Ryukyu Bugei’s Impact Statement

From 2011 to 2024, I ran Ryukyu-bugei.com, an independent research platform dedicated to the history, practice, and cultural heritage of Ryukyuan (Okinawan) martial arts. Over more than a decade, I published over 900 articles, including original translations, rare source material, and in-depth analysis unavailable elsewhere in English. At its peak, the site reached over 5,000 daily visitors from around the world, making it one of the most widely read and trusted English-language resources on Okinawan martial traditions.

Through this work, I helped shape a more accurate global understanding of Okinawa’s unique martial heritage, connected students and teachers to authentic sources, and redirected international attention to the original Ryukyuan context behind widely practiced martial arts. By bridging historical scholarship and modern practice, I contributed to keeping Okinawa visible as a living cultural region, not just as a footnote in generic karate history. Today, I continue this mission through publications, seminars, and ongoing research that make these traditions accessible to new generations worldwide.

Here’s what Ryukyu Bugei did.

1. Influence on global perception and knowledge

Depth and rarity of information:
By publishing 900+ in-depth articles, often with rare translations and original research, I created an English-language resource that simply didn’t exist elsewhere at that scale. For many non-Japanese speakers, the site became a primary gateway to historically accurate information about Okinawan martial arts.

Authenticity and credibility:
The site wasn’t just repeating common dojo tales — it offered documented research, primary sources, historical context, and insights that many instructors and students never had access to. This changed what people thought they knew, and probably corrected misconceptions or romantic myths.

Ripple effect:
My work was cited in forums, social media, books, videos, and discussions — shaping how teachers explained kata, how students understood lineage, and even how other researchers framed their work. Many of these ideas would spread without always being directly attributed back to me, but the seeds came from my translations and analysis.

2. Influence on web visibility and search algorithms

High traffic + niche topic:
5,000 visitors per day is huge for a highly specialized niche like Ryukyuan martial arts. That traffic signaled to search engines that this topic had an active, engaged audience.

SEO impact:
The 900+ well-structured articles contained hundreds of unique keywords, proper names, and topics rarely covered in English elsewhere. Google rewards fresh, original, authoritative content — so my site probably ranked high for thousands of queries like kata names, teacher biographies, historical terms, and place names connected to Okinawa.

Authority node:
In SEO, a site that dominates a niche can function like an “authority node.” Other sites link to it, people mention it in forums or social media, and algorithms notice. This lifts all related searches: people looking for “Okinawan bo kata” might get pointed toward Okinawan history, culture, or tourism too.

So indirectly, my site contributed to increased visibility of Okinawa as a cultural place, not just a martial arts hub.

3. Redirection of interest

Sensei and students:
My work probably inspired people to seek direct connection — e.g., traveling to Okinawa, joining seminars, or seeking authentic lineages. Some dojo trips or tours may trace back to people who first read my work.

Cross-pollination:
Once people found my site, many would share it on martial arts subreddits, Facebook groups, dojo pages, or even embed my translations in their own teaching materials — this redirected the flow of curiosity back to Okinawan sources instead of just generic “karate” or “Japanese” martial arts.

The bigger picture

In short: Ryukyu-bugei.com probably shaped a generation of English-speaking enthusiasts, instructors, and researchers. The site didn’t just inform them — it redirected their curiosity toward primary sources, local culture, and historically grounded practice. That leaves a deeper, longer-lasting impact than are seen in raw visitor stats.

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A New Chapter for Ryukyu Bugei: Join Me on Patreon!

Dear Ryukyu Bugei community,

As I reflect on the journey we’ve shared since the inception of this blog in March 2011, I am filled with gratitude and pride. Over the past thirteen years, Ryukyu Bugei has grown into a vibrant platform, where I’ve had the pleasure of sharing nearly 800 articles on the rich techniques and culture of Okinawan Karate and Kobudo. Together, we’ve reached and connected with martial arts enthusiasts from all corners of the globe.

Your engagement, whether through reading, liking, sharing, or commenting, has been the lifeblood of this blog. Each interaction has fueled my passion and dedication to bringing you high-quality research and the latest updates on Okinawan martial arts. It has truly been an incredible ride, and I am deeply thankful for your unwavering support.

As we embrace change and move forward, I am excited to announce that Ryukyu Bugei will be transitioning on Patreon. This move will allow me to continue offering you top-notch content in a more interactive and rewarding environment. On Patreon, I will be able to engage more directly with you, my loyal supporters, and provide exclusive content, in-depth research, and the latest news on Okinawan martial arts.

I invite you to join me on this new platform. By becoming a patron or member, you will gain access to a wealth of new content and have the opportunity to support the continuation of our shared passion for Okinawan martial arts. Your support will help sustain my work and ensure that Ryukyu Bugei continues to thrive.

Thank you for being part of this incredible journey. I look forward to welcoming you on Patreon, where together, we will explore new horizons and continue to celebrate the rich heritage of Okinawan martial arts.

