Kategorie: Allgemein

When I am asked whether I have trained seriously and continuously since 2005, I can answer this unequivocally in the affirmative. There was, however, a brief period during which my focus temporarily shifted to other themes. I view this time less as an interruption and more as a conscious personal chapter, which I like to describe as a “Polynesian adventure.” Even during these years, I continued to train consistently and traveled to Okinawa on several occasions to further my training, while at the same time spending a considerable amount of time in Polynesia. In retrospect, this phase can be placed between the years 2013 and 2014.

During this period, I undertook several journeys to Polynesia. In November 2013, my travels took me to Tonga, Samoa, New Zealand, the Cook Islands, and once again to New Zealand. In January 2014, I returned to New Zealand to retrieve equipment I had left there in November, before continuing on to French Polynesia. In October of the same year, I traveled to Okinawa and then onward to Hawaii—it was my second visit to Oʻahu, but my first journey to Kauaʻi, Maui, the Big Island, and Molokaʻi.

I had already visited New Zealand for the first time in 2012. Originally, I had planned to travel to Aotearoa in 2011, but that trip had to be canceled at short notice. Instead, I traveled to South America for the first time that year, spending several days on Easter Island. But back to New Zealand.

My original intention there had been to take part in a guided tour. Prior to that, however, I spent three days in Wellington with a clear objective: visiting the National Library of New Zealand. My specific aim was to locate a four-part article series on “Ryūkyū Kobudō and Taira Shinken,” written by none other than Mario McKenna, with whom I have been in contact since 2009. At that time, I had already ordered two of his books, which he kindly signed and which I still carefully preserve today.

In addition to this article series, I reviewed and copied several other relevant texts. I also recorded a few impressions from my visit to the library. Looking back, it is almost surprising to realize that I have been spending countless hours in libraries and archives since as early as 2012—work that continues to form an integral part of my path to this day.

Martial arts videos are widely available today. On platforms such as YouTube, in streaming archives, or on instructional DVDs, numerous kata from many different traditions can be found. For many practitioners, these recordings provide inspiration, visual reference, or additional motivation. At the same time, however, it is important to approach kata videos with care and discernment.

The Apparent Ease of Learning

At first glance, kata may seem easy to learn from video. The sequences of movement are visible, can be replayed, slowed down, and observed in detail. This can create the impression that a kata has been understood once its external form can be reproduced.

However, the deeper elements of a kata tell a different story.

The essence of a kata—including body structure, internal connection, breathing, timing, distance, intention, transitions, and practical application—cannot be fully conveyed through video alone. While recordings may present the outer shape, the inner principles remain largely inaccessible without direct guidance.

The Risk of Misunderstanding

Practicing kata primarily through videos can lead to misunderstandings or the gradual development of habits that do not reflect the intended principles. Such habits may later be difficult to adjust. Perhaps more importantly, reliance on video alone can create a sense of confidence that does not accurately reflect one’s actual level of understanding.

Martial arts are best learned through a direct teaching and learning process, in which explanation, correction, feedback, and personal interaction play a central role.

Layered Teaching and Traditional Discretion

In many traditional systems, instruction is offered progressively and in stages. Certain aspects of the art are not openly displayed and are reserved for personal instruction. As a result, publicly available videos—even official ones—may show only an external or introductory level of practice, and in some cases forms that differ from those taught in private.

This does not imply deception, but rather reflects long-standing traditions of careful and responsible transmission.

The Example of Matayoshi Shinpō

A frequently cited example in this context is the body of video material featuring Matayoshi Shinpō. The kata presented in these recordings differ significantly, in many respects, from what was transmitted through direct instruction. This appears to have been a deliberate choice, reflecting the view that the true substance of the art is best conveyed personally rather than through recordings.

For this reason, such videos should be understood as demonstrations, not as comprehensive instructional guides. The deeper principles and correct expressions of the kata were shared through direct, in-person teaching.

Videos as Support, Not as Substitute

None of this diminishes the value of martial arts videos when used appropriately. They can inspire interest, help recall previously learned material, and offer opportunities for comparison. However, they are best seen as a supplement to training, not as a replacement for qualified instruction.

The most important aspects of martial arts cannot be paused, replayed, or downloaded. They must be experienced, guided, and gradually embodied through practice.

Conclusion

I enjoy watching videos and appreciate their availability.

At the same time, my learning takes place directly, through personal instruction.

Martial arts are sustained through transmission and understanding, not through imitation alone.

Videos may show movement—teaching conveys meaning.

