence in rural movie activities say that it is very impor-
tant to proceed with your work in these districts in
close cooperation with the young men's organizations
and other varilus circles and that the main pers6b-in
charge of the activity should try to cooperate with
other people of the village. Of course, this may not
be anything that applies especially to the rural
districts, but still it is definitely important for
.recuml districts.
This is another example - in a certain vil-
lage the time of the annual festival was chosen for a
movie meeting and seemed to have received hearty
approval. In another village, we hear that the young
men's organization thought of putting on a movie show
for the purpose of raising funds for their own organi-
zation. Instead of showing low grade action movies
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(depicting sword fights) or cheap melodramas which
the town professional usually brings along, they made
a careful choice of what they thought was for the
general good. This program seemed to have pleased
the people and of course they were able to raise the
funds they needed. In this program they put in a
film about agricultural techniques which received
unexpected support from the people and had to be
shown twice the same night. Taking these things
into consideration, we must make careful studies about
the rural districts and then go into them to work with
them.
About Interference...Often there are unexpected inter-
ferences when the time actually comes to hold a movie
meeting. This is especially true An the rural districts.
When we plan showing the prople liberal and democratic
movies, the police may go around asking people whether
they are planning to go tb the movie that night or
sometimes a boss of the district may butt in. There
are also accasions where the relation with the electric
power company and the tax office does not work out
smoothly. We must be very careful not to create such
troubles and at the same time we must try hard to get
the support of the people. The tax problem is refer-
red to in the section about 'Holding Public Meetings'.
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Relation with Other Movie Groups...The question here
is the relationship with professional movie operators
who are touring the district and the theaters in nearby
towns. When drama movies gketbbre shown there is an
understanding that such movies will not be shown within
an area bf a six mile r*Iiiits from the theater or that the
film will not be loaned without the pormission of the
owner of the theater.
In such cases, the matter should be discussed
carefully and patiently. Otherwise, plans should be made
to use films that are not drama pictures, such as edu-
cational movies or other movies that have been sent to
our organization from Soviet Russia or the Peoples' China,
or movies that have been made by independent producers
(not the large commercial producers). It may also be
necessary to have a good talk with the people who are
touring the district professionally while it may be pos-
sible to persuade these people to show go2d movies on
their tour. Anyway, it is very important not to leave
any misunderstandings with these people.
b. Technical Problems In Showing Movies
Now, when you are ready to show the pictures,
the next three things should be considered.
CLEAR PROJECTION
GOOD SOUND EFFECTS
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DO NOT CUT THE FILM
Any movie meeting will be a complete failure
if the projection is not clear or the sound is not
audible or if the film breaks in the middle of a scene
or even if the audience has to wait while the projector
is being reloaded.
These are matters concerning the film, pro-
jector, amplifier, voltage and technician. All these
things should be gone over carefully before the meeting
and a good technician should be employed for the
operation.
c. Selection of Films
The way to make a success of the movie meet-
ing is to select good films. No matter how well the
meeting is publieized and how well the people gather,
if the movie is not a good one, you can not expect
too much. The best thing to do is to ask as many
people as possible and decide what is best. You must
avoid making narrow decisions and taking it for
granted that the people will like the films you plan
to show them. In short, you must be careful about
arranging the kind of films to be shown to the people
who you want to come to the meeting.
When you have a long drama movie or a docu-
mentary film, it is always a good idea to have short
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cartoons, newsreels, or educational films to go with
it. In the farming districts let us try to remember
putting in a film showing new farthing techniques.
If you are holding an anti-nuclear meeting or perhaps
an evening meeting to fu,ther international goodwill
and understanding, you must prepare films that are
in line with the general idea of the meeting.
In such cases, one important point that should
be borne in mind is to know beforehand what kind of
films are being shown at other group meetings and movie
theaters. If you neglect this, you may commit the mis-
take of showing a movie that the people have just seen
recently or some trouble may be caused with the theaters.
In selecting films you must be careful not
to choose from catalogues because among the films
listed there are liable to be many that are old and
worn out. Make sure that you have the kind of film
you really want.
For the combination of films you must take
Into consideration the length of the films. It will
help you greatly to keep the following things in mind.
It takes about ten minutes to go through
one reel.
3E4 S.= P- 2
2 Cartoons
(2 reels) 4o minutes
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1 Educational film (2 reels) 20 minutes
1 Drama film (10 reels) 100 minutes
TOTAL (16 reels) 160 minutes
In this way you should make careful pland
as to how long the meeting is to be and how the com-
bination should be made. Of course, if the film is
a very good one, the time of the meeting should be
arranged according to the length of the film.
d. How To Decide On The Place And Time
The place most convenient for everbody, the
time most pleasant should be picked out and ample time
should be allotted to the planning of the meeting.
In the rural districts the slack season
would be a good time, while if it is during the summer
time a cool place somewhere outdoors would be a nice
place(although you must be prepared in case there is
rain). Be sure to make all neccessary arrangements
for renting a hall. There have been times when the
anticipated hall could not be rented because it was
taken for granted that the hall would be availabel.
The notice form for holding a meeting to be
presented to the local government office differs
according to the districts. Be sure to fulfill the
necessary procedures. If the title of the film is
not known, that fact should be clearly written.
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Unnecessary things must not be written. When the meet-
ing is to be held in a school or within: the place of
your work, there is no need to submit a notice.
e. About the Projector and Film
The first thing to be considered when plan-
ning a movie meeting is here the projector and film
for the meeting should be obtained. The projector
can be borrowed from the educational section of the
local government office, public hall, school, or firm.
The cost will probably be cheaper that way too. But
on the other hand, the projectors in these public
institutions are liable to be in bad condition and may
even damage the film. Furthermore, there may be cases
in which you will not be able to borrow from these
institutions. In such cases the best thing to do is
to borrow the projector with the film from the film
company.
When you ask a movie company for help, be
sure to give them the following information.
*The date and time of the meeting. The
film you would like to have. Two sub-
stitutes(at least) should be listed in case
the film you want is not available.
*Make clear who is in charge and who is handl-
ing finances. Address and telephone number.
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*Whether the film should be in 35 mm. or
16 mm. Whether you need a projector or not.
*The name of the meeting, its object. The
program.
*The capacity of the hall. The distance
from the electricity source.
*The method of transporting film and pro-
jector.
If just the film is needed you can have them
6end it by ordinary railroad transportation. In stich
cases it is necessary to tall them what station it is
to be sent, and do not forget that it is usually cash
on delivery.
Now, if you are planning to use 35 mm. films,
the preparation will not be so easy as the 16 mm. film.
In the first place you must see whether the film has
been shown in the local theater. If it has not, there
will be little possiblity of getting permission for the
showing. Most of the 35 mm. films are made by the
monopoly enterprises(Daiei, Shochiku, Toho, Toei,
Nikkatsu, etc.) and are screened at theaters. If a
film has not been shown in the local theater, as a rule,
it will not be allowed to go out through any other
channel to that area. Consequently, you must have the
agreement of the local theater owner before you can ask
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the movie distributors for the film.
In case of 35 mm. films you must notify the
fire department 72 hours before the showing with the
name of the technical engineer and his license number.
Next, let us consider a little about the
unreleased films. Films from Soviet Russia, China,
Korea, and Eastern Europe are sent to some organizations
in Japan and are shown as unreleased movies. These films
can be borrowed if you send in a request to the organi-
zation or movie company that holds them. Most of these
films have no Japanese subtitles, so explanations will
be necessary. In case you need a person to give you
the explanations, his expenses will come to about five
hundred to a thousand yen, and this must be appro-
priated in the budget. Furthermore, a microphone will
have to be prepared in the hall for clear hearing.
Some projectors have an amplifier system in the machine.
These points must clarified.
4. Budget For A Movie Meeting
Film Expenses
The expenses for borrowing 35 mm. Japanese
films will be somewhere around 4,0o0 yen to 15,000 yen.
The films of Toho and Shin Toho are fairly high while
the independent productions like Shochiku, Daiei and
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Toei are fairly cheap. Technicolored films are more
expensive than ordinary black and white films.
Foreigns films range from 7,000 yen to about
30,000 yen. Americans films are more expensive and
it seems that it is difficult to borrow them.
Educational films and documental films are
about 500 to 1,000 yen per reel. Newsreels are aboUt
1,000 to 1,500 yen per reel
Expenses for borrowing 16 mm. films are as
?
follows:
Japanese Films
?
3,000...5,000 yen
Foreign films(black & white)
5,000 yen
Foreign films(technicolor)
10,000 yen
Educational films (per reel)
300 800 yen
Newsreels (per reel) 300 600 yen
*Expenses for showing the films
35 mm. films (one showing)
3,000 yen
16 mm. films (one showing)
2,500 yen
The expenses for the technical engineer is
included in the figures mentioned. When you are plan-
ning to have two movies at once(over 16 reels), you
will be able to get the second film at a fifty per cent
discount. This same discount will applied in case you
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plan to show the same film twice in the same day.
*Expenses for transportation
It is impossible to transport the projector
by hand. You will probably have to use a taxi or a
bicycle-drawn trailer. When you are carrying the
projector in with you on a train, you will be requested
to pay 100 yen for a 16 mm. projector and from 150 to
300 yen for a 35 mm. projector besides the fee for the
red-cap. If the hall is not too far, a taxi probably
will be the most convenient.
A projector is very heavy. With a 16 mm.
projector there are usually three to four components,
each of about 45 kilograms. With a 35 mm. projector
there are about seven components. All this cannot be
carried by one technician. The technician will bring
the machines to the station by train at the time you
wish. You must have as many people as you think neces-
sary waiting at the station on the platform to help
the technician carry all these units. In case there
Is a change of trains and only three or four minutes
are available for carrying all these things you must
have more people to help you.
*Expenses for publicity
There are many ways to finance the publicity
of the film. You can take advertisements to put on
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the leaflet or admission ticket. You can also put
commercial advertisements on your poster for the film.
This same thing can applied to your programs, too.
If you think of some such ingenious method, you can
probably cut down on your publicity expenses.
But there have been examples where the pub-
licity expenses were overly economized resulting in
very bad attendance at the meeting and thus causing
a deficit in the overall finances. Of course, there
are examples where a fairly large sum of money was
used for good publicity, which resultea drawing a
very large crowd and bringing a profit.
Consider carefully the time and place and
make a thorough plan for your publicity. Your budget
should be made accordingly.
*Other matters
Expenses for renting the hall, publicity
expenses and transportation expenses for the techni-
cian should all be appropriated. When the technician
has to stay overnight it may be a good idea to have
him stay with the person who is in charge of the
meeting.
Now, the money for the film, projector and
technician is usually paid in advance when the con-
tract is made. If this is impossible you could try
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to make an arrangements whereby, after paying the
expense for the film in advance, you can pay the rest
at the time of the meeting.
If you borrow the film on a long term con-
tract, there usually is a discount. This being the
case, you may be able to form a moderate budget by
planning on a series of meetings with the same film.
Recently there have been formed democratic movie com-
panies that will set up a program at the same cost
for a month loan(about fifty five per cent discount).
This sort of program is a combination of a drama
film, a cartoon and a short. The expenses are from
about 4,500 to 5,500 yen, projector included.
When the film alone is sent from the com-
pany it will come by railway and cash will have to
be paid on delivery at the station. In order to
receive this film you will have to take your seal
and the money for the film and go to the station.
Since there are groups to where the film must be sent
again, you must send it back to the company as soon
as the meeting is over. For further information about
sending the film, you must ask the person in charge
at the station who will tell you what to do and to
what station it should be sent.
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5. Publicity for Movie Meetings
Publicity is a very important aspect of
movie meetings. It may cost a little, but if there
are printed posters that go along with the film you
should buy them with the film and post them where
people can see them. Hand-painted posters should also
be made as attractively as possible.