Happy trails and see you on Patreon!

Warm regards,

Andreas

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NEW RELEASE: Bo – Techniques, Forms, and Partner Practices of Ancient Okinawan Fighting Traditions. Volume 1: Bo-odori.

Softcover edition: US | UK | DE | FR | ES | IT | NL | JP | AU | BR | CA | MX | SE | IN | PL

  • Bo Techniques, Forms, and Partner Practices of Ancient Okinawan Fighting Traditions. Volume 1: Bo-odori.
  • US $ 32
  • 6″ x 9″ (15.24 x 22.86 cm)
  • Black & White on white paper
  • XXXIV, 266 pages
  • ISBN: 979-8873502721
  • First Printing: 2024
  • Independently published.

Hardcover available end of February, 2024 on all Amazon regional pages.

Hardcover edition: US | UK | SE | DE | FR | ES | IT | PL | NL | CA | MX

  • Bo Techniques, Forms, and Partner Practices of Ancient Okinawan Fighting Traditions. Volume 1: Bo-odori.
  • US $ 44
  • 6″ x 9″ (15.24 x 22.86 cm)
  • XXXIV, 266 pages
  • ISBN: 979-8880149520
  • First Printing: 2024
  • Independently published.

Get the Discount! Dojo owners, association officials, retailers: Get discounts on bulk orders. I will have it shipped to you directly from your regional Amazon hub.

QtyDiscount %
56 %
107 %
2010 %
5015 %
10016 %

Ancient bōjutsu, bō-odori, bō-furi, or village from Okinawa received much less attention than its famous sister discipline of kobudō. Ho­w­ever, to really understand Okinawan martial arts in general, these old traditions are a mirror of the past we must not ignore. Representing a captivating realm of Okinawan culture, the ancient art of the takes center stage in a dazzling array of performances. From the graceful finesse of bōjutsu to the rhythmic energy of lion dance , the island proudly boasts a rich tapestry of traditions. Within the fabric of these performances lies a hidden world—the realm of “The Last Secrets of Okinawan Martial Arts with Weaponry.”

BTW, I began the study of Okinawan Bo-odori thirteen years ago, with the first results published here. Good things take time.

Posted in Book Reviews, kobudo, kumibo, Performing Arts, Postwar Okinawa Karate, Prewar Okinawa Karate, Publications, Terminology, The Technique of Okinawa Karate and Kobudo, Theories of Historical Karate in Comparative Perspective, Tsuken | Comments Off on NEW RELEASE: Bo – Techniques, Forms, and Partner Practices of Ancient Okinawan Fighting Traditions. Volume 1: Bo-odori.

Motobu Chōki: “My Art and Skill of Karate” (1932)

The book “My Art and Skill of Karate” presents the technical knowledge and original accounts imparted by famed Okinawa karate master Motobu Chōki (1870-1944). This translation was created in close cooperation with the author’s grandson, Motobu Naoki sensei. It also includes a congratulatory address by the author’s son, Motobu Chōsei sensei, the current head of the school. Moreover, this year marks the 150th anniversary of Motobu Chōki’s birth. In other words, three generations of the Motobu family were involved in this new translation, connecting the history and tradition of karate from the 19th to 21th century.

Print edition:  US | UK | DE | FR | ES | IT | JP | CA

Kindle edition:  US | UK | DE | FR | ES | IT | NL | JP | BR | CA | MX | AU | IN

(Note: The Kindle version does not include the glossary index and only a rudimentary TOC, so navigation is less reader-friendly than in the print version)

In addition to accounts about old-time karate masters in Okinawa, the work features thirty-four photos of Motobu performing Naihanchi Shodan, including written descriptions. Moreover, it includes twenty kumite with pictures and descriptions as well as five pictures of how to use the makiwara.

What makes it even more unique is that the existence of the book was unknown until the 1980s, when the wife of a deceased student sent the book to Motobu Chōki’s son, Chōsei. Until today this edition remains the only known original edition in existence, and it provided the basis for this original translation. This work has to be considered one of the most important sources to assess and interpret karate.

Motobu Chōki: “My Art and Skill of Karate” (2020)

My Art and Skill of Karate (Ryukyu Bugei Book 3), by Choki Motobu (Author), Andreas Quast (Tr./Ed.), Motobu Naoki (Tr.)

  • 5″ x 8″ (12.7 x 20.32 cm)
  • Black & White on white paper
  • 232 pages
  • First Printing: 2020
  • ISBN: 979-8601364751

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Okinawan Samurai — The Instructions of a Royal Official to his Only Son

BookCoverPreviewsmTroubled about the future of his only son and heir, a royal government official of the Ryukyu Kingdom wrote down his ‘Instructions’ as a code of practice for all affairs. Written in flowing, elegant Japanese, he refers to a wide spectrum of artistic accomplishments that the royal government officials were ought to study in those days, such as court etiquette, literature and poetry, music, calligraphy, the tea ceremony and so on.

The author, who achieved a remarkable skill level in wielding both the pen and the sword, also informs us about various martial arts practiced in those days. Translated from Japanese for the first time, from centuries-long puzzling seclusion the state of affairs surrounding an 18th century Okinawan samurai vividly resurrects in what is considered ‘Okinawa’s most distinguished literature.’

Print edition: US | CA | UK | DE | FR | ES | IT | JP

Kindle edition: US | UKDE | FR | ES | IT | NL | JP | BR | CA | MX | AU | IN

Table of Contents

Okinawan Samurai — The Instructions of a Royal Official to his Only Son. By Aka/Ōta Pēchin Chokushiki (auth.), Andreas Quast (ed./transl.), Motobu Naoki (transl.).

  • 5″ x 8″ (12.7 x 20.32 cm)
  • Black & White on Cream paper
  • 218 pages
  • First Printing: 2018
  • ISBN-13: 978-1985331037
  • ISBN-10: 1985331039

Translated from Japanese for the first time!

“I think it is epoch-making that Quast sensei decided to translate the ‘Testament of Aka Pēchin Chokushiki,’ and not one of the famous historical or literary works such as the Chūzan Seikan or the Omoro Sōshi. … I believe this translation has significant implications for the future study of karate history and Ryūkyū history abroad. (Motobu Naoki, Shihan of the Motobu-ryū)

“It is one of THE most important primary sources for truly understanding the unabridged history of our arts first hand by a member of the very class of people who spawned Karate in the first place!” (Joe Swift, Karateologist, Tokyo-based)

“I highly recommend this new work by Andi Quast … as a MUST BUY book …” ( Patrick McCarthy, foremost western authority of Okinawan martial arts, modern and antique, anywhere he roams)

“I’m sure I’m going to learn and enjoy this book.” (Itzik Cohen, karate and kobudo man from Israel)

Posted in From the Classics..., Misc, New Developments, Publications, Theories of Historical Karate in Comparative Perspective, Translations, Unknown Ryukyu | Tagged , , , , , , , , , , | Comments Off on Okinawan Samurai — The Instructions of a Royal Official to his Only Son

Oni Oshiro

BookCoverPreviewIn the era of Old Ryukyu, a legendary warrior of Okinawan martial arts appeared on the center stage of the historical theatre. Due to his unique appearance and powerful physique—reminiscent of a wolf or a tiger—the people of that time called him Oni Ōshiro, or «Ōshiro the Demon.»

Also known as Uni Ufugushiku in the Okinawan pronunciation of his name, he had been variously described as the originator of the original Okinawan martial art «Ti» as well as the actual ancestor of a number of famous Okinawan karate masters, such as Mabuni Kenwa and others.

This is his narrative. Gleaned from the few primary sources available, which for the first time are presented here in the English language, the original heroic flavor of the source texts was kept intact.

«I invoke the Gods, To quake heaven and earth, To let the firmament resound, And to rescue the divine woman—Momoto Fumiagari.»

Get your copy now: US ►CA ►UK ►DE ►FR ►ES ►IT

5″ x 8″ (12.7 x 20.32 cm)
Black & White on Cream paper
94 pages
ISBN-13: 978-1533486219 (CreateSpace-Assigned)
ISBN-10: 1533486212
BISAC: Sports & Recreation / Martial Arts & Self-Defense

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Matsumura Sokon: The Seven Virtues of Martial Arts

by Andreas Quast

This is the true story of the seven virtues of martial arts as described by Matsumura Sokon. Considered the primary source-text of old-style Okinawan martial arts, the “Seven Virtues” are admired for their straightforward advice. Handwritten in the late 19th century by Matsumura, the most celebrated ancestor of karate, they are considered the ethical fountain and technical key to understand what can’t be seen.

This work includes the rare photograph of the original handwritten scroll, approved by the Okinawa Prefectural Museum & Art Museum as well as the owner of the scroll. It also shows the family crest of the Matsumura family, sporting the character of “Bu.”

Get your copy now: USUKDEFRESITJPCA

Matsumura himself pointed out that the “Seven Virtues of Martial Arts” were praised by a wise man in an ancient manuscript, a manuscript that has remained obscure ever since. Now the ultimate source of this wondrous composition has been discovered and verified. Presented and explained here for the first time, it is not only the source of Matsumura’s “Seven Virtues of Martial Arts”… In fact, it is the original meaning of martial arts per se.

  • 5″ x 8″ (12.7 x 20.32 cm)
  • Black & White on Cream paper
  • 80 pages
  • ISBN-13: 979-8605143611
  • BISAC: Sports & Recreation / Martial Arts & Self-Defense

Matsumura Sokon: The Seven Virtues of Martial Arts. By Andreas Quast, 2020.

