the sanshikan (top three ministers in office), the tug of war was an event held primarily for Okinawa’s kemochi. The rope used in Naha had a diameter of three shaku and each side measured thirty ken (54.54 meters) in length, for an overall length of sixty ken (109.08 meters). The rope used in Shuri was twice the size of that used in Naha, and measured a magnificent 120 ken (218.18 meters) in length.
An event not taken lightly, the tug of war was a contest governed by strict rules. According to Naha City Magazine, the tug of war committee consisted of a buuhai (head of tug of war), chinahoo (maker of the rope), teehoo (maker of the lanterns), shitaakuhoo (maker of the costumes), chinkuhoo (conductor of the music), kanichihoo (maker of the wooden bo), suneehoo (chief of the parade guards), and hatahoo (maker and coach of the flags).
As previously explained, the ayajou-uugina was a popular cultural event which always attracted a crowd of people ranging from local government and satsuma officials, to kemochi and mukei (those without chronicled lineage). Because it was the most spectacular event in the Ryukyu Kingdom, participation in it was the ambition of all the young men from Shuri’s Mitara district. The holding of the flag and the kanuchiyaku (the staff) was considered a special honor, customarily a privilege reserved only for brave and bold men. A man selected for one of these roles was considered to be not only a man among men; he was truly revered.
It came as no surprise to learn that, in representing the east, Makabe Chaan was always selected for such positions since he was tall, powerful, and popular. The flag for the west, representing the opposition, was often held by Morishima Eekata, a man of Herculean strength. Morishima later had a son who became known as Giwan Choky, a prominent statesman, who died in 1875.
The shitaku (costume) for the east was designed after the historical boy samurai Ushiwakamaru (actually Minamoto Yoshitsune’s childhood name), while the shitaku worn by the west represented Benkei (a subordinate of Yoshitsune’s who dressed like a monk). With a first swing of the flag, the tug of war commenced and the ringing of the bells and drums became intense. After a superb kanuchibo demonstration, the participants gathered around the rope to engage each other. The grunts and shouts of physical exertion filtered through the music and commotion as an excited throng of spectators swarmed the venue. Yet, in the end, the game belonged to the east. Makabe’s team had emerged victorious.
The tug of war as shown in the Ryukyu Ihoshi.
As was the custom, the first and second flagsmen led the winner’s side around while the champions rang the bells, beat the drums, screamed feverishly in triumph, and danced around in high spirits. Regulation demanded that the losing team should quietly place the head of their flag on the ground and retreat in defeat.
The hatagashira (head of the flag).
However, at this particular event the west, representing the hatahoo (the vanquished), were poor losers and forgot their etiquette. Refusing to surrender their icon, they kept screaming and sailing the defeated flag in an effort to taunt the champions. Just as everyone began to notice what was going on, Makabe jumped into the midst of the defeated team like a flying bird, grabbed the flag and threw it to the ground and then withdrew without recourse. The audience, as well as the other team members, were overwhelmed by his bravery.
In old Okinawa, high ranking kemochi often used a palanquin to travel around. Not being immune to the problems of highway robbery, Makabe Chaan was well-known for his innovative techniques of defense and escape. One night there was a palanquin traveling through the dark streets of Shuri. The two palanquin holders suddenly felt apprehensive because the weight of their passenger had mysteriously vanished. When they put the palanquin down to check inside, it was empty. They were dumbfounded. All of a sudden they were overcome by fear as a black shadow jumped out from behind a well by the street. Without delay the two palanquin holders ran off in fear of their lives. Just then a voice yelled out, “Don’t be afraid men, come back.” Laughing quietly to himself, the voice was that of Makabe Chaan who was supposed to be in the palanquin.
I’ve heard a similar story from the great master of karate, Motobu Choki. There once was a man named Sakuma Chikudoun Peichin who, by all accounts, was a brave but imprudent fighter. Notwithstanding, Motobu raised his hat to this dauntless stalwart. Apparently Sakuma also liked drinking and often accepted challenges in exchange for awamori (a potent Okinawan liquor). Once in Shuri, Sakuma leaped into a miga (well) and then came flying out again. He was able to accomplish this feat by pressing his hands and feet against the sides of the well to support his powerful body. Even the powerful Motobu Choki was unable to perform such a magnificent feat.
Sakuma Peichins remarkable jumping technique was based on the skills of Makabe Chaan. Since boyhood Sakuma had heard of Makabe’s enormous size and great physical strength. Growing into a strong and powerful lad himself, Sakuma’s size rivaled that of his hero and role model, and, so too, did he try to develop his own skills in the image of the great Makabe Chaan. Because of Sakuma’s long arms and legs, and light but powerful body, he, like Makabe, was able to develop great leaping skills.
LAW AND ORDER IN THE CASTLE TOWN OF OLD SHURI
The Satsuma overlords maintained island tranquillity by force. This was accomplished by ensuring that local territorial administrators adhered to severe routine policies. Moreover, the Satsuma rearranged the class system in an effort to control the family lineages of the kemochi, and established an official department to record such information. However, together with the cumulative effects of feudalism, their efforts proved ineffective. It was during this time that King Shoko composed his satirical poem.
Poem:
Kamishimuya tsumete nakaya kuratatete
ubaitoru uchiyu usamigurisha
Shoko-O (King Shoko, 1787-1833)
Translation:
How poor and frugal both the upper and lower classes are now, in spite of a flourishing middle class. Ruling, during these unstable times, is so difficult.
Interpretation:
Kamishimuya refers to both the upper- and lower-classes of Okinawan people, while nakaya refers to the middle class. Composed by King Shoko, the poem aptly describes the dwindling condition of the kingdom, and his melancholy.
Responsible for the economic supervision of his own estate, Makabe Chaan was very familiar with the actual financial management of the upper class. It is said that because of Makabe’s shrewd business talent his family was able to survive and prosper, in spite of the government’s unstable financial circumstances. Yet, in the midst of a dwindling economy, Makabe Chaan was still known as the most outstanding bushi of his time. It is even said that the Satsuma bureaucrats recognized Makabe Chaan as Okinawa’s foremost bushi.
Although the old castle town of Shuri seemed to be a relatively peaceful place in which to travel, Satsuma magistrates often had stones hurled at them, and were sometimes attacked in the dark of night. Every time an incident of this nature occurred, the finger of blame was pointed towards men like Makabe. For even though he may not have been the actual culprit, Satsuma officials suspected that anyone brave enough to attempt such a thing must have been trained by someone like Makabe.
In spite of his innocence, Makabe was discouraged and told his family: “The purpose of bujutsu is not to compete with other people, but for training all aspects of oneself. I regret having competed with so many people in the past just to prove a point. As a man sows, so shall he also reap.” It is said that from that time forth, Makabe never took on another student.
According
