Autobiography of Uehara Seikichi

How could I become stronger? I really thought about it. I became vaguely interested in martial arts. Gradually, I began to seriously want to learn martial arts.

At that time, there was no such thing as a karate school, and people called martial arts tī (手, lit. hand) or tōdī (唐手, lit. Chinese hand). In those days, there were many masters and experts in Okinawa who later became famous on the Japanese mainland, and the karate world in Okinawa was like a collection of karate masters. In addition to masters such as Miyagi Chōjun, Funakoshi Gichin, Kyan Chōtoku, Mabuni Kenwa, and Motobu Chōyū, there were many famous and unknown karate practitioners.

I made up my mind to learn karate, but in reality, it did not work out that way. In those days, karate masters would not teach you unless you had a reliable introduction. Learning karate, in a nutshell, was much more difficult than it seems today.

I thought and thought. Then I came up with an idea. I came up with a way to become a disciple, but now I had to figure out who to learn from. The karate teachers were all masters of their craft. I immediately thought of Mr. M.[1] He lived in the area where I used to peddle, and his skills were well known as some of the best in Okinawa.

Now, the day had come to put my idea into action. At that time, there was a movie theater called “Teikoku-kan” (Imperial Movie Theater) near Higashimachi Street in Naha, and that day, Mr. M stopped in front of the Teikoku-kan and gazed at a movie sign. It was now or never. I threw myself at his back. Mr. M seemed to be caught completely off guard by this. He fell down and badly scraped his knees.

When Mr. M got up, he scolded me severely, but I begged him desperately to let me use this opportunity to learn martial arts. In the end, Mr. M promised to teach me the martial arts. Finally, I was able to learn the martial arts that I had always wanted.

1. Mabuni Kenwa.

Although I was accepted as a disciple by Mr. M, the results were disappointing. In those days, no martial artist had a dojo, and most practiced in their own gardens, vacant lots, beaches, etc. Mr. M’s training place was his garden. I spent many days cleaning the garden and waiting for him to teach me martial arts. He wouldn’t teach me, however, even after three months. In hindsight, I think Mr. M was trying to test my motivation, but as I wanted to become stronger as soon as possible, I felt impatient every day. I was scolded several times for imitating my seniors, with comments like, “You’re just a kid, what are you imitating?” When I was about to enter the fourth month of such a situation, I left Mr. M’s place and started looking for a master again.

I had a fateful encounter with Motobu Chōyū Sensei in July of 1916. He lived in Tsuji Town at the time. People called him “Motobu Umē” (本部御前, Prince Motobu). I was peddling in Tsuji Town, and I was looking for an opportunity to ask Chōyū Sensei for initiation. At that time, there was a large theater called Taishō Theater in Nishishin Town, Naha City, and Chōyū Sensei was just gazing at the sign. My approach was the same as it was for Mr. M. I checked the moment when the traffic stopped, and then I lunged at him. The moment I thought I had completely blown him away, I felt an inexplicable pain. My wrist had been twisted up by Chōyū Sensei.

“I don’t know what the reason is, but I don’t like this kind of prank,” he said, finally releasing my hand. I looked up timidly, completely bewildered by the twisting of my wrist. There was no anger in Chōyū Sensei’s eyes. On the contrary, I saw kindness in his eyes. Chōyū Sensei asked me again, “Why did you do this to me?”

As I had done with Mr. M, I replied, “I heard that Your Highness is the strongest martial artist (bushi) in Okinawa, so I tried Your Highness out.” Chōyū Sensei looked surprised and said, “You tested me?” Then he turned back around, looking very confident. I immediately understood what he meant: “Come at me.” He seemed to think that I was completely unworthy of his attention. To be honest, I thought he was underestimating me. I guess I had a strange kind of confidence after pushing Mr. M down. I pushed his back as hard as I could, just to get back at him for twisting my wrist.

However, he did not budge in the slightest. In fact, I thought he had roots growing in his feet. Chōyū Sensei laughed heartily, saying, “What, your strength is like that?” He looked as if he couldn’t stop laughing. But there was something about his laugh that made me feel at ease. It was the kind of laughter that enveloped me.

I probably kept doing this for about five minutes. I was so exhausted that I sat down, and from the bottom of my heart, I began to feel deeply ashamed that I finally started to cry. It was not tears of frustration, but tears of shame. Then, in tears, I appealed to him, “I want to be as strong as Your Highness. Please teach me tī.”

Chōyū Sensei must have sensed something unusual in my behavior. He took me to his residence in Tsuji Town and allowed me to become his disciple.

In hindsight, I think that Chōyū Sensei saw me as a rather naughty and daring boy, but at the same time, he felt that my personality, physique, and age might allow me to blossom in the martial arts under his guidance. In any case, I was able to become a disciple of Chōyū Sensei.

We practiced martial arts in the mornings, afternoons, and evenings in between peddling. In the morning we practiced at the nearby Wakasa Beach, and in the afternoon at the Tsujibaru Cemetery. In the evening, I would watch my master instructing other students. However, the content of the training was just repeating thrusts and kicks, and I just did as my master asked.

I must have been practicing like that for half a year. One day, as I was practicing as usual, my master asked me if I really wanted to become stronger. I thought it was a strange question, but I replied, “Yes.” Then he looked thoughtful again, and after a while he said, “Then can you listen to anything I say?”

It was at this point that I finally understood what my master was trying to say. He had been testing me to see how strong my resolve was. In other words, he was recognizing my worth, however slight it may be. I responded in a loud voice. My master nodded as if in response. That nod was a sign that my martial arts training was about to begin in earnest.

I had heard that Chōyū Sensei was from a royal family called “Udun” (Palace), and that he had a residence in Shuri, but he was living in Tsuji Town when I became his disciple. He was about sixty years old,[1] about 158cm tall, and had a dignified appearance. He always had a smile on his face and walked with a straight back that was full of dignity. People admired his character and noble appearance and called him “Prince Motobu, the most beautiful of all the princes” (Umē-kata no Churasa Motobu Umē).

He was dressed in the same Ryukyuan costume as the samurai of the Ryukyu Dynasty, and tied his topknot, called katakashira, in the same way that samurai men tied their topknot using a hairpin. I remember that he was a great master of martial arts and a well educated man, who loved elegance, and often composed poems and played the sanshin (Okinawan stringed instrument). He also had a close relationship with Mr. Tamagusuku Seijū, the last master of the Ukanshin (Crown Ship) dance, and while playing the sansin, he would discuss dance techniques with Mr. Tamagusuku and sing the Ryukyu classic songs called “Ufubushi” himself.

He was also very strict about etiquette, as if he came from a Udun (royal family) of high birth, and never accepted a standing bow.[2] Even his younger brother, Mr. Motobu Chōki, when greeting Chōyū Sensei, would sit on the lower seat in the room as if he were a vassal greeting a sovereign. Chōyū Sensei had the grace and dignity of a royal family member, and could be described as a great man. However, he was neither domineering nor discriminated based on his status. He was always smiling to everyone and kept his back straight when dealing with anyone. This was unthinkable at that time in Okinawa, where the social status system still remained strong even in the Taisho era (“1912–1926”). 

He was also a man of great humanity and virtue. The Motobu family had received a large amount of property when the feudal domain was abolished, but he gave it all away to the people in his neighborhood. In addition, many people borrowed money from him, but he did not collect from poor families who did not have firewood piled up in their kitchens.[3] He said, “Just pay it back when you can afford it.” For this reason, he was well-liked by many people, and when I went to Yomitan Village to practice horsemanship with Chōyū Sensei, the local people welcomed our visit by slaughtering goats.

1. Motobu Chōyū’s birth year was 1865, so he was actually 51 years old.

2. Standing bowing did not exist during the Ryukyu Kingdom era and was considered impolite at the time. All bowing was done in a seated position.
3. Firewood for cooking was a necessity in those days, but poor families could not afford it.

Motobu Udundī includes not only unarmed martial arts such as thrusting and kicking, but also techniques using unique Ryukyu weapons like sai, nūchiku (nunchaku), and tūfā. What is particularly noteworthy is the many techniques involving the use of sword, spear, and naginata. The names of these techniques, including those involving weapons, are all in the Okinawan dialect. In addition, there is no equivalent of kata, so there are no Chinese kata like those used in karate-dō. In terms of technique, the unarmed martial arts of Motobu Udundī differ in many ways from tōdī (a martial art that was developed in Okinawa under the influence of the Southern Schools of Kenpō in Fujian Province, China, and became the basis for karate-dō), and the techniques of sword, spear, and naginata are not similar to those of kobudō in mainland Japan.

For these reasons, Motobu Udundī is considered to be a martial art unique to Ryukyu, created by compiling tī (martial arts) handed down in the Ryukyu Dynasty. However, there is a possibility that Motobu Udundī was influenced by Chinese martial arts, as there is also a tradition of techniques using swords that may have come from China, and its origins are still shrouded in mystery.

Motobu Udundī has a technique called "tuitī" that can be used to seize an opponent with any weapon without wounding him. This is because Motobu Udundī is the "royal martial art with a heart of compassion" for the people, dealing with evildoers without killing them in order to correct them.

However, Motobu Udundī has a different aspect to it. It is a "one-hit kill warfare martial art" that uses two swords to fight a large number of enemies. In addition to fighting on the plains with swords and spears, Motobu Udundī also teaches how to fight on horseback, and what to do when cornered on a cliff or in a hollow. The contents are very rich and detailed, and it is believed that the teachings have been cultivated through experience in actual battles.

Motobu Chōyū Sensei said of Motobu Udundī, "This art is the art of Ushu-ganashi-mē (the King of Ryukyu)." This martial art is thought to be the culmination of the wisdom and skills of the Ryukyu royal family, who have won many battles, so that the descendants of the Motobu family can survive in the midst of war even if the era of turbulent times comes again.

At that time, there was a karate research club in Okinawa called the Okinawa Wakasa Club, which was formed by karate masters living in Okinawa. In this club, Kyan Chōtoku, Miyagi Chōjun, Mabuni Kenwa, Gusukuma Shinpan, Yabu Kentsū, Teruya Kamesuke, Hanashiro Chōmo, and other martial artists who were not only active in the Okinawan karate world, but also later became famous on the mainland, gathered to study karate. In the club, Chōyū Sensei taught not only karate theory but also all the techniques. Chōyū Sensei was a respected figure in the Okinawan martial arts community because of his royal background (udun), and he had connections with many people. At that time, all martial artists were from the samurai class, and Chōyū Sensei was at the top of the class in terms of rank. He was not called by his name, Motobu Chōyū, but rather "Aji-ganashi-mē" (按司加那志前, Your Highness) out of respect for his status (aji rank).

*The Okinawa Wakasa Club: The official name of the club was the Okinawa Karate Research Club, and it was located in Wakasa town, Naha. Yabu Kentsū was living in the U.S. at the time, and he probably did not participate in the club.

*Aji (按司) was a title for royalty, such as the queen, princesses, and grandchildren of the king. The branches of the king's family were called udun (palace), and the head of the family was also called by the title aji and had the right of succession to the throne.

In those days, many martial artists would come to my master to ask for guidance. I used to be his partner when he taught them. I fondly remember when my master showed Mabuni Kenwa the art of rope binding and advised Kyan Chōtoku on how to clench his fists in a unique way for his small stature.

When we practiced alone, Chōyū Sensei would personally show me his techniques, but he did not teach Motobu Udundī's techniques to others, nor did he often show them in public. However, my master was famous for his skill, and at that time people called him "Motobu's legs" and " Prince Motobu's kick," and they particularly admired his kicking techniques.

My master had also mastered many kata and techniques in karate, so in the evenings he would gather his two or three students and teach them mainly kata. I remember that there were more than 30 kata that he taught. I was told by my master that I did not have to practice karate kata, so for nine years I mainly observed the evening kata practice when the seniors came. I don't know when, where, or from whom my master was taught these kata, because I was never told.

Eight years after my martial arts training, which began in the summer of 1916 at the age of twelve, I set out by order of Chōyū Sensei to visit his son, Chōmo, in 1924, having just completed my draft inspection. My destination was Wakayama Prefecture. The purpose of the trip was to teach Chōmo Sensei the martial arts of Motobu Udun. It was my master's greatest desire to pass on his techniques to the Motobu family. On the occasion of my departure, my master entrusted me with two letters.

After reading the letter from his father, Chōyū Sensei, Chōmo Sensei looked at me, the small young man in front of him, and said, "Iyādū, yannā? Iyādū, yannā?" (Are you really my father's deputy mentioned in this letter?) He asked me repeatedly in the Okinawan dialect. Chōmo Sensei was a beautiful man of fine physique, known as "Torajū" (tiger's tail), and famous as a martial artist among Okinawans in Wakayama Prefecture for his strength and especially his agility in actual fighting, just like a tiger's tail. When I left Okinawa, Chōyū Sensei told me that Chōmo, known as "Torajū," was sure to test and confirm my martial arts skills, and that I should use my martial arts skills on him without any hesitation. True to his word, I fought Chōmo Sensei and demonstrated the power of tī that Chōyū Sensei had taught me. After confirming his father's deputy with martial arts skills, Chōmo Sensei immediately began practicing Motobu Udundī, and mastered the martial arts techniques that had been passed down from generation to generation. I stayed in Wakayama for six months to teach him the techniques of Motobu Udundī, successfully fulfilling Chōyū Sensei's wish to pass down the family martial arts to the Motobu bloodline.