Bills and leaflets must be scattered in a
manner that will bring the best results after thorough
descussion with the members of the group. If the
bills are to be folded in with newspapers, it should
be done the day before or on the morning of the meet-
ing.
It is very effective to write on the bill
clearly the names of tha staff aril cast of the picture.
On the day of the meeting you must try to
finish the preparations as early as possible. For
earlycomers you might play records for entertainment
and also use the microphone to draw the attention of
the passersby. If you think you can afford it, it
may help to call the 'ding-dong' publicity men or use
a publicity truck, or again you could use fireworks.
6. Preparation And Work To Be Done On The Day Of
The Meeting
The preparation work must be shared by all.
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Avoid having one person do all the work.
If you are planning to take admission fees,
you must work hard to sell as many tickets beforehand
as possible. Someone should always know how many tickets
are being sold and in which area they seem to be selling
the best. If there is an area where tickets do not seem
to be selling smoothly, people should be increased in
that area.
You should arrange to take commercial adver-
tisements from some local stores for your program.
At the pl,ce of the meeting you can arrange
to have stalls selling milk, bread, or books to rein-
force your financial activities.
To set the projector and test it usually takes
about an hour. Consequently, the machines and the tech-
nician should be at the hall at least an hour before the
meeting begins. Two or three people should be there to
help.
The screen should be set up at a distance of
about fifty to seventy feet from the projector without
any creases. Try not to stain the screen. The size of
the screen should be about nine feet down and twelve
feet across. If the hall is small this size should be
reduced. Out of doors the screen must be set about six
feet from the ground, or else the people in the rear
will not be able to see.
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If the distance to the source of electricity
is too long, you should have the service man extend
the power line to where the projector is. In such
cases, be sure you are using a cable that has a
15 to 20 ampere capacity. If the cable is too small
the voltage may drop and the cable may burn. It will
be a good idea to investigate beforehand the electri-
city situation both daytime and nighttime. Take a
look also at the fuse box and see if the fuse is large
enough to provide the current necessary for the pro-
jector.
The table on which the projector is to be
placed should be large and steady. (In case of a
16 mm. projector there sh-mld be one large and one
smaller table. For a 35 mm. project')r there should
be three or f-lur large ones.)
Care should be taken to keep the vicinity of
the projector free from people.
In case you are using a 35 mm. projector
you should have a fire extinguisher or a bucket of
water near lt hand so that you can use it in emer-
gency.
The amplifier speaker must be placed where
the sound effect is best in the hall. When carrying
out all these preparations be sure that you do not
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let the projector cord and the amplifier cord run
loose all over the place.
When you are planning for a daytime meet-
ing, the first thing you must take care of are the
black curtains to darken the hall. As you go into
a theater you remember it is so dark at first you
can hardly see where you are going. Well, the inside
?
of the theater must be that dark to get the best
effects. At the entrance of the hall there must be
a curtain on the inside and also on the outside of the
door. Otherwise everytime someone comes in, light
will enter the hall and lessen the effect.
The extra time before the movie begins
should be used wisely. As the people gather in the
hall and there ig still some time before the movie
begins, you can have them sing songs they know toge-
ther, or play records, or again another important
thing is to give an explanation of the movie to be
shown. Of course, it would be a good idea to display
still pictures of the movie, posters and wall news-
papers for the benefit of the people.
Now, about the showing of the movie. After
the meeting begins there should be at least one person
at the door for information and another person at the
projector. Care should constantly be taken so that
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no one tris over the cord connected to the projector
and that no one comes and leans on the table the
projector is placed on. Frequently people do trip
over these wires and sometimes push the table and
thus cause damage or interfere with the projection.
It is important to take note of the kind of
people gathered at the meeting, what kind of impres-
sion they give, what the entire atmosphere is like and
what parts of the movie they seem to be moved by most.
After the meeting the hall must be cleaned.
One person must take the responsibility of
returning the projector and the film. This person
must see to it that nothing goes wrong.
Not too long after the movie is shown you
should have some of the people who saw the movie
get together and have them talk about it and criti-
cize it. Let us always remember not to do things
without evaluating them after they has been done.
These things should be done after the meeting is over,
and then you will be able to see in perspective what
was right and what was wftng about the meeting. Thus
you can put your experiences in order and make better
preparations for the next meeting.
The following is a list of movie companies
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and organizations that have films. You can go to
them very conveniently and ask them for advice.
Hokkaido Kyodo Eiga-sha Kamiyama Building
Nishi 2-chome, Kita-nijo
Sapporo
Koura-cho, Kuroishi-machi
Aomori Pre.
Aomori Eiga-sha
Tokyo Eiga-sha
Toho Shoji Eiga-bu
Hokusei Shoji
Chuo Eiga Gijutsu Kai
Kyodo Eiga-sha
Japan-Svoiet Goodwill
Japan-China Friendshi
Peace Committee
Shin Sekai Building
4-1 Ginaa-nishil Chuo-ku
Tokyo 56-4785
Denki Club Building
1-3 Yurakucho, Chiyoda-ku
Tokyo 20-3801
3-2, Ginza-higashi, Chuo-ku
Tokyo 56-8801
Nokyo Kaikan
5-9 Sendagaya, Shibuya-ku
Tokyo 37-2579
Kakyo Kaikan Building
8-8 Ginza-nishi, Chuo-4u
Tokyo 57-1132
As
3-511 Sendagaya,
Tokyo 40-0878
p Association
2-2 Nishi Kanda,
Tokyo 33-0433
Tsukasa-machi, Kanda
Chiyoda-ku, Tokyo 25-7468
Shibuya-ku
Chiyoda-ku
Toho Shoji Saitama Branch Office
2-29 Naka-machi, Omiya
Saitama
Niigata Eiga Kenkyujo c/o Kinoi Hospital
Nagano Eiga Kenkyojo
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Higashibori-mae, Niigata City
129 Kondo-machi, Nagano City
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Nagano Eiga Kenkyojo Matsumoto Office
Nogyo Kaikan
Kofu-machi, Matsumoto City
Toyama Gento FUkya Kyokai
651 Kamidori-machi, Toyama
City
Nagoya Kyodo Eiga-sha
Kyodo Eiga Kansai Main
Osaka Minsui Tai
2-2 Minami Kajiya-machi
Chuo-ke, Nagoya 24-0071
Office
Katayama Building
1-38 Sonezaki-ue, Kita-ku
Osaka
Sanyo Eiga Kyoiku Kyokai
c/o Sohyo
70 Takagaki-machi, Kita-ku
Osaka
90 Maroya-machi Okayama City
Hiroshima Idoh Eiga-sha c/o Shimizue Company
Tanaka-machi, Hiroshima
Kyodo Eiga Kyushu Branch Office
Sumiyoshi Building
920 Kami-Miyazaki-cho
Sumiyoshi, Fukuoka
Besides the above mentioned companies, there are some
other general enterprises such as the following.
Tokyo District
Kyoiku Eiga Haikyu-sha(Educational Films Distributor)
Asahi Building
6-3 Ginza-nishi,
Tokyo
Kyoritsu Eiga-sha
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Chuo-ku
57-4786
57-4787
57-4788
307 Zenkoku Nenryo Kaigan
8-4 Ginza-higashi, Chuo-ku
Tokyo 54-6851
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Movie Tokyo
5 Ginza-nishi, Chuo-ku
Tokyo 56-1669
56-1228
56-1561
Toei Kanto Branch Office Educational Film Section
2-8 Kyobashi, Chuo-ku
56-6271-9
ext. 92
16 mm. Eiga Company 1-71 Shinjuku, Shinjuku-ku
Tokyo 34-2116
Kyushu District
Kyoiku Eiga Haikyu-sha(Educational Films Distributor
Kyushu Branch) Nisshin Kaikan
23 Kami-Gofuku-machi
Fukuoka City 3-2116
Toei Kyushu Branch Office 16 mm. Section
Dowa Building
20 Tenjin-cho, Fukuoka City
Naka 4-0934
Hokkaido District
Kyoiku Eiga Haikyu-sha(Educational Films Distributor
Hokkaido Branch)
Ohkita Motor 'Building 3 floor
Nishi 3-chome, Kita-Nijo
Sapporo City
Sapporo 3-2502
Toei Hokkaido Branch Office Educational Film Section
Ikeuchi Building
Nishi 2-chlme, Ichijo
Sapporo City
Sapporo 3-1439
16 mm. Eiga Company Agency
Daigo Building 2 floor
11 Nishi 5-chome, Ohdori
Sapporo City
Sendai District
16 mm. Eiga Company Sendai Agency
4-176 Ohmachi, Sendai City
Sendai 2-2456
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Koseki Shokai Eiga Section
2 Teizenji-dori Sendai City
Sendai 2-0533
2-5341
2-9981
Kansai District
Kyoiku Eiga Haikyu-sha(Eduaational Films Distributor
Kansai Branch) Asahi Building
Nakanoshima, Kita-ku
Osaka Kitahama 23-7912
Toei Kansai Branch Office Educational Film Section
Do Building
Kinugasa-machi, Kita-ku
Osaka Horikawa 36-2381
Hyogo Kyoei Kyokai 17 Shirasagi-machi
Himeji City
2-104 Naka-Yamate-machi-dori
Ikuta-kul Kobe
16 mm. Eiga Company Osaka Agency
3-1 Naniwa Shinchi
Minami-ku, Osaka
Kai 64-7359
Kobe Koh-on
Eaaga.a_12-11LLigI
Kyoiku Eiga Haikyu-sha(Educational Films Distributor
Chubu Branch)
Mainichi Nagoya Kaikan
4-1 Horiuchi-machi,
Nakamura-ku, Nagoya 55-577$
Toei Chubu Branch Office Educational Film Section
Green Building
2-4 Hirokoji-dori, Naka-ku
Nagoya 9-2313
43 Shimo Chaya-machi, Nagoya
38-1 Tsurumai-machi
Naka-ku, Nagoya
Kokyo-sha
Yokoi Kyoei-sha
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?
HOW TO PUT ON A KAMISHIBAI(Picture-story Show)
AND HOW TO MAKE BEST USE OF IT
1. The Histroy of The Kamishibai
There are a few things to remember when
putting on a Kqui?hibai. The first most important
thing is to know the features of the Kamishibai and
then actually know where and how it should be used.
Next, you must know what the people expect from the
Kamishibai and be able to respond to their desires in
a most sincere way. Unless you handle the Kamishibai
with these points in mind, your Kamishibai activities
are apt to face difficulties. Then it is clear that
they will cease to be effective weapons for propaganda
use. For this reason, let us take a look at the his-
tory of the aullgh11221.
The Kamishibai is said to have originated in
Japan among the children of the common people. There
is an episnde that tells us how this Kamishibai was
born. On one nf the back streets in Tokyo there was
a small candy shop for children and working at this
shop there was a young man by the name of 'Kin-chan'.
The time was sometime during the Meiji era. This
young man had no other job and he was staying at this
shop. 'Kin-chan' liked to draw pictures. He showed
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these pictures to the children who came to buy candy at
the store and told themstories along with them. The
children were failcinatel and always asked for more.
'Kin-chan' became more and more interested in this
drawing and story-telling himself and finally he cut
out the characters in his pictures and made them into
paper dolls. He made these dolls act out a play.
This became the 'Tachi-e', the very origin of the
Kamishibai. Before this 'Tachi-e' came to take the
present form of Kamishibai, there were probably two
or three more interested IKin-chans' who gradually
created the form and substance of the Kamishibai.
In this little episode of 'Kin-chant origi-
nating the Kamishibai, we feel something warming,
pleasant and yet rather pathetic. The Kamishibai
was thus born in the back streets between this one
young man who had no regular job and the children he
loved. It has grown since and developed to what it
is today. As the salted radish pickles and soy bean
soup are characteristically Japanese, so is the
Kamishibai a pure product of Japan. It has its own
original form.
