Makabe Chotoku, the vice president of the Ryukyu Fire Insurance Company, is a seventh generation descendant of Makabe Chaan. When Chotoku was rebuilding the family grave site after the war, he inspected Makabe’s bones. He said that he was surprised to see that his leg bones were so long. I believe that the information which I received from Taira, Chosho, and Chotoku, would all seem to indicate that Makabe Chaan was indeed of more than just average size.
To continue with the confrontation between Makabe and Funakoshi, there is an abstract poem which I believe characterizes their encounter.
Poem:
Bushi no miya, sura ni
tobu toi no kukuchi,
michimiteinteiniya touiyanaran
Interpretation:
The movements of a real bushi are not unlike those
of a bird in flight: swift, natural, and without
thought. Regardless of one’s physical strength,
catching a bird is virtually impossible.
Although Makabe was big and powerful, he was also unusually agile, no doubt the result of his intense training. Seemingly, Funakoshi dung to the idea that power was enough to overcome an opponent. He had successfully stalemated Makabe in the tests of power, and believed that he was ready to challenge the technique of the great bushi.
Now came the opportunity for Makabe to test the results of his lengthy training in jumping techniques. He took his stance as he prepared to unleash his kick. Looking calmly up at the ceiling of the guest house Makabe wasted no time springing into position before leaping up, and, with an enormous kiai (spirit shout), executing a jump kick as fast, and higher, than anyone in that room had seen before. Landing back on the tatami mat, Makabe finished his kicking demonstration in the meikata posture (an elegant position used in Okinawan folk dancing to music during village festivals). As the spectators stood in awe, the imprint of Makabe’s foot, remaining clearly visible on the ceiling, served to remind everyone of the incredible feat they had just witnessed.
When it came time for Funakoshi to perform, it remained obvious to Makabe that he was flustered. Having never even seen, let alone practiced, a jumping kick, Funakoshi scrambled to learn. Attempting to duplicate that which he had just observed, Funakoshi, in spite of Makabe’s friendly advice, fell flat on the back of his head, unconscious. By the time the fallen Funakoshi finally came to, he realized that he had been outmatched and, as was often the case in those days, asked Makabe to become his teacher.
A HEROIC EPISODE
During the Kingdom period, the ayajou-uugina (tug of war) was always a spectacular event in the old castle town of Shuri. Supported by the people of Mitara district, and authorized by the sanshikan (top three ministers in office), the tug of war was an event held primarily for Okinawa’s kemochi. The rope used in Naha had a diameter of three shaku and each side measured thirty ken (54.54 meters) in length, for an overall length of sixty ken (109.08 meters). The rope used in Shuri was twice the size of that used in Naha, and measured a magnificent 120 ken (218.18 meters) in length.
An event not taken lightly, the tug of war was a contest governed by strict rules. According to Naha City Magazine, the tug of war committee consisted of a buuhai (head of tug of war), chinahoo (maker of the rope), teehoo (maker of the lanterns), shitaakuhoo (maker of the costumes), chinkuhoo (conductor of the music), kanichihoo (maker of the wooden bo), suneehoo (chief of the parade guards), and hatahoo (maker and coach of the flags).
As previously explained, the ayajou-uugina was a popular cultural event which always attracted a crowd of people ranging from local government and satsuma officials, to kemochi and mukei (those without chronicled lineage). Because it was the most spectacular event in the Ryukyu Kingdom, participation in it was the ambition of all the young men from Shuri’s Mitara district. The holding of the flag and the kanuchiyaku (the staff) was considered a special honor, customarily a privilege reserved only for brave and bold men. A man selected for one of these roles was considered to be not only a man among men; he was truly revered.
It came as no surprise to learn that, in representing the east, Makabe Chaan was always selected for such positions since he was tall, powerful, and popular. The flag for the west, representing the opposition, was often held by Morishima Eekata, a man of Herculean strength. Morishima later had a son who became known as Giwan Choky, a prominent statesman, who died in 1875.
The shitaku (costume) for the east was designed after the historical boy samurai Ushiwakamaru (actually Minamoto Yoshitsune’s childhood name), while the shitaku worn by the west represented Benkei (a subordinate of Yoshitsune’s who dressed like a monk). With a first swing of the flag, the tug of war commenced and the ringing of the bells and drums became intense. After a superb kanuchibo demonstration, the participants gathered around the rope to engage each other. The grunts and shouts of physical exertion filtered through the music and commotion as an excited throng of spectators swarmed the venue. Yet, in the end, the game belonged to the east. Makabe’s team had emerged victorious.
The tug of war as shown in the Ryukyu Ihoshi.
As was the custom, the first and second flagsmen led the winner’s side around while the champions rang the bells, beat the drums, screamed feverishly in triumph, and danced around in high spirits. Regulation demanded that the losing team should quietly place the head of their flag on the ground and retreat in defeat.
The hatagashira (head of the flag).
However, at this particular event the west, representing the hatahoo (the vanquished), were poor losers and forgot their etiquette. Refusing to surrender their icon, they kept screaming and sailing the defeated flag in an effort to taunt the champions. Just as everyone began to notice what was going on, Makabe jumped into the midst of the defeated team like a flying bird, grabbed the flag and threw it to the ground and then withdrew without recourse. The audience, as well as the other team members, were overwhelmed by his bravery.
In old Okinawa, high ranking kemochi often used a palanquin to travel around. Not being immune to the problems of highway robbery, Makabe Chaan was well-known for his innovative techniques of defense and escape. One night there was a palanquin traveling through the dark streets of Shuri. The two palanquin holders suddenly felt apprehensive because the weight of their passenger had mysteriously vanished. When they put the palanquin down to check inside, it was empty. They were dumbfounded. All of a sudden they were overcome by fear as a black shadow jumped out from behind a well by the street. Without delay the two palanquin holders ran off in fear of their lives. Just then a voice yelled out, “Don’t be afraid men, come back.” Laughing quietly to himself, the voice was that of Makabe Chaan who was supposed to be in the palanquin.
I’ve heard a similar story from the great master of karate, Motobu Choki. There once was a man named Sakuma Chikudoun Peichin who, by all accounts, was a brave but imprudent fighter. Notwithstanding, Motobu raised his hat to this dauntless stalwart. Apparently Sakuma also liked drinking and often accepted challenges in exchange for awamori (a potent Okinawan liquor). Once in Shuri, