only way in which karate can be effectively handed down to future generations as a cultural inheritance, is by adhering to this tradition.
When I think about the international exposure which karate-do has received, I can not help but ponder the footsteps of our eminent predecessors and the devotion it took to forge this tradition. In spite of nearly three centuries of harsh living in the shadows of foreign military and political subjugation, our predecessors never lost their lively spirit. One notable aristocrat named Tansui Eekata (1623-82) composed an abstract poem which has become a classic among Ryukyu folk art.
Poem:
| Chunomiya muchai | Ashibushiya warate |
| Kunoyu furishite te | Ichayashigana |
Translation:
A human life span is like a fleeting drop of dew.
Renounce people who play. Yet, if possible, I wish
to go to Shangri-la.
Clarification:
“Renounce people who play” refers to Tansui Eekata revering music so much that other statesmen criticized his preoccupation and artistic achievements. The word “play,” in this case, implies his “taste for music.” Hence, Tansui was mistakenly thought to be lethargic, during a period of Okinawan history when men of his position were expected to use their influence and power in more productive ways. After returning from the countryside where he had spent considerable time composing music, he was finally recognized as a great musician, and regarded as the founder of Tansui-ryu (Tansui school). In the end, Tansui was considered a creative genius and an overachiever.
In my opinion, Tansui is a perfect example of one who deeply embraces the spirit of dō mu gen: there is no end to learning. In spite of adversity and misunderstanding, he devoted his entire life to artistic accomplishment. I was deeply moved with Tansui’s chimugukuru (devotion).
It was around my second year of junior high school, under the old prewar school system, that I started training in karate. In those days, everyone thought of a bushi as someone who was just a strong fighter. Yet, even as a child, I somehow perceived that this opinion was incorrect, and that being a bushi meant more than just being physically powerful.
As a lad, I was fortunate to have met a prominent teacher and his great senior disciple. Because of their profound understanding of karate, so too was I able to achieve a deep perception of budo (martial ways). In other words, I was able to confirm my childhood beliefs that a bushi was more than just a physically powerful person. I came to understand how devoting one’s life to karate develops an indomitable spirit and unshakable faith. This is necessary for a bujin to live a just life and is similar to Buddhist beliefs.
I became a policeman at the age of twenty-six because it suited me, and I kept enthusiastically practicing judo, kendo, and karate. During that time I often visited prominent senior bujin, not really caring whether they were from the Shuri-te or Tomari-te traditions. In addition to enhancing my understanding of karate in general, I also managed to pick up many descriptions of old bujin from the Ryukyu Kingdom.
Between 1940 and 1944, I researched the family lineages of Bushi Matsumura Sokon, Makabe Chaan (Makabe Choken), Mayaa Arakaki (Arakaki Seisho Tsuji) of Naha’s Kumemura, and Bushi Matsumora Kosaku of Tomari. After the war I supplemented this analysis by conducting more investigation into corresponding areas. Only then was I able to conclude my examination into the lives and times of those men who grace the pages of the book which lies before you. Together, these men represent some of the most prominent pioneers of karate history.
As I mentioned earlier, the competitive dimension and commercial exploitation have given rise to eclecticism in Okinawa and beyond. Simply stated, this is a departure from authentic Okinawan karate. Other details to consider are the erroneous stories which are mistakenly construed as historical facts. The problem with such embellished stories is that they have gone on unchallenged and have become legends.
In many ways, I feel that it is my responsibility to not only reestablish the authentic image of karate-do, but to also hand down an important piece of Okinawa’s cultural legacy. In spite of my inadequate writing skills, I am able to not only give back to the art which has given me so much, but also return my obligation to those bujin who have come before me. In doing so, it is my deepest hope that the entire karate community, both here in Okinawa and abroad, may come to understand that which they have yet to learn.
I really appreciate the support of Funakoshi Gisho, Kadekawa Juuki, and all the other kind people who assisted with the research and publication of this book. I would like to especially thank Gakiya Joshu, the calligrapher who brushed the kanji for this book; Miyagi Akira who painted the portraits which appear in this book; and my seniors, Mr. Nagamine Shoshu and Mr. Sakugawa Kankei, who helped me research the family lineages.
Because there is so little official documentation about the old bujin of Okinawa’s karate history, I have taken this opportunity to make available much of that information which has been handed down through oral tradition. Not really considering myself an expert of karate-do, I would like to say that any and all mistakes which may appear in this book are mine alone.
PART ONE
BIOGRAPHIES OF
OKINAWAN KARATE
EXPERTS
Chapter 1
MAKABE CHOKEN OKINA:
A MAN OF GREAT STRENGTH
THE DIVINE JUMPING TECHNIQUES OF TOBITORI
There was a hospital owned by Taira Masa which was situated in Shuri’s Tounukura district before the war. This was the same site where the Makabe estate once stood. Makabe’s residence covered an area of 360 tsubo (1188 meters) and many kinds of budo training equipment were located there. Makabe Choken Okina is said to have trained there every day. Thanks to the Taira family, I enjoyed the privilege of inspecting a footprint on the ceiling of the guest house, put there, rumor maintains, by Makabe himself while demonstrating a jump kick. I went there with the interest of confirming it with my own eyes. Using my eye to compare the height of the ceiling in this old style residence to those of other Okinawan-style homes, I would say that it was over four meters high.
Portrait of Makabe
Makabe Choken was born the fourth son of Makabe Aji Chougi (whose Chinese name was Jigenho), during the time of King Shoboku. Choken’s childhood name was Umijiru and his Chinese name was Koubunbin. He grew quite large during his youth and by the age of fifteen or sixteen, he developed into an enormous man of muscle.
Coming from a family of wealth and position, Makabe received a good education which, during Okinawa’s Ryukyu Kingdom, was referred to as Teshimi Gakumun: te means “hand” but implies martial arts, shimi means “calligraphy” but implies a scholarly pursuit (i.e., the study of Confucianism), and gakumun means “to study.” Together, they represent the principles of bun bu ryo dō: the significance of balancing physical training with philosophical study. In addition, Makabe also became familiar with Japanese academic pursuits.
In spite of Makabe’s well-known reputation as a bujin, who trained him and in what tradition remains the subject of intense curiosity. Notwithstanding, it would seem that whoever was responsible for his education did a remarkable