Since the Kamishibai was thus born especially
for the children and for their pleasure, there is no
doubt that they were very happy about it, but from
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the standpoint of content the educators could not
agree too well with what was being shown. Children
who, at school, would show about as much response as
a stone or piece of wood during lessons could be seen
in the streets gathered around the Kamishibai man like
ants on sugar. There they would be as happy as can
be, talking and shouting with no restraint whatsoever.
Considering the content, but more so of the great
attractive power of the Kamishibai, many teachers
began to reflect upon the use of this media. Some of
these teachers atarted what could be called a movement
for educational Kamishibai. This was around the
eighth year of Showa(1933).
What we want to consider in this section is
this educational Kamishibai, derived from the street
2. The Characteristics of the Kamishibai
The Kamishibai is defined as being 'a unified
form of picture, literature and acting'. Sometimes
we are shown Kamishibai that tell about the 'evil of
drinking' or again some that depict the history of
a particular locality. But in most cases they are
nothing but large pictures with an explanation, or
cut up novels with a drawing for each separate part.
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In a Kamishibai the picture itself must be acting.
The characters in the pictures and the events that
take place in the story must be actively living. In
other words the story must be toll with a real time
sequence and with depth.
You may ask how a picture can act. It does
sound awfully illogical. But by using the special
technique of the Kamishibai, the picture, and the
words and the way these are presented, you can arouse
the imagination of the people who are watching and
thus make the picture act.
Let us compare the Kamishibai with slides.
Here is an example of the street Kamishibai.
"Alas! The little girl's life is in the hands
of this ruffian. But then (draw the
picture quickly away.)
"Ha...ha...ha! I am the champion of justice,
the Golden Bat!" (A picture of a masked man in
a red mantle-coat appears.) "Stop this if you
can!" (Draw the picture quickly away)
The next picture appears immediately and
the ruffian is dead. Such a format and speedy chang-
ing of the pictures wille.&tually give the children
the feeling of action. The combination of the moving
picture and the words overlapping makes them see the
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Golden Bat actually flying down from the air to the
rescue of this little girl.
Now let us see what will happen with slides.
"Alas! The little girl's life is in the hands
of this ruffian!" (picture changes)
"Then from nowhere the Golden Bat appears laugh-
ing, 'Ha...ha...ha!" (picture changes)
"The Golden Bat here wields the swprd of justice
and kills the bad man."
You can see that the movement becomes slow. This is
because each picture is independent and must come
one after another. With a Eamiatillui, since the
next picture begins to appear as soon as you remove
the one in front, you can create a certain sense of
dramatic imagination by making quick changes or slow
changes. Of course, with slides there is the advan-
tage of being able to use photographs. Slides are
more prosaic and they tell a straight story. With
real dolls you can create an unique atmosphere
with their movements and their comical attitudes.
This atmospOere is the life of puppet shows.
Compared to slides and Kamishibai, the puppets can
express laughter and satire more fully.
The characteristics of the Kamishibai are
that:
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1. it has dramatic force.
2. since the media is pictures you can draw freely
worlds of imagination, worlds of the past,
of the Antarctic or the Tropics, of the
primitive days or of future communist
society.
3. anyone can show it anywhere(indoors or
outdoors) and anytime(day or night).
4. it has great appeal to the smaller
children.
5. it is very simple to make.
Now, for em example of a Kamishibai. The best way
to learn about the Kamishibai and how to use it most
effectively is to study an actual work. The follow-
ing Kamishibai is named "The Promise For Peace".
Let us study the text and compare it with the pictures.
(1)
August 6th, 191+5 8:15 A.M.
The world's first atomic bomb was dropped
on Hiroshima.
One streak of an ominous, piercing light
flashed through the cloudless sky. And suddenly,
a fire ball, heated to a million degrees, exploded
with a terrific noise.
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In a flash, the city of Hiroshima was
completely destroyed. (pause) -slowly drawing
the picture-
Rolling clouds of white smoke and black
smoke pillared up into the sky, and the day was
darkendd like night.
(2)
Where the bomb had exploded even stones
melted.
Fire broke out in all parts of the city.
Because of the heat, whirlwinds swept
along tearing down buildings, telephone poles and
trees.
Two hundred and forty seven thousand
citizens died out of a total population of four
hundred thousand. (pause)
Children were forced into misery.
Let me tell you just a few cases out of
thousands of miserable stories about these children
who suffered from this atomic bomb.
-draw the picture out-
(3)
Kenichi's mother is pinned under some
beams of the house. (Kenichi, with all his might)
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"Mother, I think I cPn get you."
Father and Kenichi are doing their best,
but there are beams on top of beams and they will
not move a bit.
The fire is spreading rapidly.
(Mother, in a weak voice, falteringly.)
"Father! I don't think I can hold much
longer. Save the children! Run with them!"
Mother's voice can be heard weakly.
(Father) "Uhhm. It is getting dangerous.
Kenichi, you run with sister to a safer place."
-drawing the picture-
An officer, with a group of soldiers,
passes by.
(4)
(Father, desperately) "Please, help us!
Help us, will you! My wife is pinned under these
beams. Please! We've got three dhildren. Just for
one moment, can't you stop and help us? Please!
Please!
Crying, he clutches the officer and begs
for help.
The officer doesn't ven turn around but
walks away. The soldiers have nothing to do but
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follow him.
(pause)
The fire is nearing rapidly. And, oh,
you can hear the wood burning down.
-draw out the picture-
(Mother, weakly and falteringly)
"Father, run for your life! Leave me and
run for your life:"
She is scarcely able to put out her hand.
(Father, crying)
"No, I can't run I'm going to stay
with you. Let's die together:"
(Mother, as if her words were wringing
blood)
"No, please: please: It's my last wish.
It's my last wish. Father, you will havw: to live
for the children, for the children: If you die, who
is going to take care of the children? Who is....
they'll be orphans!"
(pause)
Sparks come flying down. But Father does
not move.
(Mother, with a last struggle to speak)
"Father, please run: Run! Take care of
the children:"
-quietly draw and continue-
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(6)
(Father, crying) "Oohh! Now, I can't
even die!"
(pause)
Kenichi's father cannot hear the turmoil
that surrounds him. Everything is burning. His
dear home is burning. And under the beams of this
burning tr)me Oh, I can't stand it. I want to
turn back and fling myself into that fire.
"Father, the children Its my last wish.
That weak weak voice.
Mother's voice.
(Father, crying) "Oh, forgive me! It's for
the children, it's for the children!"
-very quietly draw out-
(7)
The fire is spreading out all over the
place. People are running, being pursued by the
onrushing wave of fire. People who are burned,
people who are wounded are running from the fire.
Hair is gone, faces are swollen, skin is
torn off and hanging down. People like ghosts....
..corpses along the wayside. An awful smell fills
the air.
In the river, black, burnt corpses are
floating on the surface.
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"Ahhl Water! Give me some water!." Cries
and moans.
Voices calling for their parents...voices
searching for their little ones.
This scene was certainly like hell.
And in the midst of all this there was
a young girl with a kind and tender soul.
-draw out-
(8)
Kiyeko, who had a burn on her face, boarded
the ship with her mother to go to the first aid camp.
On this ship, nearby, there is a young
girl terribly burnt in the face and body. She cannot
see, and is crying,
"Mother, it hurts! Do something, please!"
(pause)
(The young girl, from under her painful
breath)
"Mother....0h, you are not my mother...
..Do you have a child?"
(Kiyoko's mother answers tenderly)
"Yes, she is with me."
(The girl) "Then will you give her
that to eat....?"
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(9)
(Mothen, moved) "Oh, your lunch!...Why
don't you eat yourself?"
(The girl, very painfully)
"I'm dying.
Mother made that lunch for me this morning. I was
taking it to school. Please give it t..) your daughter.
Please."
(Mother, tenderly) "Thank you, so much!
Where do you live? What is your name
But the girl began to suffer greatly.
She cannot understand anything.
(The girl, in a pinful trance) "It hurts!
It hurts! Mother! Oh, mother! Please come...quickly
111.come...mother!"
She continued to call for her mother in
agony and pain. A sight unbearablp.
(pause) -drawing-
And six years went by....Six long years
that were full of hardships for all who survived the
calamity.
(10)
Kiyoko is now in the eighth grade and
one day she wrote in her composition.
"I felt so sorry for that young girl.
I felt so sorry that I cried and cried with my
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mother."
(pause)
"The scar on my face will never go away.
I wonder why I always worry so much about this scar.
I know why. It is because everybody calls it the
'flash-bang scar'
insult me."
cheek:"
do you?"
and they tease me about it and
-drawing out the picture-
(A. boy) "Hey! Kiyokoppei!"
(First boy. continuing)
"How about showing it to me, eh! Your
(Second boy.) "You don't have to hide it,
(Third boy) "That's right. Come on, show
it to us. Or else we won't let you pass."
(First boy) "Why don't you say something?"
(Second boy) "Eh, he, he Flash-bang
scar! Flash-bang scar!"
-draw away quickly-
(Kenichi) "Hey, you boys:"
, (12)
(Kenichi, continuing) "What are you boys
saying? Say itokide more! Say it once more right
here in front of me!"
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The boy who came out to help Kiyoko was
Kenichi.
(Kenichi, stepping forward) "Can't you
say it? Are you ashamed? You were saying 'Flash-bang
scar', weren't you? You said you wouldn't let her
pass if she didn't show it to you, didn't you? Now,
come on, say it once more if you can. Come on, say
it once more!"
The boys do not say a word.
(pause)
Kiyoko is wiping her tears.
(Kiyoko) "I'll show you my scar."
-draw away quickly-
(13)
(Kivoko, continuing) "I'll show it to
you as much as you want."
(pause)
(Kenichi) "Now, why don't you look at
it? You wanted to see it so mug. (pause) Come
on, take a good look. Take a good look at her face!
What's funny about it? The war gave her that scar!
The atomic bomb gave her that scar! Thousands of
people died here in Hiroshima because of the atomic
bomb! A lot of people lay dying even here where we
are standing now! Did you boys know all that?
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Are you laughing at this girl because you know all
that? Do you want more war? Do you like the atomic
bomb?"
-draw away rather quickly-
(14)
(All boys together) "We're sorry! We're
sorry! We came to Hiroshima after the war. We didn't
know too much about everything!"
(pause)
Kiyoko and Kenichi were both thinking
about that terrible dayl'the 6thof August. They
were thinking of that disastrous day, when the
young girl died in the ship .when his mother was
crushed under the beams.
(Kiyoko) "This was all because of the
war, wasn't it?"
Kiyoko said, and there were tears in
Kenichi's eyes, too.
(Kenichi) "That's right. Maybe the
city of Hiroshima is being reconstructed, but the
scars in our souls are not healed yet."
-draw away quietly-
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(15)
Quietly, the night over Hiroshima settles
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down.
Kenichi and Kenichi's father and Kiyoko
are all probably sleeping.
These children who suffered from the
atomic bomb are still growing strongly.
But again, somewhere in the dark corner
of this quiet night, you can hear the ominous hum-
ming of an airplane, Are they going to start
another war?
(pause)
The children are appealing to the world.
(16)
Toshio, who is an orphan, says:
"My grandmother is now taking care of me.
This is all because of the war. Hiroshima was
burned because of the war. I don't like the war!
I don't want it any more!"
And Shigeko, who lost her father from an
atomic disease, says:
"I hate the miserable war! feople of Japan!
People of the world! Let us all join our hands and
work towards Pcace! Let us not make any more atomic
bombs!"
How can we answer this appeal made by the
children who suffered from the atomic bomb?
