of the two. Admiring that photograph at the Matayoshi Photo studio, I still remember to this day how impressed I was by it.
The eminent Funakoshi Gichin came from the head of my family. He was the cousin of my father. Gichins father’s name was Gishu, and my grandfather, Gifu, was his brother. Actually, Funakoshi Gichin was old enough to be the parent of my father. Funakoshi Gichins second son, Giyu, was the same age as my father. In my youth I was influenced by uncle Giyu, and often visited Gichin’s house. At that time he had his new dojo at the Kishimojin area in Zoshigaya, Tokyo.
Called the Shotokan, I often visited Funakoshi’s dojo on Sundays as a messenger of uncle Giyu. Uncle Gigo, the third son of Funakoshi Gichin, taught there at that time. Uncle Gigo commanded me to practice in the dojo, but Gichin Sensei said I was not suited to practice karate. That didn’t mean that I was not interested in karate, it just meant that I didn’t practice it. However, I continued going to the dojo regularly. I wanted to be strong like other boys, but the notion of training my mind and spirit through the discipline of martial arts just did not capture me at that time. However, I now regret that I could not find the courage to enter Gichin Sensei’s world, even though I was so close to him.
It was Nagamine Ichiro (no relation) who first gave me the chance to feel close to Nagamine Shoshin Sensei. Nagamine Ichiro had asthma as a child. However, after he studied karate under Nagamine Sensei, his health improved. After the war, Nagamine Ichiro recommended that I also consider practicing karate because of my asthma problem. At that time, both Ichiro and I worked for the Okinawan Peoples’ Government (forerunner of the Ryukyu government). Ichiro had overcome his asthma problem through karate training. This interested me, but I couldn’t decided whether or not to begin training because I was so lazy.
Even though I had heard the name of Nagamine Shoshin often since 1940 or 1941, it was not until I moved back to Naha in 1950 that I was finally able to meet him. I can’t remember just how I became so close to Nagamine Sensei, but I did.
These days I don’t see Nagamine Sensei very often, but when I do, I feel as if it was just yesterday that we last met. That’s how close we are. Yet, not being a budoka, I can’t imagine that I am a very good companion for the master, never speaking about the discipline. Nonetheless, the story of Master Nagamines enlightenment through bu is a great lesson for us all. Master Nagamine is a great inspiration, not only for karateka, but also for people like myself, who remain outside of the discipline.
In this book, Master Nagamine presents the combat legacy of our people: the legend of Okinawa’s bushi (warriors). Included in his presentation are Matsumura of Shuri, Matsumora of Tomari, Motobu Saru, and Kyan Chotoku, among others, all famous bujin (martial artists). After I read the manuscript once, I felt that this was the first book about karate that was both illuminating and easy to understand.
I was impressed that Nagamine Sensei did not introduce karate in a mysterious way, as if it was an obscure or “all-mighty” phenomenon. Rather, the art has been presented by a person who knows karate very well, a person who truly understands the real meaning of the discipline and its authentic waza (technique). Mysterious stories about karate sometimes confuse the actual purpose of the art. I can understand and accept the reason behind them, as they serve to spark interest in young boys. However, each reader or listener should interpret the message in his own way.
Stories about courageous warriors have always provided young boys with dreams about becoming strong and moral. Since karate-do is native to our island, it provides a sense of patriotism and regard for one’s heritage and community. I too, remember as an elementary student reading a story which left a remarkable impression on me. So too, I believe, will Nagamine Shoshin’s impressive publication greatly influence the young people of this generation.
Even though I know little about karate-do, I still maintain a great passion for this remarkable tradition. Every time I have observed a demonstration of the art by young people, I have been moved. When I see the frightening beauty of karate’s magnificent ferocity I experience an inner exhilaration. Strange as it may seem, I secretly shed a tear of regret for the great opportunity I had let pass.
Nearly a half-century has passed since I first saw the photograph of Nagamine Sensei and Satonishiki. Yet, still full of life, it is as if Nagamine just stepped out of the photograph yesterday. Having contributed so much to the growth and development of karate-do in Okinawa and throughout the world, we are all deeply grateful for Nagamine Sensei’s outstanding efforts, and this book is a testament to his dedication.
—Funakoshi Gisho
Foreword
I would like to say that this book is interesting, and I am impressed to say the very least. The reason I found it interesting was because it was written by someone who, as a modern bushi himself, was able to convincingly portray the legacy of Okinawa’s old bushi.
Before reading this book I had no idea that the bushi and the arts shared any connection. Moreover, and in all modesty, I also have to say that I had no real knowledge of Bushi Nagamine Shoshin either. However, after having read his book, twice, I came to understand much more than I had ever expected.
Historically, there have always been misunderstandings surrounding karate masters and Okinawan sumo wrestlers alike. Oral tradition characterizes them as hero-like figures, and television dramas portray them as such. However, the more I read Nagamine Sensei’s book, the more I had to modify my preconception. After first reading Funakoshi Gisho’s foreword, I thought it was a little exaggerated, and chalked it up to supporting the author. However, after carefully reading the subsequent pages, I came to realize two important facts: the detailed explanation of bunbu, and the documentation which Nagamine Sensei had compiled from his extensive research and interviews.
I was also impressed that Nagamine Sensei had carefully corroborated his historical investigation with either the testimonies of the masters themselves or their immediate families. Additionally, Nagamine Sensei’s superb writing forte is second only to his deep understanding of karate-do which is clearly evident in the way this book has been composed. This publication should therefore represent a scale by which to measure the depth of a man who devoted his entire life to karate-do.
I am not a person who easily expresses my feelings; however, when reading a stirring book, and especially if I am moved, tears often culminate my emotions. For this, my family has often teased me. Yet, I experienced the same feeling when reading this book. My family laughed at me, but that did nothing to change the way I felt. I was truly touched.
In this fascinating book, historical inaccuracies surrounding Okinawan martial folklore have been corrected. Hence, we can read stories about stalwarts like Makabe Choken, To-Te Sakugawa Kanga, Matsumura Sokon, Matsumora Kosaku, Itosu Anko, Higaonna Kanryo, Funakoshi Gichin, Kyan Chotoku, Motobu Choki, and Arakaki Ankichi.
This book also describes the training chronicles of Okinawa’s sumo community. For example, it recounts the stories of Akarie Matsuzo, Kawamae Kitatsu, Kinjo Masayuki, Uezu Jiryo, and Ishikawa Seijin. Moreover, this fascinating publication also introduces Kushi Jokei, who, by all accounts, enjoyed a glorious interval as a postwar leader of the sumo community in Okinawa.
As I stated at the beginning of this foreword, this book is an interesting publication in that it represents an authentic account of pre- to post-war Okinawan karate masters, bujin, and native sumo wrestlers, their bouts and reputations. Most of all, these chronicles are introduced by Nagamine Shoshin, a master of bunbu ryo do: someone whose physical skills are equally balanced by his intellectual dexterity.
As mentioned earlier, at first I thought Funakoshi Gisho’s foreword was exaggerated. However, after reading the manuscript, I concur. This book is a must for everyone who studies karate. Moreover, I also recommend it as a source from which the modern