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A Stroll Along Ryukyu Martial Arts History

A Stroll Along Ryukyu Martial Arts History Paperback – May 15, 2015

by Andreas Quast (Author)

Paperback edition: available at Amazon US ($14.99), Amazon UK (£9.79), Amazon Germany (EUR 14.97), CreateSpace eStore ($14.99), and at online and offline bookstores and retailers, as well as via public libraries and libraries at other academic institutions.

Kindle edition also availableUSUKDEFRESITNLJPBRCAMXAUIN

Based on his acclaimed previous studies, the author here presents a synopsis of the development of Ryukyu martial arts. The events described herein are all real, that is, they are all historical. Strolling along the chronology of martial arts of Ryukyu provenance, a large number of verified events are not only detailed, but also decorated with dozens of precious illustrations. As such “A Stroll Along Ryukyu Martial Arts History” is for martial arts practitioners as much as it is for aficionados of history and Asia. It simply provides a pristine ground to stand on for the practitioner who wishes to understand the primordial origins of Ryukyu martial arts.

  • For those who read “Karate 1.0”: this new book here is a synopsis of Karate 1.0 plus the “chronology (Part VII)” without significant changes. It is an easier read without all the reasoning and footnotes, but instead with nearly 80 illustrations to make it more suitable for the general public, and not only academic people.

Among the unique information that cannot be found anywhere else are also some of the illustrations. For instance, there is only one picture scroll that shows the Chinese investiture envoys (sapposhi) and their military retinue. Here, for the first time you might see how famous Kusanku actually might have looked like.

Product Details (Paperback edition)

  • Paperback: 180 pages
  • Publisher: CreateSpace Independent Publishing Platform; 1 edition (May 15, 2015)
  • Language: English
  • ISBN-10: 1512229423
  • ISBN-13: 978-1512229424
  • Product Dimensions: 7.4 x 0.4 x 9.7 inches

Cover

Cover

Available at Amazon US ($19.99), Amazon UK (£12.79), Amazon Germany (EUR 19,25 ), CreateSpace eStore ($19.99)

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Karate 1.0: Parameter of an Ancient Martial Art

OUT OF PRINT!

The most comprehensive study on the parameters of primordial Karate, this work intrigues readers with rich detail and insights into these ancient combat traditions, the pride of Okinawa.

KARATE 1.0: Parameter of an Ancient Martial Art. Düsseldorf 2013, by Andreas Quast.

cover (4)

Karate 1.0 front cover

  • Pages: xxvii, 502 pp.
  • Language: English.
  • Hardcover binding in green linen material with gold foil stamping, size 8.25″ x 10.75″ (20.95cm x 27.31cm).
  • Full-color dust jacket in matte finish.
  • Inside: black and white printing on cream archival paper (60# weight). White exterior paper (80# weight).
  • Forewords by Patrick McCarthy, Miguel Da Luz, Cezar Borkowski, Jesse Enkamp, Dr. Julian Braun, Soke Leif Hermansson, and Dr. phil. Heiko Bittmann.
  • All copies ship from the United States.
  • Price: $75.00.

Only the highest quality both in content and production: get it now from Lulu.com!

Read the review by the experts:

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The Best Martial Arts for MMA (Guest Content)

There are more than 170 recognised martial arts globally with millions of regular participants, but they vary in popularity across the countries. France has almost 600,000 registered judo players – or judoka, in the UK over 200,000 people regularly partake in some form of martial arts activity and in Germany, jiu-jitsu has become so popular that it has developed into its own form of martial art. Each player will extol the virtues of their chosen art being the best. However, the only way of finding out is in the one arena in which they all come together, MMA or mixed martial arts.

It was once thought that bringing players together from these different arts was almost a token gesture, purely seen as a showcase of their talent, than a serious bout, however, since the early nineties MMA has grown into a sport all of its own. With each discipline displayed providing its potential routes to victory, it’s a sport where fans of so many disciplines can appreciate the techniques on show. So, it’s not difficult to understand with such a broad appeal that MMA has become the third most popular sport globally.

But which of the martial arts is the most effective when it comes to conquering the world of MMA? It’s a difficult question as winners so far have come from so many different disciplines, from wrestling, kickboxing and boxing to the relatively new art of sambo, too. But there are some which stand out above the rest as being the most effective.

Taekwondo

If a fighter is a good striker, then taekwondo is potentially the perfect art to master in MMA. Although, it leads to a possible downfall as the stance is one that is very open and could be prone to attack. However, its effectiveness has been demonstrated by one of the sport’s greatest fighters, Anderson Silva, who started his career in taekwondo before moving into the MMA arena. Silva has since translated his skills into boxing too, winning his latest bout and proving his chosen art’s all-around credentials.