THE END
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3. How To Put On A Eamignihal
a. How To Choose A Work
You should try to make your own Kamishibais,
but for the time being, the most convenient thing to
do is to buy or borrow an already printed work. When
you want to put on a Kamishibai with a special theme
or one that shows particular aspects of local districts
then you must make them yourself, but if you are look-
ing for general works for children, then from the
standpoint of flinances and effects it will be much
better to select a good one and buy a ready-made printed
work. In prep-schools and kindergardens the children
will look at these Kamishibai over and over again with-
out getting tired of them, so it will not be a waste
of money to buy such works. On the other hand, for
elder children, if yoU show them something you had
before, they will shot.t and let you know that they have
seen it before. In such cases, you must go to the
schools, prefectural offices or municipal offices and
see if you cannot find and select something for them.
It is most convenient to utilize these facilities.
On the whole when we select such works for
children we are apt to think somewhat lightly about the
content. It will never be good for us to choose works
just because "there is a bear in the picture", or
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because the title has the word "good friends..." in
it, or again, just because the picture seem to be cute.
WIlether- it ma ,bb a regular drama or a Kamishibai for
children's meeting there is no difference insofar as
the need of a good repertoire goes and naturally there
should be different reactions to each of the different
programs. There are works that are good everytime they
are done, but on the other hand there are some that
fail to make an impression and must be dropped for lack
of interest. Always be careful to choose something
that is close to the interest and daily life happening
of the chtldren. And to understand what the children
?
are interested in, you must be with them, you must
show Kamishibai a-ows to them and play with them.
You can never expect to be right in your 'decision by
taking it for granted that children like adventure
stories or cartoons.
At the same time it is not necessary to
believe that unless your pictures have some sort of
moral im it, lit lacks adequate guidance value for
children. There are time- when there is too much of
the "bad-wolf-being-killed" theme and "down-with-the-
king" theme. Of coursa the children do like such themes,
but they also like stories that are sad or stories that
are comical. Our aim in putting an these Kamishibai
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Es'z
for the children is to try to do what we can in nur-
turing rich humanism in them. They must grow to know
how to laugh, cry, love and be angry. It is not our
purpose to teach them to "denounce" and "attack" all
the time.
The above mentioned points seem to be impor-
tant in selecting a good work. Yet, always remember
that the work must be well done as a Kamishibai and
that it must be effective when put on. Kamishibai
is a form of drama and, as has already been mentioned
in the section entitled 'Characteristics Of The
Kamishibai', the words and pictures must match and
furthermore it must be constructed dramatically.
Otherwise, it will not be attractive.
Now, let us imagine that we are putting on
the Kamishibai "Promise For Peace". We will see what
steps must be taken in order to put it on.
b. Preparation
The first thing is to see that all the pic-
tures are in order. Take all sixteen pictures and be
sure that the sequence is in order. The explanation
for the first picture must be pasted on ti back of
the sixteenth picture.
Next it your practice. You must practice as
many times as possible. At first, watch the pictures
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while you read out loud or face the picture while
reading. The picture is both the set of the play and
the actor, so you, the speaker, are actually saying the
words for the actor in the picture. That is why it is
very important that you match your voice and intonation
to the scenet.in the picture and the facial expressions
of the characters. You could break up the atmosphere
by using the expression of a 'madam' when a beautiful
princess is supposed to be saying the same words.
Now, let us begin with "The Promise For Peace".
Read out loud while you draw out the pictures as told
in the directions. After you have finished reading it
all through, reflect once more upon what the theme was,
what it want q to tell and what would be the best way
to give it the right communication. It is very impor-
tant to get into the feelings of the actor. The appeal
of the children who suffered from the atomic bomb is
very solemn. You cannot afford to just read it off
because of shyness in doing a Kamishibai. The people
who were sacrificed in the explosion of the atomic bomb
and the people in your audience will not permit that.
This fatal atomic bomb must be wiped off
from this earth. This theme told through the story of
these children must be grasped. Then go over the text
once more. You should grasp the place that is most
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important in the story, while there are places that
must be read with reverberations, or places that can
be passed over as explanations. All in all you should
be able to grasp the climax of the entire story and
emphasize that point.
After you think you have grasped the main points
In the story, you can try it out on your family or
friends. You will probably be too wrapped up in the
excitement of doing, the Kamishibai and not be able to
tell what kind of an impression you gave to the audience.
That is why it would be a good idea to ask the frank
comments of these people who were kind enough to listen
to you. Another good thing to do is to have some one
else read the text for you so that you can see what kind
of anieffect the performance has. After practicing
several times in this way, and after you have under-
stood how to say the words for each picture and the way
to draw them out, you can go out and do the Kamishibai
with confidence.
It is quite impossible to act in a play or
handle the puppets without any practice at all. But
with the Kamishibai, as long as you can read the text
behind each picture, you can do it with hardly any
practice. No Ipatter how bad the reading may be, the
picture will tell a great portion of the story and for
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.,??=g1
this reason the audience will in most cases listen
quietly. Because of this convenient feature, there are
some lazy peoplc: who go into their performance without
reading the text beforehand even once.
This Kamishibai, "The Promise For Peace", is
a very moving Kamishibai as long as you do it seriously
and sincerely. But if you do it half-heartedly, nobody
will be moved. Such persons like this are the kind of
people who say that Kamishibai are only for children.
c. The Place For Showing
It really does not make any difference whether
the Kamishibai is performed outdoors or indoors, but.
at least the following points should be borne in mind.
The first is the position of the Kamishibai.
The box holding the pictures should be placed on a
table a little higher than the eyes of the audience.
When there is an especially large crowd the stage must
be placed fairly high if you want everybody to see well.
The light must be shining upon the picture and not coming
0 from behind.
Next, take note of the audience. The ordinary
printed Kamishibai is made for ?tout fifty people to be
shown in a room the size of a classroom. Therefore,
you will probably get best results if you have from
about fifty to a hundred people in a nom ab-rut as large
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as an ordinary classroom. When you have a larger crowd
than this you must give further consideration to the
lighting or use a microphone.
The audience should be seated in rows fanning
out from the Kamishibai in the center. The smaller
children should come to the front while the larger and
elder ones should go to the rear. These are things
that hardly need mentioning, but it is a good idea to
tell the children about these very fundamental things
before the show begins and to put them in order.
d. The Address Before The Meeting
The address before the meeting must not be
something formal and pompous. A simple and sincere
one becomes the nature of the Kamishibai. When you
are performing "The Promise For Peace" in front of
grown up people, you can say: "We will now show you
the Kamishibai, 'The Promise For Peace'. This
Kaaighibai wus made to tell the people about the angu-
ished appeal of children who suffered froT the atomic
bomb that was dropped on Hiroshima." This simple
address is enough and after you have said this much
it is best for you to go right behind the stage and
begin the Kamishibai. Do not start any propagandiging
for anti-nuclear movements here. Doing so will only
serve to decrease the attraction of the Kamishibai.
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If your audience consists of children, you can add that
all these stories in the Kamishibai actually happened
and that the story was made from compositions that
the children wrote. You can see that the eyes of the
children become brighter after you have told them even
just that much.
e. The Performance
Now, let us go into the performance. The
following matters must be remembered.
Be sure to use the stage. The stage referred
to here means the wooden box that holds all the pictures
and becomes a larger frame for them. If you do not use
this frame(stage) the entire effect will be lessendd
consid-rably. It is because there is a framed stage
that the audience can sit and admire the imaginative
world of the drama. A painting is set in a frame and
is thus limited to its world. The same thing can be
said about the Kamishibai. Of course this frame also
serves the practical purpose of expediting the handling
of the pictures.
The next problem concerns the position of the
performer. Should he stand behind the stage out of
sight from the audience or should he show his face?
Originally, the Kamishibai was made for the picture
to act and from this viewpoint it would not be right
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for the performer to show his face. The audience
shnuld be made to concentrate on the pictures.
Especially with a Kamishibai like "The Promise For
Peace", which has dramatic force, it would be very
distracting to have the performer showing his face and
watching the expressions of the audience. He should
stand 'behind the stage. But with pictures where you
can laugh and sing with the children or when you are
showing the Kamishibai to small children or again when
you are showing it outdoors where there are other things
to distract the children's attention, you should stand
beside the picture so that yuur voice can be heard
better.
Take care with the wqy you draw the pictures
out from the frame. People say that a good or bad
performer depends on how well he can draw the pictures
out from the frame. YDU can see, then, how important
this technique is. In the first place you must
practice to draw the pictures out smoothly(do not make
any noise and keep the corner of the picture down).
Next, be sure to understand the meaning of the directions
for drawing the pictures out. These directions are
made for better effects, so you must try to catch
the meaning and think of a good way to bring out this
effect.
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At the end of the first scene of "The Promise
For Peace" the direction says -drawing the picture out -.
This direction -drawing the picture out - is used when
similar scenes like this one come one after another.
The direction is also used when an explanation is neces-
sary from one picture to the other like from (3) to (4),
or when the lapse of time must be shown like from (9)
to (10), or again when, in the case of (10) to (11),
after one of the boys says, "Hey! Kiyokoppei!" the next
scene must come out at the same time. This handling
of pictures mkes the connection from scene to scene
smooth, and, being aided by the words that are said
while the picture is actually drawn, the audience can
visually and psychologically be cacried over to the
next scene. Therefore, when there is this direction,
telling you to say tho words while -drawing the picture
out-, you should try not to pause between the words,
although the picture changes.
Now, the direction after (2) is -draw out-.
The reason for this direction is that with the pictures
(I) and (2) the explanation of the atomic bomb dropped
on the sixth of August is finished and from (3) the
actual drama begins. This is where there must be a
pause. You should practice to draw the picture out
slowly and with ease.
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After pictuce (6) the direction is -draw out
quietly-. In this scene the father finally decides to
leave his dying wife for the sake of his children.
It Is a very tragic scene and feelings have been stir-
red up to a high pitch. Therefore, the picture should
be drawn out very, very quietly as if feelings are still
lingering behind.
After picture (12) it says to -draw out
quickly-. Here, Kiyoko says, "I'll show you my scar!"
and when the picture is drawn the'flash-bang'scar that
she has been hiding all this time can be seen in a large
picture. Now, drawing the picture out quickly must be
done for two effects: the first is to make the appear-
ance of this flash-bang scar as effective as possible,
and the second is to show up tAe change in Kiyoko's
attitude from the first picture where she is turned
around and showing only her back to the next picture
where she is looking straight forward.
As for the ways of drawing out pictures, we
have mentioned four: draw out, draw out quickly, draw
out quietly, and drawing the picture out. Besides
these basic ways there are times when you can stop the
picture half way through or perhaps even one third the
way throggh.
The next thing you must keep in mind when
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performing is to make the pictures act. This is the
most difficult part of the Kamishibai and when you have
mastered the way to make the pictures act then you can
consider yourself as having graduated from the 'college'
of Kamishibai. It is as important as that. Frequently,
there are people who believe they can handle the
Kamishibai very easily because they have had experience
in acting themselves or in handling puppets. When we
watch the performance of these people we often see that
the performance itself is awfully vigorous, but that in
most cases the character in the pictures are not act-
ing at all and that the words only are flying around
on a shallow plane.
In a play a live person is the one who is
speaking the words, but in the Kamishibli the words
must be spoken by the characters in the pictures.
The words must be spoken to make these characters act
within the picture and must not dominate the picture.
For instance, if you have a picture of a May Day crowd,
it does not help to give a sense of reality at all
to shout at the top of your lungs. In this case it
will be far more effective to make a low, long drawn
out growl-like sound. The quietness and the force behind
it will probably make the picture come alive.
In considering the question of making the
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picture act, we should not be too afraid of over-acting.
At least when the performer overacts, it is interesting
to watch his acting. The problem actually lies with the
person who gives a dull performance. Lilfe a grade
school child who has forgotten to prepare for the day's
lesson, if the performer just goes over the text as if
he were reading an uninteresting book mechanically, the
result is sure to be a failure. Or if the old people
and the young people, girls and boys who appear in the
pictures all speak in the same way, or furthermore,
if there is no difference between expressions of joy
aad anger and the entire text is gone over in a mono-
tonous tone, then it is here where the problem lies.
The Kamishibai is an acting that anyone should be
able to do. But if you forget that this is an acting
and just go along without showing any emotion, without
expressing any change in tone, without any intonation,
then the Kamishibai becomes dead. The important thing
is to indentify yourself with the characters in the
pictures and try to express the dramatic effect that
is drawn into the pictures.
Now, about the language. In the Kamishibai
there is the dialogue and the explanatory language.
The first text in "The Promise For Peace" is this
explanatory language. "August the sixth, 1945. 8:15
in the morning " In order to read this correctly
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with the right feeling you must look at the first
picture. This shows the greatest moment of tragedy in
the history of mankind, the moment when the first
atomic bomb exploded on this earth. Thu date and I*me
here is not the same as with any other date or time.
You must understand the deep tragedy that the people
of Hiroshima experienced and with a de mb emotional
conviction, with weight and force you must begin,
"August the sixth, 1945......." The rest will come
naturally.
As shown in this example, the explanatory
words should be read clearly, but at the same time
it should be read to creat an atmosphere and to arouse
the feelings of the audience. It should have the
effect of the emotional passages of the gidayu in the
Kabuki plays. Take a look at picture (3). In this
one picture there are the words of Kenichi, his
mother and his father. How should these different
dialogues be spoken? There may be some people who use
different voices for each person and make awfully
superficial imitations of children and women. This
is not good. In the Kamishibai it is important to always
use your own voice. Within the range of your own
ordinary voice you can use your high soprano and alto
voice along with your tenor and bass voice.
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Generally, women and children in the play should be
made to speak rapidly with a high and thin voice.
Old people can be made to speak with a deep, slow
voice, and men with a deep broad voice. If you can use
your voice in this way the feeling of these different
characters can be expressed. Of course, a child has
its own peculiar way of speaking, while a mother has
hers. It is important to catch these peculiarities.
And in many cases neople have difficulty with laughing.
Instead of just trying to make a real laugh, it may in
some cases be more effective to say, "Ah-ha-ha-ha!"
slowly.
Finally about the entire balance. Try not
to make the whole thing a continuation of monotonous
words. Just because the Kamishibai is about the tragedy
of the atomic bomb does not mean that the whole thing
should be done in a stiff tone or that it must be done
with a forceful and impassioned voice. This monotony
will probably give the opposite effect by burdening the
audience too much and subtracting from the should-be
serious atmosphere. It will probably have less
appeal.
If you look at the pictures, you will see that
they are arranged so that after the emotional climax
where the mother dies pinned under burnigg beam there
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comes the explanatory picture (7), and then the tragedy
of (8) and (9) which in turn is followed immediately
by pictures of later more peaceful days. Sometimes you
may have to shout with emotion in your voice, or soften
your voice and make a tender appeal, or again explain
in a plain tone. It is this change in speed and
emphasis that catches the attention of the audience and
guides their feelings,
4. How To Make Best Use Of The Kamishibai
Last summer there came this report from one
of the villages in Iwate Prefecture. "We have recalled
the village mayor and succeeded in electing a mayor
from the reformist group. One of the indirect forces
that have made this possible was the modest activity
of showing Kamishibai shows to the children for three
years." One of the youth associations in the Gumma
Prefecture reports that they have been showing
Kamishibai shows which they prepared, to children in
protective institutions and that they feel themselves
growing through this activity.
Children love Kamishibai, it nourishes their
soul and can change their way of thinking. The person
who performs the Kamishibai should also love it and
should feel a joy in showing it to the children. It is
from this kind of eagerness that organizations are
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formed. Children's groups and Kamishibai circles can
be formed.
We must refrain from taking advantage of the
children or using the Kamishibai as more tools. The
reason we show the children Kamishibai is because we want
these children to grow to be fine men and women who will
some day contribute greatly to their communities. It is
because we want to fulfill the children's quest for cul-
tural improvement, and to answer the desires of the par-
ents. We want to do something for both children and
parents. Through such activities we believe that there
will be born a solid feeling of trust between ourselves
and the children and their parents. This cannot be
achieved in three months or even in half a year. It is
wrong in the first place to try to calculate how soon
this feeling of trust will be born. It is most impor-
tant to feel the necessity to do something for the child-
ren who are running about the streets and to do something
to help the parents who are too busy to look after their
children.
It is not difficult to make the children and
parents happy by showing them a Kamishibai. As long
as you are willing to do it, all you have to do is to
tell five or ten children that y-lu will show them a
Kamishibai. When the time comes for the Kamishibai
to be performed you will probably be surprised to find
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a crowd waiting for your performance. How wonderful
it would be if you could find time anytime to show
these children a Kamishibai! If you can continue this
sort of activity, a lot of people are bound to gather
around you. But always be sure to remember never to
break a promise with the children. No matter how busy
you may be a promise wade with the children must be
kept.
The Kamishibai can be used not only at
children's groups but when you are conducting researches
in the rural districts, for children when there is a
strike in the factory district, at temporary children's
facilities made during the busy season in the farm
district, and when you are looking after children during
a mother's meeting in the city.
The so-called 'propaganda Kamishibai' made in
connection with political programs and tax problems
are also very important. But the difficulty lies here
in making good ones and in the limit in the audience.
You should be encouraged to make bold experiences in
this field and in this case it may be important not
to rely too much on the conventional idea of what a
Kamishibai should be. Since we believe that the slides
can be used more effectively for pronaq,anda purposes,
we will make no more mention about the Kamishibai.
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TIEFMaTU
Organizations
Kyoiku Kamishibai Kenkyu-kai(Educational Kamishibai
Research Group)
19 Saka-machi, Shinjuku-ku 35-0486
Producers
Kabushiki-Kaisha Doshin-sha(Doshin-sha Company)
same as above
Kyoiku Gageki Kabushiki-Kaisha
4-714, Sendagayra, Shibuya-ku 34-1458
Nippon Gageki Kabushiki-Kaisha
255, Oh! Hayashi-machi, Shinagawa-ku 49-4798
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APPENDIX (Vol. 1)
1. Laws Concerning Propaganda
Propaganda Activities and the Law
There are many laws concerning propaganda
(publicity), but as far as our own propaganda goes we
find that there are no laws that directly govern the
substance of our propaganda or our way of expression.
What come into question are the places we
place our signs and the places we post our posters
that are used for propaganda purposes. These come
under the Minor Offense Law and the Road and Traffic
Regulation Law.
When we are posting posters it may be pos-
sible that we meet interference in the form of arrest
on the spot under the Minor Offense Law. But this
actually constitutes interference with political
activities. Under the constitution we are free to
participate in political activities. Moreover, it is
obvious that there should be no offense when we can
find motion picture posters posted all over the same
place. In such cases we can protest.
Although it is possible for us to protest
and take legal action, we must remember that lawsuits
can not be settled in any simple way. So the best
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thing left for us to do is to gain the sympathy and
support of the general public. To do this we must
first have the understanding cooperation of the people
who ltve in the houses where the postings occur.
Next, of course, we should have posters that actually
represent the feelings of the people, that can be
protected by the-people.
The following are some of the laws that we
should know and need study.
Related Laws and Regulations
CriTinal and Social Ordnances
The Minor Offense Law
Article 1.
14. Those who bother the public and neighborhood
by destroying the peace an quiet with unusu-
ally loud noises caused by talking, musical
instruments, radio, and so forth, defying
the restraints of the public official.
33. Those who, without permission, have posted
a bill on the house or other structure of
another person, who h..).ve taken down sign-
boards, prohibition notice-boards, and other
signs, or those who have stained such struc-
tures or signs.
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Outdoor Advertisement Ordnances
Outdoor Advertisement Law
Article 1.
The purpose of this law is to lay down a standard for
necessary regulations concerning methods and places of
outdoor advertisements and also conderning the establish-
ment and preservation of structures for posting outdoor
advertisements in order to preserve the beauty and
appearance of the city and to preuent any danger that
may be inflicted upon the public.
Article 11.
"Outdoor advertisements" being referred to in this law
ere those which are shown to the public out of doors
for a certain length of time or all the time, and include
sign-boards, portable sign-boards, posters, wooden signs,
advertisement towers) advertisement sign-boards, all signs
that are shown or suspended on buildings or any other
structure, and other signs that may be similar to these.
Article 111.
(1) All Prefectural Governments can, by law, limit the
establishment of structures for the purpose of indicat-
ing outdoor advertisements and hanging advertisements,
within the city or within a town or village with a
population over 5,000 people having a district corres-
ponding to a city, when it is deems necessary to do so
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for the preservation of the beauty and appearance
of the city.
(2) The town or village district corresponding to a
city mentioned in the former clause should be regulated
and defined by the Prefectural Government within which
the town or village is located.
Article IV.
(1) All Prefectural Governments can, by law, prohibit
or limit the establishment of structures for the pur-
pose of indicating outdoor advertisements and hanging
advertisements, within the district or place listed
under the following headings, when it is deemed neces-
sary for the preservation of the beauty and appearance
of the city.
(a) any scenic district specifically designated under
the regulations of the second item of the Tenth
Article of the City Planning Law.
(b) any residential district specifically designated
under the Building Regulation Law or any scenic
district specifically designated under the first
item of the Sixty-eighth Article of the same Law.
(c) any area that has been specifically designated by
the Prefectural Government within which the area
belongs and any area that has been regulated by
law or has been temporarily designated surrounding
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any building or structure that has been designated
under the Cultural Materials Preservation Law.
(d) any district that may have forests appointed as
reserved forests under the Forest Law.
(e) any road, railroad, trackway, and ropeway or any
district adjacent to such facilities that has been
designated by the Prefectural Government within
which these facilities belong for the purpose of
preserving the beauty and appearnce of these places
'
any park, green belt, ancient tomb, or'graveyard.
any district or place not belonging to the above
meNattoned headings and specifically designated by
, 6
the Prefectural Government within which the place
belongs.
(2) All Prefectural Governments can, by law, prohibit
or limit the establishment of structures for the pur-
pose of indicating outdoor advertisements and suspended
advertisements upon the structures listed under the
following headings, when it is deemed necessary to do
so for the preservation of beauty and appearance.
(a) bridges.
(b) street trees and trees beside the road.
(c) statues and monuments.
(d) any other structure not falling under the above
headings and specifically designated by the
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Prefectural Government within.Ohich these structures
belong.
Article VII-item(2)
The Governor can charge the city, town and village
mayor to execute a part of the Governor's duty that is
regulated 1313 this law or any law based upon this law.
Article VIII.
Anyone who is not satisfied with the measures made
according to regulations based on this law and taken by
the Governor or the mayor of the city, town, or village
may appeal to the Governor.
Article IX.
A regulation imposing a fine only can be formed within
the ordinances based an the regulations from Article III
to Article VII.
Building Regulation Law
Article LXVI.
Sign-boards, advertising towers, decorati-m towers, and
all other similar structures within fire prevention
areas, and which are constructed upon the roof or
exceed three meters in height must have their main
portion constructed with or must be covered by fireproof
material.
National Park Enforcement Regulations
Article XXVII.
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According to the National Park Law, official duties
concerning the matters listed under the following head-
ings are charged to the Governor unless the matter con-
cerns more than two Prefectures.
(1)
(omission) giving permission to the esta-
blishment of sign-boards, advertisement
structures, and other structures related to
advertisement.
Public Park Preservation Regulations
Article VII.
Within public parks, the display of advertisements,
sign boards or the construction of structures that
impair the beauty of the park should not be allowed.
Road Law
Article XXXII.