Introduction

This upcoming book offers a concise yet in-depth historical study of Gōjū-ryū Karate, tracing its development from Naha-te to its formal recognition in the modern era. Focusing on the lives and teachings of Higaonna Kanryō and Miyagi Chōjun, it explores training methods, naming processes, and the cultural exchange between Okinawa, Japan, and China.

Based on primary sources and long-term research, this work goes beyond simplified lineage narratives and presents new perspectives of interest to serious practitioners and historians alike.

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Table of Contents

Chapter 1: Introduction
What is Gōjū-ryū?
Higaonna Kanryō and Naha-te
The Naming of Gōjū-ryū

Chapter 2: Training in Naha-te
Becoming a Student of Higaonna Kanryō
Training
Military Service
The Passing of Kanryō

Chapter 3: The Formation of Gōjū-ryū — Chōjun during the Taishō Period
Fuzhou
Training Alone
Okinawa Karate Club

Chapter 4: The Great Leap Forward — Naming of Gōjūkai
To the Mainland
Adopting the Name Gōjū-ryū
From Chinese Hand to Empty Hand
Popularization

Chapter 5: The Man Miyagi Chōjun — From Wartime to Postwar
World War II
Chōjun’s Family
Chōjun, the Okinawan
Chōjun, the Martial Artist

Chapter 6: At the End of the Series

Report on Visiting the Jīng Wǔ Athletic Association (Special Edition)
About Higaonna Kanryō

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Limited Edition

Limited Edition

A limited edition will include three exclusive additional chapters that will not appear in the later standard edition, making it a unique release for collectors and dedicated readers.

The limited edition will be strictly limited to no more than 200 copies. Pre-orders may be placed directly with me via my website or Facebook. Once an approximate publication date is available, further details regarding the ordering process will be communicated via Messenger or email.

Shihan Menjō

Iwata Manzō

The above-named person has, over many years, diligently devoted himself to the practice of karate-dō. Through earnest effort, he has cultivated both mind and technique to a high level and has thoroughly mastered its profound principles.

Accordingly, he is hereby authorized and certified as a Karate-dō Shihan.

May 1, 1944 (Shōwa 19)

Dai Nippon Karate-dō Kai Honbu

Kaichō Shihan: Mabuni Kenwa

Komon Shihan (Advisory Instructor): Miyagi Chōjun

(From: Gekkan Karate-dō, October Issue 2001, Vol. 367)

The history of Okinawan karate is fascinating—yet full of gaps, misunderstandings, and lost documents. Many events were never written down but passed on orally. Other sources lie buried in private family archives or are simply difficult to access.

This is precisely why researchers, authors, and historians depend on one another. And this is where a principle comes into play that has a very special meaning in the study of karate history:

Writers Support Writers

Authors support authors.

Researchers strengthen researchers.

People who care about the same history build a larger picture together.

Knowledge is created together

Hardly anyone can reconstruct the full history of Okinawan karate alone. The deeper you dive, the clearer it becomes:

• There are few written records.

• Much information is scattered.

• Eyewitnesses have become rare.

• Some details exist only within specific ryūha traditions.

This makes every contribution valuable—whether it’s a book, an article, an interview, or a research trip to Okinawa. And equally valuable is the exchange between those who study the art.

What this support looks like

In practice, “Writers Support Writers” means:

• Helping each other by reviewing manuscripts.

• Sharing sources or leads to rare documents.

• Speaking openly about research questions and inconsistencies.

• And very importantly: buying each other’s books.

This may sound simple, but it is a genuine expression of respect and recognition. Every book represents research, time, travel, conversations, and personal investment.

When support reaches its limits

As wonderful as this principle is, it only works when mutual respect is present. Unfortunately, there are cases in which researchers realize:

• that their work is being misused,

• that material is copied without permission,

• or that the history of karate is intentionally misrepresented.

In such situations, support can—and should—end.

It is sad.

Often disappointing.

But ultimately necessary.

Because protecting historical truth is more important than maintaining false harmony.

When someone manipulates history, bends narratives, or benefits at the expense of others, it harms not only individual authors—it damages Okinawa’s cultural heritage itself.

Why this principle is especially important for Okinawa

The history of karate is not a simple timeline. It is a network of teacher–student relationships, local characteristics, political circumstances, and personal decisions.

This makes it all the more important that researchers and authors:

• exchange information freely,

• correct mistakes together,

• and include different perspectives.

This creates a picture that is grounded not in myths but in facts.

Conclusion: United for the truth

“Writers Support Writers” is more than a slogan.

It is an attitude.

It means:

• learning together,

• sharing openly,

• respecting one another,

• and preserving history as it truly was.

And it also means setting boundaries when truth is at risk.

Those who research honestly, respect Okinawan culture, and refuse to distort history for ego or profit remain part of this community.

Because only by working together can we understand the past and pass on the authentic future of Okinawan karate.

At long last, the Tō’on-ryū article is about to be published — a long-awaited article that will finally see completion after nearly two years of dedicated work.

The idea to write an article on Tō’on-ryū emerged quite early. Initially, the focus was intended to be on Iraha Chōkō (1901–1986). However, after Ikeda Jūshū sensei, the 4th Sōke of Tō’on-ryū, read our first contribution in Gekkan Hiden (2024/1) — an article about a karate demonstration led by Kyan Chōtoku — he asked us to prepare a comprehensive article on Tō’on-ryū. We were, of course, very happy to accept this request.

By that time, however, we had already established a clear conceptual sequence for a planned series of articles on Okinawan karate. The series was to begin with Hanashiro Chōmo’s obituary for Yabu Kentsū (2024/7), followed by a study of the kata “Jion” (2024/9), two overseas karate demonstrations connected to Yabu Kentsū (2024/11), and then an article on Miyagi Chōjun — a close friend and training partner of Kyoda Jūhatsu — and his visit to the Hawaiian Islands in 1934 (2025/2).

For this reason, the articles first had to be published in this specific order before the Tō’on-ryū article could appear. In the meantime, the Gekkan Hiden editorial team asked us to write an additional piece on the Nihon Kobudō Taikai demonstration (2025/5). At the same time, we developed the idea for another article written in collaboration with Koyama Masashi sensei (2025/7). Both of these articles have since been published.

We completed the first draft of the Tō’on-ryū article in January 2025 and submitted it to Ikeda sensei for review. To our great satisfaction, he was very pleased with the result. Moreover, as chance would have it, two fortunate developments occurred that we were later able to incorporate into the final version of the article. (I will discuss these at a later time.)

Ikeda Jūshū sensei – Beppu, January 2025

Now, the wait has been worthwhile: the editorial revisions are complete, and the first part of the article will today go to print. The beginning of the Tō’on-ryū series can therefore be expected in December 2025.

Last weekend, I spent my time in Düsseldorf, the capital of North Rhine-Westphalia.

As many already know, we have been publishing our interviews with masters from Okinawa for almost two years. One of these interviews, which we conducted last year and which was published in March of this year, was with Ōshiro Zen’ei Sensei. Ōshiro Sensei lived in Düsseldorf for a period and came into contact with Japanese guests there. One of these Japanese, Hiura Sensei, also discovered Matayoshi Kobudō for himself and founded the Okinawa Kobudo Verband Deutschland e.V. in 1986, which will celebrate its 40th anniversary next year.

Before traveling to Düsseldorf, we spent a few days in Belgium. On Friday, we continued to the Rhine metropolis. After checking in, we first made a detour to our favorite Japanese restaurant to enjoy Japanese cuisine once again … 

The seminar with Ōshiro Sensei began on Saturday and lasted for two intensive days. I already knew some of the participants from Pforzheim, while others were new faces. Like almost all Kobudō seminars, this one began with the Bō, including Hojo-Undō Dai Ichi, Ni, and San, before moving on to the two kata developed by Ōshiro Sensei: Kiso Ichi and Kiso Ni – of course, followed by partner exercises.

After a short break, the training continued with Tunkwa. Here, too, we started with Hojo-Undō and partner exercises before practicing the kata Kiso Ichi. As always, the day passed far too quickly.

In the evening, the seminar shifted to the more relaxed part of the weekend: We went to a traditional German restaurant to unwind and enjoy ourselves.

The second day began at 10:00 a.m., and we picked up right where we had left off on Saturday. On the program were Tunkwa Kiso Ichi and the kata Matayoshi no Tunkwa Dai Ichi, followed by training with the Sai, again including Hojo-Undō and kata practice. The last thirty minutes were devoted to the Kama, concluding with the kata “Kama no Tī.”

During the seminar, I took the opportunity to ask Ōshiro Sensei a question about the Sanseru of the Shōdōkan. I also had my author’s copy of Toshiya signed and picked up the second volume of his latest book – I had already had the first volume signed last year in Pforzheim.

In the coming days, I will write a more detailed report about the Sanseru …

And, as a delightful coincidence, the weekend coincided with “Karate no Hi” in Okinawa – a nice touch that made the experience even more special.

In the past few days, I have been asked several times about the translation of Koyama Sensei’s book on Miyagi Chôjun (1888–1953).