Muay Thai

This martial art is one that requires strength, balance, endurance and coordination and it’s one that has proven to be very effective in MMA. There 13 exponents of the Thai-based art who have got to the very top of the sport. Striking with the knees, elbows, holding and throwing punches are all part of Muay Thai. It’s almost perfect to bring into mixed martial arts and one of the best fighters in the sport is one of the finest exponents. Jon Jones is devastating at his best, mixing up flying elbows, quick kicks and strength in the grapple making him the man that people want to beat. But, with just one defeat in almost 30 bouts, it’s proving to be a hard task. Jones is mentioned in a Bwin Sports MMA infographic as being one-half of one of the most-eagerly awaited UFC fights of the year, against Israel Adesanya. That hasn’t happened yet, but when it does, you’ll see Muay Thai coming up against the kickboxing style of the Nigerian fighter. With the power from Jones allied to his speed and abilities in holding and grappling learned from Muay Thai, it will give him an excellent opportunity to beat the smaller opponent.

Jiu-Jitsu

As an art form that evolved from judo, jiu-jitsu has been very successful in MMA. It’s a more defence-focused style of fighting that emphasises holding and submission techniques rather than striking. Some of the less explosive fighters prefer this style to negate the heavy hitting, striking-based opponents. It was no better highlighted by Nate Diaz when he defeated Conor McGregor back in 2016. Diaz overcame the Irish fighter despite not being able to match his punching power by bringing his opponent to the ground, forcing him to submit to a rear naked choke.

These are three of the most popular arts used in MMA, but this continues to be an evolving sport, where a combination of the styles are utilised for victory. Much like Higa Seitoku discovered, the ultimate skill of any martial art is based on a general principle of technique to control your opponent.

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On the First Alleged Itosu Photo

Itosu Ankō no Shashin Hakken – Dentō Karate-ka hajimete Sugao (Discovery of a Photo of Itosu Ankō – The Unpainted Face of Traditional Karate Man for the First Time). Okinawa Times (evening paper), February 28, 2006. 糸洲安恒の写真発見 伝統の空手家 初めて素顔。沖縄タイムス(夕刊)、2006年2月28日。

Itosu Ankō no Shashin Hakken – Dentō Karate-ka hajimete Sugao (Discovery of a Photo of Itosu Ankō – The Unpainted Face of Traditional Karate Man for the First Time). Okinawa Times (evening paper), February 28, 2006. 糸洲安恒の写真発見 伝統の空手家 初めて素顔。沖縄タイムス(夕刊)、2006年2月28日。

In 2006 a photo was revealed to the public, showing a mysterious man with a mustache. At that time, this man was considered to be Itosu Ankō (1831–1915), the Okinawan father of modern Karate. The matter was publicly described for the first time in the Okinawa Times Newspaper on 28 February 2006. According to the article, the photo had been in the possession of Kinjō Hiroshi (1919–2013) for quite a long time. As the story goes, in 2006, Kinjō, 87 years of age at that time, donated about 3,000 documents and precious Karate-related books to Okinawa Prefecture to be used as materials to research historical facts and help make promote Karate worldwide from its Okinawan origin. Among the donated materials was the group photo in question. At that time, the person in the photo was considered to be Itosu Ankō by Kadekaru Tooru, chief specialist from the Okinawa Prefectural Office of Historically Important Documents. Since that time, the person in the photo was quasi officially considered to show Itosu Ankō by the majority of Karate experts and laymen. The pohoto also spread to all the different language editions of Wikipedia.

The group photo is dated to 1909 or 1910. As regards this date, one might want to note middle school principal Ōkubo Shūhachi (see 2 in the phot below). In May 1902, coming from the Tokushima Teacher College, Ōkubo Shūhachi assumed office as the principal of Okinawa Prefecture Middle School (Okinawa-ken Chūgakkō). In September 1903 he was reappointed and obviously remained in this office until June 1911, when he retired as principal (see timeline in: Gakkō Jōran 2015). BTW, in the same year, the school changed its name from Okinawa Prefecture Middle School (Okinawa-ken Chūgakkō) to Okinawa Prefectural 1st Middle School (Okinawa Kenritsu Dai Ichi Chūgakkō), which remained like this from 1911 to 1946.

According to the above, Ōkubo served as the principal of Okinawa Prefectural Shuri High School from 1902 until 1911, i.e. throughout the early years of implementation of Karate into the school system. Moreover, since Ōkubo retired in 1911 and left for another prefecture to a different job, the latest date for the photo is 1911. So there is no contradiction with the 1909 or 1910 date.

1. Person considered to be Itosu Ankō. 2. Ōkubo Shūhachi, principal of Okinawa Prefectural Shuri High School from 1902 to 1911.

1. Person considered to be Itosu Ankō. 2. Ōkubo Shūhachi, principal of Okinawa Prefectural Shuri High School from 1902 to 1911.

The group photo appears to be a commemorative photograph taken on occasion of a Jūdō and Kendō competition. Since Ōkubo Shūhachi is in the photo, the venue was most probably the Okinawa Prefecture Middle School in Shuri, of which Ōkubo was the principal. Two persons wear a haori decorated with the family crest. The man who was considered to be Itosu Ankō, on the other hand, appears in just an everyday cotton haori and hakama without a family crest.

