Tag Archives: Miyagi Chojun

Ryūkyū no Fūbutsu (Scenes and Cus­toms of Ryūkyū) (1940)

The 1940 movie Ryūkyū no Fūbutsu (Scenes and Cus­toms of Ryūkyū) was planned by the Japan Folk Art Association (Nihon Mingei Kyōkai) and headed by Ya­nagi Muneyoshi (1889–1961), who acted as editorial supervisor. Yanagi was born on March 21, 1889, … Continue reading

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On Sēpai (1986)

Not too long ago communication between Okinawa and the world as well as between sensei and students was slow. Things would sometimes take months if not years to reach anybody, if ever. My colleague Filip Konjokrad just provided his translation … Continue reading

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Sanchin

It seems that Higashionna Kanryō trained Sanchin as a technique to acquire skill. Miyagi on the other hand thought there was already enough practice of kaishu-gata, but heishu-gata were lacking. He began to aim at physical education and martial arts … Continue reading

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Nakamura Shigeru: “Karate is also to be unified”

“Karate is also to be unified”“Unification with wearing protective gear” Nakamura Shigeru, Chairman of the Okinawa Kenpō Karate-dō Renmei Born on January 20, 1893, he entered the Karate Club of the Shuri Prefectural Middle School in Shuri at the age … Continue reading

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Der Kernpunkt der Karatetechnik: Sēpai, Teil 1-4. Gōjū-ryū Kaishugata. In persönlicher Unterweisung erlernt von Chōjun Miyagi.

Vorführung und Erklärung: Gôjû-ryû Karate-dô, Kisaki Tomoharu (unter Schriftleitung von Nagoya Shigeru) Man sagt, Kata sei eine Kombination verschiedener, unabhängiger Angriffs- und Verteidigungstechniken. Das wichtigste Element bei der Ausführung von Kata ist jedoch die sich dabei widerspiegelnde Energie, d.h. die … Continue reading

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Heroes and Gods: The Factual Existence of a Transmission of Ethical Teachings and Practical Philosophy in Karate, Exemplified by the God of War Būsāganashī ブーサーガナシー

“The deity’s apparel was obviously made after Chinese fashion. In Chinese magic and juggling of old, the Chinese would walk the suburbs on foot and performed their conjuring tricks and juggling. Some people actually take this as an original form of Karate. But I have never heard that headpieces have been mentioned in the history of Karate. For the rest, it would be futile to report about what outsiders told me about Karate only to aggrandize themselves. In light of the present conditions of the Karate boom, I involuntarily recollect the portrait of the Būsāganshī.” (Tokuda 1956) Continue reading

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Like-a-Stick-of-Straw

There is the working hypothesis of a prototypical combative method of indigenous Ryūkyūan origin and design. It predated imported methods of kenpō and was handed down personally without interruption ever since. This combative method is generically described as “Tī.” The … Continue reading

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Mündliche Traditionen über Higa Seiko und Higaonna Kanryō

Folgende Artikel stammen aus dem Werk „Karate Denshin-roku (Jōkan), 2005: 46–51“ von Kinjō Akio. Übersetzung von Andreas Quast. Überlieferer mündlicher Tradition von Generation zu Generation: Über Higa Seikō Sensei Etwa 1955, zur Zeit meiner Immatrikulation an der Universität von Ryūkyū, … Continue reading

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Miyagi Chojun, October 1935

October 1935, the great tug-of-war of Naha was celebrated on Naha City Tsūdō main street. The men in the photo belonged to the Eastern Party. They had the important task to take care of the kanichibō, i.e. the huge wooden … Continue reading

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Chojun Miyagi’s note on “Baida,” 1936

Jūjutsu and jūjutsu-like systems were known since feudal times in Japan under a multitude of names. The two most common of which were jūjutsu and yawara. Others were: kumiuchi, kogusoku, koshi no mawari, wajutsu, aikijūjutsu, aiki no jutsu, aikijutsu yawarajutsu, … Continue reading

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