(1) In case one wishes to establish upon the road
structures, matters, or establishments listed under
the following headings and wishes to continue the use
of the road with these things, he must receive permis-
sion of the authorities in charge of the maintenance
of the road.
(a)... .telephone poles telephone wires, transformers,
mail boxes, public telephone booths, advertise-
ment towers, and other similar structures.
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Road Law Enforcement Ordinance'
Article VII.
Structures, matters, and establishments designated by
the ordinance are listed under the following headings.
(1) Sign-boards, landmarks, flag-poles, graves and arches.
Article X.
In case permanent structures other than telephone-poles
are to be constructed upon the ground they must be con-
structed either on the embankment or above the gutter,
or beside the road. When the road is divided into a
sidewalk and highway they can be constructed an the
highway side of the sidewalk.
(1) Where roads intersect, come to a junction, or bend,
no permanent structure should be constructed on
that ground. When the roadway is divided into a
sidewalk and the highway, this regulation does not
apply to telephone-poles.
Road and_alaillg_aaEalati2/2_11BE
Article I.
The purpose of this law is to prevent danger on the
highway and to provide for the general safety of all
traffic.
Article II.
(1) Anything falling under any one of the following
headings must, according to orders, receive permission
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from the Chief of Police.
(a)...those who wish to do construction work or work
on the road.
(b)...those who wish to construct monuments, advertise-
ment towers and decoration towers on the road.
Besides these laws there are laws like the Laws
Concerning Traffic Advertisements(Laws regulating adver-
tisements within transportation facilities and stations)
and Laws Concerning Broadcasting. Laws Concerning tax
problems in connection with public meetings are mentioned
under the section "MEETING".
2. Related Laws Concerning Advertising Vehicles And
The Opinion Of The Tokyo Municipal Traffic
Division (research made by the Tokyo
general assembly)
(1) Laws that regulate the activities of advertising
cars used for political propaganda purposes are Article
XXVI of the Road and Traffic Regulation Law and the
other laws based on this law. The Traffic Division of
the Metropolitan Police Office acts according to these
laws, but concerning the advertising cars, Items 8, 9,
12 of Article LVI1 of the Metropolitan Road and Traffic
Regulation Law (along with items 10, 11, and 13) will
come into question.
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(2) Basing their argument on the portion within the
brackets( ) of Article LXIX of the Road and Traffic
Regulation Law, the Traffic Division answers the ques-
tion "Is it not sufficient to submit application for
permission to one Police Office?" by saying, "Propaganda
activities of an advertising car cannot be considered
as a continuation of the same one propaganda" and
maintains that permission must be received from evey
Police Office that holds authority over the area within
which the car wishes to conduct its activities. The
reasons for this argument are that traffic conditions
differ according to the different areas of jurisdiction
and that the way a crowd gathers also differs according
to the different street corners and .according to the
way the propaganda is carried out.
(3) The Traffic Division insists that advertising cars
for the labor unions and political parties must apply
for permission from the Police Office.
(4) They say that this is purely for the purpose of
preventing accidents and not for interfering with
political activities.
(5) We believe that there are many points under the
forementioned headings that need further investigation
and study.
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Related Laws
Road and Traffic Regulation Laws
Article XXVI.
(1) Those who come tinier any one of the following
headings must, according to orders, receive permission
from the Chief of Police.
(a), (b), (c) omitted
(d)...those who wish to hold activities designated by
a member of the Public Safety Commission.
Road and Traffic Regulation Law Enforcement Ordinance
Article LXIX.
(1) Those who wish to receive permission for item (1)
of Article XXVI of the Road and Traffic Law must write
the purpose, method, time, place into the application
sheet prepared by the Public Safety Commission and
submit It to the Chief of Police under whose jurisdic-
tion the area of the action may take place(if the area
of action will take place within jurisdictional districts
of more than two Police Offices under the authority of
the same Public Safety Commission, then the person need
submit the application to only one Chief of Police).
(2) When the Chief of Police gives permission according
to the regulations clarified in the previous clause,
a permit certificate prepared by the Public Safety
Commission will be issued.
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Tokyo Road and Traffic Regulation Laws
The Tokyo Road and Traffic Regulation Laws are established
as follows, based on the Road and Traffic Regulation Laws
and the Road and Traffic Regulation Laws Enforcement
Ordinance.
Article LVII.
Those who wish, in accordance with heading (d) of item (1)
of Article XXVI of the Law and item (1) of Article LXIX
of the Ordinance, to hold on the road any activity that
comes under any one of the following headings, must
receive permission from the Chief of Police under whose
jurisdiction the activity will take place.
(1) to construct on the road, telephone poles or any
other pole for aerial wiring, poles for street lamps
and advertisement lamps, telephone booths, mail boxes,
or electric transformer towers, electric distributor
boxes, and fire hydrants;
(2) to place on the road material or machines to be
used for building constructions and road constructions,
or to construct a pent-house, fence, scaffold, suppbrt,
or to form a roped-off area;
(3) to place on the road, merchandise, merchandise
shelves, merchandise stalls, or to place garbage boxes,
water buckets and such similar objects;
(4) to place on the road, signal flags, signal lamps,
sign-boards, decoration lamps, or to extend sun awnings
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or rain awnings, or to make walk boards, sun awnings
over walk boards. When from the viewpoint of con-
struction the structure is safe from any danger and is
under 0.6 meters wide and more than 2.4 meters above the
ground, then permission need not be applied for.
(5) to carry out on the road, sacred palanquins(portable
shrines), floats, or to construct dance stages, or to
place flags, banners, lanterns, flower wreaths, or to
spread curtains or nets;
(6) to hold on the road such activities as races, dances,
costume para4s, street parades.
(7) to carry about on the road, flags, banners, signs,
lanterns, or to play instruments, or to advertise or
conduct publicity work in special costumes;
(8) to move through the streets on vehicles(carriages
or street cars) with special decorations, writings,
paintings, designs, or with advertising flags and ban-
ners, signs, lanterns. When the trade mark trade name,
merchandise of the user is painted in words or designs
smaller than thirty centimeters square and with two
colors, then permission need not be applied for;
(9) to equip vehicles with or to install upon the street,
loud speakers, radios, television sets, projectors, and
to use these for broadcasting purposes or for pro-
jection;
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(10) to solicit on the road, for donations, or canvass
for signatures, or to sell objects or to distribute
objects;
(11) to scatter on the road, propaganda material and
printed material, or to do other similar activities;
(12) to gather people an the road for the purpose of
holding speech meetings, performances, concerts, broad-
casts, movie projections;
(13) to hold any activity not mentioned under the
previous headings that might
and cause danger to traffic.
Article LVIII.
Those who wish, according to
of the Ordinance, to ruceive
activities under the several
Article XXVI of the Law must
interfere with traffic
item (1) of Article LXIX
permission concerning
headings of item (1) of
submit two copies of the
application sheet Sample 19 to the Chief of Police
under whose jurisdiction the activities take place after
filling in the necessary facts along with a map, and
thus apply for permission. In doing this, if there are
any special requests to be made, the plans, specifi-
cations and applications should be submitted at the
same time.
(2) When the Chief of Police under whose jurisdiction
the activities are to take place is ready to give per-
mission clarified in the previous clause, he should,
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according to the regulations of Item (2) of Article LXIX
of the Ordinance, write the permission on one of the
application sheets and issue it as a permit certificate
to the applicant.
SAMPLE 19(according to item (1) of Article LVIII)
Application For Road Usage
Object
Method
_
Time
Place or area
Notes
I apply for permission.
I have also submitted with this application a
map showing the area of activity.
Date:
Name: Date of birth:
Address:
To the Chief of Police
Parking is not allowed at the following places.
(1) on crossings, in tunnels, on bridges, on pedest-
rian crossings, under land bridges; (Article XXXI,
Article XXXII)
(2) within five meters on a crossing or street corner;
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(3) on left hand side of safety zone and within
ten meters of both ends of safety zone;
(4) within ten meters of street car stopn and bus stops;
(5) within ten meters of railway and street car
crossings;
(6) besides the above mentioned places, any other
place where it may be considered necessary to
prohibit parking for the purpose of preventing
any dc.nger and for public safety;
(7) in front of fire stations, fire prevention equip-
ment, or within three meters of fire prevention
water pools;
(8) within five meters of fire hydrants and water pools;
(9) within three meters of fire alarms;
(10) in front of government buildings and department
stores;
(11) cars must be parked onthe left hand side of the
street in the direction of traffic and In a way
so that it will not interfere with the general
traffic; (Article XXXIII)
(12) loading of vehicles must not be done in places
other than prescribed for; (Article )XXVIII)
One way traffic rules must be observed strictly.
There are times when people ask drivers to
enter streets too narrow for safe driving. Such should
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be avoided.
3. Ordinances Concerning Pleetings Group Parades and
Group Demonstrations
According to Article XXI of the Constitution,
freedom of meeting, association, speech and press are
guaranteed, but actually there are various limitations
to this freedom. Concerning meetings, group parades and
group demonstrations, there are local ordinances that
limit the range of these activities. The ordinances
may differ among districts, but here we shall give as
example the ordinances of Tokyo.
4
*iokyo..Ordinace No. 44: Ordinance Concerning Meetinms,
,
Group parades, and Group Demonstrations.
(Safety Ordinance July 37 1950)
Article 1.
When there are plans to hold meetings or group parades
on the street or any other public place, or when there
are plans to hold group demonstrations anywhere, per-
mission from the Tokyo Safety Commission(hereafter
referred to as the 'Safety Commission' will be used)
must be received. When the activity comes under any
one of the following headings, then there is no need
for application.
(a)...Excursions, study trips, athletic meetings
and sports games of students and pupils;
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r,
(b)...Ordinary weddings and funerals or other
customary events;
Article II.
Application for permission described in the previous
Article must be presented to the Safety Commission
through the Police Office under whose jurisdiction the
area of the activity will take place, by the person or
representative of the group (hereafter 'promoter' will
be used) 72 hours before the meeting or group parade
or group demonstration is scheduled to be held, in
three copies with the following facts written clearly.
(a). .name and address of promoter;
(b)...when the promoter named under the previous
heading does not live in the area(the entire
special district can be considered as one area),
city, town or village where the activity is
to take place, the name and address of a
person to contact whp lives within the area,
city, town or village;
(c)...the time and date of meeting, group parade
or group demonstration;
(d)...the course, place and a brief map of the
meeting, group parade, or group demonstration;
(e)...the name and address of the representatives
of the groups expected to take part in the
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said activities;
(f)...the expected number of people;
(g)...the object and title of the meeting, group
parade or group demonstration;
Article III.
The Safety Commission must, on accepting an application
clarified in the previous Article, give permission to
hold the meeting or group parade or group demonstration,
unless it deems that the said activities clearly and
directly may danger upsetting public peace;
Yet, the Commission can impose conditions in connection
with the following headings.
(a)...matters concerning prevention of interference
with governmental office work;
(b)...matters concerning prevention of danger in
relation to the possession of firearms and
other weapons;
(c)...matters concerning the preservation of traf-
fic orders;
(d)...matters concerning the preservation of order
in relation to the meeting, group parade or
group demonstration;
(e)...matters concerning the preservation of quiet-
ness during the night;
(f)...matters concerning the change in time,. place
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and course when such change is deemed neces-
sary from the viewpoint of preserving public
order and public sanitation;
When the Safety Commission gives the aforementioned
permission, it should write this permission on one of
the application sheets and, unless there is any other
reason for delay, should issue this permission to the
propoter or the person in charge of contact 24 hours
before the meeting or group parade or group demonstra-
tion is to take place.
The Safety Commission can, notwithstanding the
previous two paragraphs, cancel the permission or change
the conditions when it clearly recognizes that it has
become suddenly necessary to do so for the sake of
preserving public safety.