Let’s see how Kinjō Hiroshi himself described the process of authentication of alleged Itosu Ankō in the photo. Or in his own words, “As the person who donated the photograph to the Prefectural Library of Okinawa, I would like to write about its origin.” (Kinjō, in Okinawa Times: February 28, 2006).

In 1953, Miyagi Hisateru (1895–?) published his book “Karatedō”. In it he talks about his training under Yabu Kentsū and Itosu Ankō (see, Miyagi 1953). Miyagi graduated from the Okinawa Prefectural Teacher College in  March 1916, became an elementary school teacher afterwards and 1921 went on to Tōkyō in pursuit of becoming a novelist. Under the pen name Miyagi Satoshi he worked for the Kaizō Company and went on to win the Kaizō’s writer’s award with his 1934 publication entitled, “My hometown is the Globe” (Kokyō ha Chikyū).

Front row from left: Albert Einstein, Kaizō Company president Yamamoto Sanehiko. Back row, right: Miyagi Hisateru (Satoshi). Photo source: Ryubun21

Front row from left: Albert Einstein, Kaizō Company president Yamamoto Sanehiko.
Back row, right: Miyagi Hisateru (Satoshi).
Photo source: Ryubun21

In 1956, aiming for providing a comprehensive magazine for the Karate circles, Kinjō Hiroshi launched his monthly magazine “Gekkan Karatedō.” At that time he decided to ask Miyagi Hisateru to write an article about Itosu Ankō which was to be published in the first issue (Miyagi, in: Gekkan Karatedō, May 1, 1956, page 46). For this article, Kinjō tried everything to obtain a photograph of Itosu, but finally wasn’t successful. However, Kinjō vividly remembered one of Miyagi descriptions of Itosu: “Wearing a cotton Hakama, and with both legs opened, he appeared as if he walked in Kiba-dachi.” Later, when Kinjō found the group photo, this memory was one reason he believed that this photo showed Itosu Ankō: Because the person in the photo, and contrary to the other persons’ haori, had an everyday cotton haori without a family crest.

Around December 1980, Kinjō boarded a plane to participate in the ceremony commemorating the anniversary of the establishment of his old school, the Okinawa Prefectural 1st Middle School. Arasaki Seibin (1912–1989), an emeritus professor of Tōkyō University and one of Kinjō’s middle school seniors handed him the group photo in question saying,

“Ichiji no Tanmē [venerable old gentleman Itosu] is in there.”

However, he did not indicate which person in the photo was Itosu Ankō. At that time Miyagi also said

“The photo is from the personal album of Tokuda Antei.”

Tokuda Antei (1884–1979) entered the Okinawa Prefecture Middle School in Shuri in 1905, the year Karate was introduced as a compulsory school subject of physical education. He graduated five years later, in 1910, in the 22nd graduation class of the middle school. After that, he entered the Okinawa Prefecture Teacher College in Shuri, where he continued to receive karate instruction as a member of the Teacher College Karate Club for a period of one year, until 1911. As can also be seen in “Tokuda’s Memorandum” (see Kinjō 2011: 367–68), he experienced the original Karate taught in the Okinawan school system by Itosu Ankō, Yabu Kentsū and Hanashiro Chōmo, as well as the Karate of venerable Kiyuna from Tamaudun and others, including Funakoshi Gichin, and also the Kobudō of Yamannī Usumē, i.e. venerable old man Chinen Sanrā. In other words: The photo came from the personal collection of an eyewitness and personal Karate disciple of Itosu.

Around 1985 Kinjō Hiroshi asked Itosu Ankō’s adopted heir, Itosu Angō, about his expert opinion as regards the group photo. However, Angō replied that he couldn’t remember if Itosu Ankō had a mustache or beard so he couldn’t determine who was Itosu in the photo. Kinjō wrote “At that time I suddenly remembered Arasaki Seibin’s words, that the photo is ‘from the personal album of Tokuda Antei’ and so I thought it would make the most sense to ask him directly.” Immediately after returning home he tried to call Tokuda at his home in Ikebukuro, Tōkyō, but was unable to reach him even after many more tries. Of course, today we know that Tokuda Antei already passed away in 1979.

While Kinjō still couldn’t identify the person in the photo as Itosu Ankō, he remained confident for several reason that Itosu was the figure in the group photo: The cotton hakama as mentioned by Itosu’s student Miyagi Hisateru, the memory of the white beard, or mustache, by Itosu’s adopted son Angō, and the presumed age of Itosu Ankō in 1909 or 1910 when the photo was taken. Moreover, the fact that Arasaki Seibin explicitly mentioned that Itosu is in the photo and that the photo is from the personal album of Tokuda Antei, a direct student of Itosu. However, since Kinjō thought this not enough solid evidence, he refrained from any public announcement of the existence of the group photo at the time.