It will still take a few days until the book is finished. The rough translation is already done; now the focus is on carefully proofreading the text. I will go through the first draft, then my wife will check the second draft. After that, we will work on the images, tables, and other materials. Only when everything is perfect will the final editing take place – to ensure that all names are translated consistently – and only then will the index be created.

Here is a small preview: what Miyagi Chôjun thought about lying:

My father hated lying. One time, my sister was playing with her friends and wouldn’t let me join. So I told my sister, “Big sister, father is calling you,” and sent her home. But when I got home, I was scolded hard: “You lied! When did father say to call your sister?” I was severely punished. He said, “If you lie this much now, who knows what kind of lies you’ll tell when you grow up! I’ll punish you hard.” He hit me until the battledore (a large wooden paddle used for a traditional New Year’s game) broke. It was a big wooden battledore that was displayed on the floor during New Year’s. I was beaten until it fell apart. Since hitting with hands can be dangerous, he used the paddle to hit me…

Let’s follow his advice !!!

Our series “Masters from Okinawa” is slowly but steadily picking up speed. Recently, the fourth interview was released – this time with Higa Kiyohiko from the Bugeikan.

At the moment, two more interviews are in preparation, while three others are still awaiting transcription.

If there is strong interest, an English-language version of the series could also be possible.

Anyone with an idea for another interview guest is welcome to get in touch.

Introduction

In academic work—particularly within the humanities and cultural studies—proofreading and editing play a central role in ensuring quality. In historical karate research, which operates at the intersection of history, anthropology, and movement studies, this task is especially demanding: proximity to sources, linguistic precision, and the balance between technical language and readability are essential criteria. The so-called “Fresh-Eye Review” principle offers a particularly effective method for enhancing the scholarly integrity and clarity of a text.

Concept and Definition of the “Fresh-Eye Review”

The “Fresh-Eye Review” refers to a form of revision in which a person—or the author themself, after a deliberate period of distance—reviews a text with “fresh eyes.” The goal is to break habitual patterns of thinking and reading. Through temporal or personal distance from the manuscript, errors, ambiguities, and weaknesses in argumentation can be detected that were previously overlooked due to “author blindness.”

In editorial practice, this means that the editor or reviewer does not only focus on orthographic or grammatical correctness, but reads the text from a neutral, unbiased perspective. This attitude fosters a critical yet constructive evaluation of argumentative logic, source interpretation, and terminological consistency.

Application in the Context of Historical Karate Research

Historical karate research poses unique challenges to the academic writing process. Sources often exist in multiple languages (Japanese, Okinawan, Chinese, English) and are culturally as well as contextually complex. As a result, shifts in translation and interpretation can easily occur, which may distort the scholarly substance of a study.

A Fresh-Eye Review can help address the following problem areas in a targeted way:

1. Terminological Precision – The reviewer ensures that technical terms such as bunkai, kata, or kihon are used consistently and correctly within their historical context.
2. Source-Critical Coherence – Through a distanced perspective, it can be verified whether historical references are properly documented and logically connected.
3. Argumentative Clarity – The “fresh look” helps identify inconsistencies or circular reasoning that may have escaped the author during the writing process.
4. Interdisciplinary Comprehensibility – Since karate research often bridges history, ethnology, and movement studies, the Fresh-Eye Review ensures that terms and theses remain accessible to an interdisciplinary audience.

Methodological Implementation

In practice, the Fresh-Eye Review can be realized in two ways:

• Self-Review after a Period of Distance: The author sets the text aside for several days or weeks after completion and then reviews it anew with fresh perception.
• Peer Review by a Third Party: An experienced editor or scholar who was not involved in the writing process performs the review. Ideally, this person should have an understanding of historical methodology and karate-specific terminology, without being “institutionally blind” to the content.

A combined approach—first self-review, then an external Fresh-Eye Review—has proven particularly effective.

Benefits for Academic Quality

The Fresh-Eye Review strengthens the scholarly integrity and editorial precision of a work. It contributes to transparency of argumentation, improves readability, and minimizes unconscious bias. Especially in a still-emerging field such as historical karate research, which is gaining increasing academic recognition, such a quality standard is essential to elevate studies to an international scholarly level.

Conclusion

The “Fresh-Eye Review” principle is more than a mere proofreading technique—it represents an academic attitude. Through conscious distancing and the inclusion of unbiased perspectives, a text is refined not only formally but also argumentatively. Within historical karate research, this method makes an important contribution to objectivity and to the interdisciplinary relevance of research outcomes.