After teaching Motobu Udundī to Chōmo Sensei, I went to visit Uechi Kanbun, the founder of Uechi-ryū Karate-dō, who was also in Wakayama Prefecture, to deliver another letter from my master. After reading my master's letter, Kanbun Sensei asked me to stay for a while as a "tī" practitioner. I was to stay for a week or so to practice with him.

Kanbun Sensei seemed to want to get to know my tī somehow, so he made sure to sweep the sand in the practice area clean with a broom before we practiced. I had heard from my master that when a martial artist is unsure of his opponent's movements, he tries to read his opponent's movements by looking at his footprints, so I used a unique Udundī standing style called sunadachi (sand standing) to prevent him from reading my footwork from my footprints. My master used to say, "If your opponent knows your martial arts techniques, your life is immediately in danger. Never use the same technique twice in a row."

Having successfully completed my mission, I returned to my master with the letters of reply that Chōmo Sensei and Kanbun Sensei had given me. When Chōyū Sensei read the letters, he simply said, "Well done."

Why was Motobu Udundī, which had been secretly passed down only to the eldest son of the Motobu family, passed down to someone other than a blood relative? The main reason is that the “Ryukyu Kingdom” disappeared in 1879 with the establishment of Okinawa Prefecture, which was known as the Ryukyu Disposition.

The Ryukyu Kingdom, which until then had existed as an independent country, albeit under the indirect rule of the Satsuma domain, was annexed to Japan as “Okinawa Prefecture.” This was a major historical change, as the Ryukyu Kingdom was directly ruled by the Japanese government. The confusion caused by the abolition of the Ryukyu Kingdom greatly shook Okinawan society at the time, and the people of Ryukyu, who had formed a unique cultural sphere that differed from that of mainland Japan, experienced many ordeals.

Notably, the confusion experienced by the nobility and warrior class, who lost their king after the abolition of the monarchy, appears to have been particularly severe. The Motobu family, which had received the name “udun” (palace) as a branch of the royal family, also underwent a major change: Motobu Chōyū, the head of the Motobu family, is said to have received a considerable amount of property from the Japanese government in accordance with his family’s status following the abolition of the kingdom. However, in order to distribute his wealth to the people of the surrounding area who were confused by the change of times, he disposed of his vast estate in Shuri and most of his tomb, which was said to cover an area of 3,000 tsubo (about 1,000 square meters). All three of his sons also left Okinawa and moved to mainland Japan.

Chōyū Sensei wanted to pass on the Motobu family’s martial arts tradition to the next generation, and he repeatedly urged his sons to return home, but there was no sign of their return. As he entered old age, his desire to somehow pass on the martial arts of his ancestors to the next generation grew stronger with each passing day.

Perhaps it was in such a hurry that he made up his mind, and in 1916, when I was 12 years old at the time, he took me as his disciple and began teaching me the martial arts. The reason he decided to teach the secret martial arts to me, who was not a blood relative of his, was because he needed someone to go to mainland Japan to teach his son the martial arts in his place. At that time, my master was teaching karate (tōde) to several students. However, he did not choose among those students, and instead decided to transmit Motobu Udundī to me, perhaps because I was still very young. This was because in order to fully master Motobu Udundī’s techniques, one had to begin training at a very young, developing age.

My master always told me that Udundī training began when the eldest son of the Motobu family was six years old and was completed by the time he reached adulthood, when he tied a topknot called a katakashira. Motobu Udundī’s training began at an early age, when his body was still developing, and he trained over the years as he grew, building up his body to master Motobu Udundī’s unique techniques before moving on to the actual practice of the art. For this reason, it took nearly ten years to complete the training. I believe this is why he decided to pass on the martial arts to me, who was twelve years old at the time.

Chōyū Sensei was a proud man, one of the last of the royalty of the Ryukyu Kingdom, who strictly taught me the samurai code of etiquette while I trained in the martial arts. I think that these teachings were something that the heirs of the Motobu family should have learned from an early age in their lives.