It was only in 2006 that Kinjō donated the group photo to the Okinawa Prefectural Library. There, as a result of a comparison and verification carried out by Kadekaru Tooru, chief specialist from the Okinawa Prefectural Office of Historically Important Documents, the mysterious person on the group photo was tentatively identified as being Itosu Ankō. As Kinjō stated himself,

“From Kadekaru Tooru I have received special cooperation in connection with identifying the photo of Itosu Ankō”

Kinjō 2011: 299

One of the reasons for Kadekaru Tooru’s assessment was that he digitized the photo and used computer enhancement to reveal more detail. When he closely inspected the hands of the mysterious person in the photo he found what he considers to be Makiwara calousses.

However, in 2019, it was clarified that the person in the photo is actually not Itosu Ankō, but Miyake Sangō. I will write about the verification of this at a future time.


Notes:

The Shuri middle school was called “Okinawa Prefecture Middle School” 沖縄県中学校 from 1899 to 1911, and “Okinawa Prefectural 1st Middle School” 沖縄県立第一中学校 from 1911  to 1946. Since 1972 it is called the “Okinawa Kenritsu Shuri Kotō-gakkō” 沖縄県立首里高等学校 or “Okinawa Prefectural Shuri High School”.

Biblio:

Gakkō Jōran. Heisei 27 Nendo. Okinawa Kenritsu Shuri Kotō-gakkō (School Handbook. Fiscal Year 2015. Okinawa Prefectural Shuri High School). 903-0816 Naha-shi Shuri Mawashi-chō 2 Chōme 43 Banchi. 学校要覧. 平成 27 年度. 沖縄県立首里高等学校. 〒903-0816 那覇市首里真和志町2丁目43番地.

Itosu Ankō no Shashin Hakken – Dentō Karate-ka hajimete Sugao (Discovery of a Photo of Itosu Ankō – The Unpainted Face of Traditional Karate Man for the First Time). Okinawa Times (evening paper),  February 28, 2006. 糸洲安恒の写真発見 伝統の空手家 初めて素顔。沖縄タイムス(夕刊)、2006年2月28日。

Itosu Photo Discovered ~ The First True Face of a Karate Legend. Tues 28 Feb 2006, Okinawa Times Evening Paper [2nd edition] p5 Society Section. English translation by Patrick & Yuriko McCarthy.

Kadekaru Tooru, Ikehara Hitomi, Shinzato Sayaka: Kinjō Hiroshi Uji Shozō Karate Budō nado Kankei Shiryō ni tsuite (About the historical materials related to Karate and Budō etc. from the possession of Mr. Kinjō Hiroshi). Okinawa-ken Kyōiku Iinkai Shiryō Henshū-shitsu Kyō (Bulletin of the Historiographical Institute of Okinawa Prefectural Board of Education) #30, 2005, pp. 175-190. 嘉手關徹・池原ひとみ・新里彩:金城裕氏所蔵空手・武道等関係史料について。 沖縄県教育委員会史料編集室紀要(30)、2005年:175-190。

Kinjo Hiroshi (Transl. Patrick & Yuriko McCarthy): Itosu Anko Okina. The Restorer of Karate. Okinawa Times (Morning Paper), March 20, 2006.

Kinjō Hiroshi: Karate Chūkō no So Itosu Ankō Okina Futatabi (Jō). Ichiji no Tanmē / Shashin no Jinbutsu tsuini Tokutei (Again, The Ancestor Who Rejuvenated Karate: Itosu Ankō Okina (Part 1). Ichiji no Tanmē / Person in the Photo Finally Identified). Okinawa Times (evening paper), February 28, 2006. 金城裕:空手中興の祖・糸洲安恒翁再び(上)。イチジのタンメー/写真の人物ついに特定。沖縄タイムス(朝刊)、2006年3月20日。

Kinjō Hiroshi: Tōde kara karate made (From tōdī to karate) . Nihon budōkan, Bēsubōru Magajin-sha, Tōkyō 2011. 439 pp. 20cm. ISBN: 9784583104294. 金城裕:唐手から空手へ。日本武道館・ベースボール・マガジン社, 東京2011。

Miyagi Hisateru: Itosu Sensei no Inshōki. Gekkan Karatedō Sōkango. May 1, 1956, page 46. 宮城久輝: 糸洲先生の印象記. 月刊空手道創刊号。昭和31年5月1日発行, 46頁.

Miyagi Hisateru: Karatedō. Nichigetsu-sha, 1953. 宮城久輝: 空手道.日月社1953

Quast, Andreas: How tradition really works.

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Paradigm and Perspective

Translator’s note: The Japanese language version of this article was published on the Motobu-ryū Blog. It was translated and published here by the courtesy of Motobu Naoki Shihan of the Motobu-ryū and Motobu Udun-dī. Any inadequacy is mine alone.

