Category Archives: Comparative Analyses

Jiganemaru @50th anniversary of the return of Okinawa

Posted on May 15, 2022 by Andreas Quast

To commemorate the 50th anniversary of the return of Okinawa, the special exhibition “Ryukyu”, which reveals the history and culture of Ryukyu with more than 700 exhibit items, has opened at the Tokyo National Museum. The exhibition runs from May … Continue reading →

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Sai, Tinbe and the “Expedition to the Southern Islands” 1893

Posted on April 10, 2022 by Andreas Quast

As previously mentioned, in 2021, a list of “100 Footprints of Modern Karate” was published in the Okinawa Times. I have already written about Footprint No. 1 and Footprint No. 2 and today will turn to Footprint No. 3. Footprint … Continue reading →

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Tode, Karate in the Tafaku 1867

Posted on April 10, 2022 by Andreas Quast

Yesterday I wrote about the written notation of tōde 唐手 as found in the play Nizan Waboku (The Reconciliation of Nanzan and Hokuzan) in 1867 and 1891. While it used the same original notation as karate / tōde, it turned … Continue reading →

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Was soll das heißen? – Terminologische und technische Implikationen des Nagahama Bō

Posted on March 26, 2022 by Andreas Quast

Eine Terminologie bezeichnet die „Gesamtheit der in einem Fachgebiet üblichen Fachwörter und -ausdrücke“ oder einfach „Nomenklatur.“ Innerhalb der Entstehung von Karate- und Kobudō-Terminologien gibt es einige Punkte zu beachten. Erst einmal entwickelten sich die modernen Karate- und Kobudō-Terminologien erst im … Continue reading →

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Shushi no Kon (old-style) 1 – The 1930 Description by Miki Jisaburō

Posted on February 13, 2022 by Andreas Quast

This post is my 2009 translation of “Shūshi no Kon” as published in 1930 by Miki Jisaburō. Miki had learned it from Ōshiro Chōjo in 1929. I have shortened, simplified and renumbered the description to make it easier to follow … Continue reading →

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Kawazu-gake as an application for Nami-gaeshi of Naihanchi

Posted on January 9, 2022 by Andreas Quast

Kawazu-gake 河津掛け is one of the techniques found in sūmō and jūdō. Literally, it means “Kawazu entanglement.” Meaning The notation of kawazu 河津 has no meaning that can be interpreted in terms of the technique’s execution. Rather, it seems to … Continue reading →

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