The Safety Commission must, when refusing to
give permission according to the first paragraph or when
canceling the permission according to the previous para-
graph, must report this fact to the Tokyo General
Assembly as soon as possible with its detailed expla-
nations for having taken such a measure.
Article IV.
The Superintendent-General of the Metropolitan Police
can, when the meetin or group parade or group demon-
stration was held in violation of the regulations in
Article I, of matters to be filled in according to the
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regulations of Article II, of conditions according to
the regulations included in the first paragraph of
Article III, or of the regulations clarified in the
third paragraph of the same Article, issue a warning
to those who took a part in the said activities to
preserve public order, and can stop the activity or
can take any other necessary step to cor-ect the
violation as long as the steps are limited to corrective
measures.
Article V.
Any promoter who has made a false entry in the applica-
tion sheet regulated in Article II, and the promoter or
leader or agitator of the meeting or group parade or
group demonstration who hell the id activities in
violation of the regulations in Article I, of matters
to be filled in according to the regulations of
Article II, of conditions according to the regulations
included in the first paragraph of Article III, or of
the regulations clarified in the third paragraph of the
same Article, can be sentenced to not more than one
year in jail or confinement, or be fined for not more
than 50,000 yen.
Article VI.
This Ordinance and each regulation must not be inter-
preted as prohibiting or limiting the right of people
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to hold meetings other than the meetings or group parades
or group demonstrations clarified in Article I, or,
supervising meeting political movements, or giving the
authority of inspecting placards, publications and other
literature and designs to Police Office members of the
Safety Commission, or other prefectural, district, city,
town, and village officials.
Article VII.
No regulation in this Ordinance should be interpreted
as being contradictory to the law concerning the elec-
tion of public servants, or to be making it necessary
for political meetings -and speech meetings to be held
dul'ing election campaigns to apply before hand.
4. Annual Events
We have so far been quite eager in celebrat-
ing commemorative days concerning our own organizations
or international events commemorated by laborers. But
there are other national events to be celebrated accord-
ing to long-established customs. There are also events
designated by the government. For us it has not been
uncommon to denounce many of these events as feudalistic
or to be indifferent about them. Not only local bosses
but even serious citizens take deep interest in these
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events and we too should learn to have more concern
towards them. The following list was made for that
purpose. Besides these regular events there such events
designated by the government as the So-and-so Week and
such-and-such Movement, or this-and-that Month. We
should always be mindful of these events and be ready
to do something about them.
princiDal Events
Jan. 1....New Year
15...Adults Day
Feb. 1....AKAHATA newspaper founded
3...4etsubun(the advent of spring)
21...Anti-colonial Struggle Day
Mar. 1....Commemoration of March First
3....Doll Festival for girls
8....International Women's Day
15...Commemoration of March Fifteenth Incident
21...Spring.equinox
Apr. 8....Buddhist Flower Festival
10...Women's Day
16...Commemoration of April Sixteenth Incident
22...Lenin Day
May 1....May Day
3....Constitution Day
5....Marx's Birthiay, Children's Day, Doll
Festival for boys
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12...Mother's Day
June 1...International Children's Day
10. .Commemoration of Time
July 7...TAnab413(the festival of the Weaver star)
15...Founding of the Communist Party,.
16...yOuiri(servant's holiday)
Aug. 6...Atomic bomb dropped on Hiroshima
9...Atomic bomb dropped on Nagasaki
15...End of World War II
Sept. 1...Great 'tearthquake of Tokyo
15...Old People's Day
23...Autumn equinox
Oct. 27...Week for encouraging Reading
Nov. 3...Culture Day
7.. .October Revolution
23...Thanksgiving Day
28...Engel's Birthday
Dec. 25.. .Christmas
31...Last Day of the Year
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APPENDIX (Vol. 2)
1. Present Situation of the Radio and Foreign
Broadcasts
a. The Present Situation of the Radio
Recently, the television has become very
Popular, but this does not mean that radio is losing
ground. Walking through the streets of a town or
even a small village, one can hardly come upon a place
where the sound of the radio is not heard. Indeed
we are today overwhelmed by radio waves and sound.
According to a recent survey, the number of
families listening to the radio is assumed to be
about 14 million, which means that approximately
80% of all the families in this country listen to
the radio. The survey tells us that the radio is
on for an average of 4 hours a day. (Of .course, there
are radios that are turned on for the day without
anyone listening.)
As can be seen by these figures, the radio
is wielding a great amount of influence upon the
people along with the television, movies, press,
magazines, and other publications. Among the general
public, 58% of the people say that the radio is the
main source of their recreation, while 49% of the
farmers say that the radio is their chief method of
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gaining any training or study. The most popular
program of November, 1956 was "Father is a Jolly Old
Man" and roughly 3 million families, 10 million peo-
ple, were listening to this single program. Therefore,
it is clear that we cannot shut our ears to the radio.
Perhaps the radio may be monopolized by the capita-
lists, but considering the aforementioned figures,
how can w,-; afford to ignore this vast mass communi-
cation media and be satisfied with reading just
bulletins of reformist political parties and demo-
cratic organizations? How can we expect to reach the
people and convince them when we limit ourselves
to the narrow scope of these party bulletins? It is
equally wrong to assume that our propaganda acti-
vities in the radio field are fulfilled by listen-
ing only to democratic broadcasts and inviting
others to liSten with us.
We must begin by listening to programs
being listened by the general public and by getting
together to talk about or criticize the program.
By listening to these programs we can train our-
selves to detect rumors and the play on words and
to understand the essential nature of songs and
other forms of entertainment. The basis of our
activities concerning the radio and its starting
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point is in this training each person to be able to
detect the true intentions of the programs and the
cooperation to achieve this aim.
One of the PTA groups of a primary school
in the western suburbs of Tokyo once borrowed the
recording of a program about "Juvenile Delinquency"
from NHK. This program had already been broadcast,
but they borrowed it and played it once more in the
classroom and, after listening tothe program, the
mothers got together and discussed the problem.
A member of the editorial staff from NHK was invited
to this discussion and was asked various questions
while at the same tile requested to litten to their
ideas. It is said that NHK, when again planning
this sort of program, asked for the cooperation of
these mothers in gathering material and in the plan-
ning. In other words, these mothers have shown the
way for us how to organize ourselves in the field
of radio by:
1. deliberately selecting a radio program and
listening to it;
2. talking together about the program;
3. making requests to the broadcasting company
or encouraging them;
4. making clear their opinion about the program
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and cooperating in the planning and produc-
tion of later programs;
In this way, we consider it very impor-
tant today to promote active work among family
groups, work groups, smaller circles, unions, women's
and educational organizations. Altogether these
groups should endeavor for the democratization of
the radio and through this process for the demo-
cratization of society.
Here are some examples that may help you.
1. Use the tape recordings of broadcasts that
have already been broadcast. For this pur-
pose you can take recordings directly from
the broadcast and use it later. (This type
of recording cannot be used for profit-making
purposes.) There are some good recordings of
the famous May Day incident and the Sugoh
incident.
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2. You can send letters to the broadcaoting
company or to the sponsors. Send critical
articles to the press or other party bul-
letins. Hold discussion meetins in the
family, hospitals and schools. Talk with the
people who appeared on the program or with
the people of the company.
3. You can make conscientious efforts to
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cooperate with the planning and production
of better programs. Small circles, amateur
drama groups, choruses and study groups should
be encouraged to appear on programs. Local
cultural projects should be encouraged to
appear on the radio with sincere cooperation
and help. Try to appear on or send letters
in to such programs like "Request Concert"
or "Our Voice". Put in requests for docu-
mentary locations at your workshop or locality.
4. Express your opinion about the general plan-
ning of radio programs. These opinions can
be about the content or time, of the program
and can be made through the union, circle
discussion groups or cultural organizations.
Educational organizations, women's groups,
cultural and labor organizations should keep
systematic supervision over programs con-
cerning their field and should make their
opinions known.
2. About Foreign Broadcasts
It is possible for us to listen to foreign
broadcasts. We should take more interest in these
foreign broadcasts and take part more actively in
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"711,
tea
sending letters to these broadcasting centers. All
nations have broadcasting activities and exchange
activities. If we only guide our interests in this
direction, we can, by making stronger efforts, hope
to achieve cultural exchange on a national level
through the radio. It would be great to establish
the radio as a "bridge" of peace and goodwill among
all people of this world.
Here is a list fr.,r reference of Broad-
casting stations in Moscow, Peiping and Korea with
the map_ rate.
MOSCOW
Mr. Petrov Allomion
Radio Committee, Moscow P.O.B. 787 U.S.S.R.
mail rate: air mail letter 115 yen(per 10 gram)
ordinary letter 24 yen(per 100 gram)
ordinary card 12 yen
air letter 45 yen(this is most
convenient)
F-Mfaler--esarb:
6:30 A.M.
15400;
11800;
6:30 P.M.
15400;
7200;
7:30 P.M.
17800;
15400;
7200;
629;
Short wave:
700 KC;
2800 KC
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629; 5+8
11800; 9500;
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call signal: first phrase of "Mother Country"
EEIPING
Chinese People's Republic Broadcasting.ttstion
Peking City, Chinese People's Republic
mail rate: air mail letter 35 yen(per 10 gram)
ordinary letter 24 yen(for first 20
gram.. Add 14 yen
for every extra
10 gram.)
air mial card 25 yen(per 10 gram)
ordinary card 14 yen
frequencies of broadcasts:
6:30 P.M. 1020;
9510;
11945
8:00
9:15 P.M.:.
1020;
11945;
15730
10:30
call signal: first phrase of "Eastern Red"
theme music: national anthem
LOLA
Korea Central Broadcasting Committee
c/o Korean Embassy
Peking City, Chinese People's Republic
mail rate: same as Peiping.
cnig of broadcast:
6:30 A.M. 820; 6250
7:30 P.M. 820; 6250
short wave 6250 I.
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a. Guide to Reception
It is very important to have technical
knowl-edge -about the radio in order to spread the
reception of democratic foreign broadcasts. Since
with foreign broadcasts, the sensitivity is bad and
there is much static or interference compared to
domestic broadcasts, we should have some knowledge
about the radio.
22pes of home receivers
[No R.F. stage receiver
straight receivers-
Single T.R.F. stage rece-
iver
Superheterodyne -Medium Wave Receiver
. Teceivers-I
(5 or 6 tubes) All-Band Receiver
Most of the foreign broadcasts are sent to
Japan by short wave, but Moscow, Peiping and Korea
Central have medium wave broadcasts.
In order to listen to short wave broadcasts,
you must have an all-wave radio set or use a tuner
with a lapperheter.pdyne radio set. This tuner is a
very convenient apparatus and is sold by the trade
name "NSB Tuner'.!. Fixing this tuner to your set is
not difficult at all. Any one can do it by refering
to the diagram provided. A good one will cost anywhere
from 350 to 400 yen. It is sold in ordinary
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An,
47_
radio shops, radio information centers and by the
Denpa Kogyo KK.. In the Kansai area you can order
one from the Kyodo Musen K.K..
The medium wave broadcasts of Moscow,
Peiping and Korea Central can be received with an
ordinary medium-wave 5 tube superheterodyne receiver
with simple T.R.F. radios if they are in good con-
dition. These broadcasts can be heard very clearly
on the Japan Sea coast and western Japan.
b. The Performance and Reception of the Radio
No matter what the radio may be or what the
frequency may be, if you wish to listen to foreign
broadcasts, you must bear the following points in
mind.
1. Be sure you have an aerial. You can get aerial
wire from your radio dealer for five yen per
meter. You must have at least five meters, and
you should stretch this across your room or
outdoors as high and as long as possible. This
is how to do it. Pare the insulation off of
one end and insert the bare copper wire into
the aerial terminal of your radio set. Stretch
the wire along the wall(pillar and horizontal
beam) of your room. Leave the other end as
it is. In reinforced concrete buildings or
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ordinary homes with wire nets plastered into
the walls, an indoor aerial cannot catch the
radio vaves. In such cases the aerial should
be set up outdoors.