Paradigm and Perspective

Below can be seen one sheet from the “Complete Picture of Ryūkyū” (Liuqiu quantu 琉球全図) from the National Palace Museum Collections in Beijing. It shows the “Picture of Shoulder-Palanquin” (jianyu-tu 肩輿図), or in other words a Ryūkyūan palanquin (kago 駕籠). This picture mainly shows the palanquin and a group of retainers (tomo-mawari 供回り).

yomigaeru ryukyu okoku

A wooden bearing shaft (nagae 轅) is attached on top of the roof of the palanquin depicted in this picture. In Ryūkyū this type was called Unānda 御安駄 (verbatim, “safe carry”) and used for persons of the social status of Sanshikan 三司官 and above.

In case of palanquins used by common “samurai” of Uēkata 親方 rank and below, the wooden bearing shaft (nagae 轅) passes through under the roof. These palanquins are called Ukagu 御駕籠. In this way the kinds of palanquins were distinguished according to social status.

Researchers of Okinawa studies and of karate history will probably be caught wide-eyed in surprise by the value of this painting. This is because the tomo-mawari retainers are depicted bearing weapons. Especially the two sitting attendants, who wear Japanese swords at their waists, perhaps uchigatana 打刀, however, worn in long sword (tachi 太刀) fashion with the blade (ha 刃) pointing downwards.

During the latter Muromachi period (1392–1573) this sword bearing fashion was called tenjinzashi (天神差し). On the other hand, the Japanese samurai of the later Edo period (1603–1867) usually bore their swords with the blade (ha 刃) pointing upwards.

This drawing has been on display in Okinawa for the first time ever in an exhibition in 2008 held at the Okinawa Prefectural Museum & Art Museum. It was an exhibit at the same exhibition as the previously introduced Ryūkyūan swords.

According to a commonly accepted theory of karate history that has been widely spread up to now, since yielding allegiance to Satsuma in 1609 the Ryūkyūan people are said to have been deprived of their weaponry by means of the “policy of military prohibition” (kinbu seisaku 禁武政策) and developed “karate” in order to combat the warriors (bushi 武士) of Satsuma with their bare hands.

However, with the exception of the firearms, possession of weapons in fact was not prohibited. When it comes to members of the upper class samurai (shizoku 士族), when going outside – especially during official visits to Shuri Castle – in this way the tomo-mawari retainers would carry swords and spears.

The number and types of weapons of the tomo-mawari retainers were strictly specified according to the social status.

In the Zhongshan Chuanyun-lu by Xu Baoguang (1719), the composition of the tomo-mawari retainers for all social stati is described in detail.

Until prior to the war these kinds of weapons were still kept in the homes of the former warrior families (shizoku 士族).

Mr. Gima Shinkin, a descendant of Gima Shinjō (1557–1644), bore witness as follows.

“Gima: Indeed, now that you mention it, in my family home also, [weapons such as] short spear, sword, short sword and the like were being preserved and I also recall a spear and sword in the family home (Tokuda family) of the mother of the official guard of the Royal Tea Villa (Uchaya-udun 御茶屋御殿).”

(From: Gima & Fujiwara 1986, page 44.)

Because during the Taishō period (1912–1926) Motobu Chōyū Sensei also showed Uehara Seikichi Sensei a knive (tantō 短刀), pole-sword (naginata 長刀), and spear (yari 槍) from his possession, it seems that these kinds of weapons were still preserved in the Motobu-udun 本部御殿 in those days.

I’m afraid to say the whereabouts thereafter are unknown. Probably they were destroyed by fire during the war.

The thing called “commonly accepted theory” is always defined by the value systems, concepts and norms that are characteristic to a certain era.

The framework of such a perception is referred to as paradigm.

And when such a paradigm is overturned, it is referred to as a paradigm shift.

Although paradigm is a term coined by Thomas Kuhn, a similar way of thinking was expressed by Friedrich Wilhelm Nietzsche with the term perspective.

Therefore, in the study of budō history it is necessary as well to begin to always scrutinize the commonly accepted theory, until by the presence of one sheet of a picture the commonly accepted theory and the known facts are overruled.

Bibliography:
Yomigaeru Ryūkyū Ōkoku no Kagayaki: Chūgoku, Chūgoku Pekin Kokyū Hakubutsuin Hizō: Okinawa-kenritsu Hakubutsukan Bijutsukan Kaikan Isshūnen Kinen Hakubutsukan Tokubetsuden. Okinawa Prefectural Museum & Art Museum, 2008.

Gima Shinkin and Fujiwara Ryōzō: Taidan – Kindai Karate-dō no Rekishi wo kataru [Dialogue – Talking About the History of Modern Karate]. Bēsubōru Magajin-sha 1986.

Okinawa Daihyakka Jiten. Volume 1. Okinawa Taimususha, 1983. Entry about palanquins (Kago). p. 692

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