. 2. Next, turn on the switch and check the sensi-
tivity. In other words, ynu must be sure of
the efficiency of your set. Now, see if you
hear distant broadcasts at night as well as
local MIK and commercill broadcasts. (For
instance, if you are in Tokyo, see whether you
can hear Osaka.)
3. If you can catch Osaka, then try 548 KC (Moscow)
which is at the right end of your dial.
4. If you have succeeded in catching Moscow, then
your radio set will probably be able to catch
Peiping and Korea Central. If you cannot hear
Moscow, the efficiency of your radin is low
and you should take it to a radio shop or
have some technician look at it.
5. Finally make sure whether the dial markings
and the broadcasts coincide.
Now, for the reception.
1. Set ynur dial to the station to which you
wish to listen. Be careful not to turn the
dial as if you were listening to a local
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broadcast. Often the reason why the desired
station cannot be found even though the radio
is in good order is because the dial is turned
roughly. The radio waves of foreign broad-
casts are so sensitive that a quick turn of
the dial will only jump the delicate band.
2. For the beginner, the best way to catch the
desired station is to listen for the theme
music. (For instance, with Moscow it is the
"Mother Country" and with Peiping it is
"Volunteer Army March".) The theme music is
played for three minutes directly after the
broadcast begins. At night if you try to
catch this theme music, it will not be too
difficult to find your station.
3. When you have accomplished reception, turn the
-volume dial to the position best suited for
your room and mark it for future convenience.
4. While listening, there are times when the sound
fades and becomes very small. In most cases
you do not have to worry about this because
the sound will soon revert to its normal
volume. Do not turn the dial and lose the
station altogether.
5. When listening to short wave broadcasts, you
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will have to be far more careful with the dial
than when listening to medium wave broadcasts.
If you have any questions about radio
reception, inquire at the following places and you
will get adequate information.
Hoso Tanitsu Radio Information Center
Sanbetsu Building
7-12 Shiba Shimbashi, Minato-ku, Tokyo
Central Radio Center
4-714 Sendagaya, Shibuya-ku, Tokyo
Tokyo Denpa Kohgyo Kabushiki-Kaisha
191 Mukoh-hara-machi, Meguro-ku, Tokyo
Kyodo Nilsen
78 Takagaki-cho, Kita-ku, Osaka
RELATUJAkia Aim of the 'Corporation
Tax' Revision
1. Outline of the Corplration Tax Revision
The law aimed at levying taxes on politi-
cal parties and other public organizations was passed
at the 26th National Diet and went into effect on
the first of April, 1957. This law consists of the
revision bills and tax bills that include articles
imposing taxes upon 'organizations that have no per-
sonal character', which are called corporations.
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The majority of the people believed that
this revision was one of the series of revisions
made in-accordance with the government's policy of
reducing their taxes by hundred billion yen.
Furthermore, few people showed interest towards
this revision mainly because of the unaccustomed
term 'organizations with no personal character'.
The government and the Liberal Democratic Party
saw this weak point and pushed this bill through,
which in effect established a law imposing taxes
upon all public organizations, circles, study groups
and other organizations and upon their activities.
The first Article of the Corporation Tax
Law includes this paragraph:
"Any association or foundation that is
not a corporation, but provides for a representa-
tive or an administrator, and runs a profitmaking
concern(only those that have continual establish-
ments will be considered) will be considered as a
corporation(those associations and foundations that
have given up being profitmaking concerns are included.
Hereafter these organizations will be called 'organi-
zations with no personal character'.) and to which
this Law will apply." And in this Tax Law other
articles also contain paragraphs clarifying this
'organization with no personal character' based on
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? s)
the basic article just mentioned.
Now, what is this 'organization with no
personal character'? .ccording to material gathered
by the Finance Ministry, the following organizations
come under this category.
? Mefa/.e and Relief organizations(unions for
employees, worker's unions, mutual benefit
associations, welfare associations, town meet-
ings, prefectural associations, youth organi-
zations, women's associations, etc.)
? Educational organizations(parent-teacher's
associations, students' assemblies, alumnae
groups.)
? Religious organizations
* Medical organizations(medical centers and
other such organizations)
* Sports and Recreational organizations
* Publication organizations
* Political parties, Supporter's associations,
Goodwill and Friendship associations, etc.
In other words, political parties and
labor unions, all sorts of public organizations,
music and movie appreciation circles, study groups,
mother and children gatherings, gangs of street-booth
operators, associations for supporting members of
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the Diet and all other groups around us are included
in this definition 'organization with no personal
character'. The people belong, in some way or ano-
ther, to one or more of these organizations. Now,
how can we be indifferent to this law when the aim
of it is to impose taxes upon all these organizations?
Think of the huge number of organizations there may
be scattered all over this country.
According to the new Law, when these
organizations begin a protitmaking business, they must
pay corporation taxes. Formerly, a profitmaking
business was defined under the following 28 types
of businesses: selling merchandise, money-loaning,
manufacturing, radio broadcasts, freight, warehouse,
contractor, printing, publication, photography,
hall, hotel, restaurant, brokerage, agency, mediator,
wholesale, moneychanger, mining, gravel and sand,
bath-house, barber, theater, variiety hall, recrea-
tional center, pleasure resort, freight handling.
The new Law has added three more: realtor, medicine
and health, art training (sewing, cooking, barber,
beautician, judo, flower arrangement, dancing, act-
ing, etc.)
Political parties and other public organi-
zations all have their own original business in
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order to carry out their aims and principles. For
instance, they publish party bulletins, their mutual
benefit associations help get merchandise for their
employees cheaply, they have small appreciation
circles for movies and music where the expenses are
provided by the members, they have chorus groups
and all sorts of other activities. Now, according
to the new law, all these activities can be considered
as profitmaking concerns such as publication, selling
merchandise, theater, or art training. Furthermore,
when the fees and donations contributed by the members
of these activities for the upkeep of their group
can be considered as a profit, this finance must be
handled accordingly. Therefore, you can see the
reason for the hot debate over the intrepretation
of this Law and over the question of whether this
Law should be kept in effect.
As has been explained, all public organi-
zations that can be considered as profit concerns
must pay a tax of 35% when their annual income is
less than one million yen and 40% when over that
amount. This rate is the same as other corporations
and is clarified in the new Law. Besides their
duty of paying taxes, these organizations must now
make reports on their income and carry out other
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duties regulated under the Tax Law. As for the
report, the 'association or foundation with no
personal character' must, -ithin two months of its
establishment, report on the title, object of work,
type of profitmaking business i plans to conduct,
name of representative and place handing the business,
to the Tax Office. If the business is in the red,
of course, there is no need to Day taxes, but determin-
ing whether or not the business is actually in the
red is left to the investigative powers of the Tax
Office who can come and demand to investigate the
books. Furthermore, in case an organization does
not make this report, it can be indicted under the
criminal law for not making the report.
This is the outline of the nature of the
newly revised Corporation Tax Law and the term
'organization with no personal character'.
2. What The Ruling Class Is Planning To Do
The Constitution makes it clear that the
object of taxation should be clarified in accordance
with the principle of providing laws for all taxes.
So far, the object of the corporation tax law was
directed towards a corporation listed as an indi-
vidual. This new term 'organization with no per-
sonal character' enlarges the scope of the corporation
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so much that we can now say that the number of such
organizations is unlimited because there are pro-
bably new ones established every day while on the
other hand older ones are disappearing at the same
rate. The substance of each organization also dif-
fers to a great degree. The new Law tries to define
this vast mass under the abstract name 'organization
with no personal character' and is trying to impose
this tax by a one-sided decision. This action is
definitely contrary to the spirit of the Constitution.
Then, why did the government and the
Liberal-Democratic Party 1.1..),ve to enract such an
4
unconstitutional law? The first reason isinte
other than to collect as much in taxes as possible.
The government is pushing forward the beautiful
slogan 'reducing hundred billion yen from your
taxes', but behind this great slogan they are also
planning for a natural income increase of twenty
million and this is where the increase in taxes
becomes necessary. The tax reduction policy actually
touches only a little over ten per cent of the tax-
payers, who belong to the upper income bracket; the
rest of the people, over seventy per cent, do not
share the benefits at all. On the other hand, the
government is planning to cover the ten million
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yen reduction in taxes by the expected natural
increase of twenty million. But where does this
natural increase come from? It is a known fact
that the small amount of money in the form of taxes
wrung from the small enterprises, laborers and
farmers make up this natural increase. This new
idea of imposing taxes upon 'organizations with no
personal character' is really none other than the
result of desperate thinking by the government to
increase funds in the treasury. It is a law that
ignores the rights of the people.
The second reason, one which is very
important, is that this Law was aimed particularly
at democratic organizations. By im,-)osing taxes
upon the public organizations the government can
indirectly suppress them financially and interfere
with their policies. They also can use the Tax Law
as an excuse for probing into the organization of
these groups as well as into activities and their
financial situations. Thus they are planning to
draw these organizations under government jurisdi-
ction. When this bill was decided at the cabinet
meeting, there is said to have been some under-
standing among such capitalist organizations as the
conservative parties and the Japan Federation of
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Employers' Association and other supporting associa-
tions to the effect that 'consideration will be given
at the time of administration' for these organization.
Another episode also underwrites this fact. It has
been reported that, when one of the staff members
of the Liberal Democratic Party thundered into the
office of Finance Minister Ikeda saying, "Are you
trying to cause some sort of a feud within the party
by imposing taxes upon my supporter's association?",
the Minister answered, "The aim of the Law is directed
towards the democratic organizations." and thus
calmed the party man. This is definitely an action
that ignores the democratic rights of the people and
is as bad as the "Ordinance Regulating Organization".
The Laborers and the members of democratic organi-
zations must show greater interest in the enforce-
ment of this Law.
3. Fighting Against The Revised Articles
We have to stop this Law and it is pos-
sible to stop it.
First, we must reveal the contents of this
Law and the aim of the government. As it is, few
people know what this Law means and most of the
people are indifferent about it. One thing we can
do is to make active surveys of the various organization
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in the city an then tell them about this Law. In
this way we must try to develop a cooperative move-
ment against this Law.
Secondly, when there is a request from
the tax office to make a report, that request should
be refused. It is important to first make sure on
what ordinance the tax office has based its decision
in dlassifying your organization as an 'organization
with no personal character', and who make the final
decision. There is no law that defines the chara-
cter of each and every organization. It is impos-
sible to do such a thing. Therfore, it is clear
that the tax office has made its own unilateral
de3ision. Actually, the tax office doesfAot have
the authority to decide whether your ordanization is
an 'organization with no personal character' or not
and, consequently, it is perfectly legal to refuse
any such request from the tax office. It is very
important how it is decided whether an organization
is an 'organization with no personal character' or
not. It is equally important to fight against the
way decisions are made concerning the judgement of
being a profiting business or not. All organiza-
tion are busy with their activities for the achiev-
ment of their original aims. To publish party
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bulletins and pamphlets for propaganda purposes and
to appreciate music and movies within small circles
with the fees of the members are not activities
aimed for a profit. It is important that you are
sure about this fact. Do not be afraid to do the
work you are expected to do.
Thirdly, since it is clear that this
Article is unconstitutional, we must organize forces
to take legal action against its unconstitutionality.
In order to put these forces into effect, we must
call for the cooperation public accountants and
lawyers and make preparations for action whenever
the condition arises.
In short, we must all realize strongly
that this Article is unconstitutional, that no
organization can be taxed under the vague defini-
tion of being an 'organization with no personal
character', and, consequently, that this Article
can be stopped and turned into :lead letters.
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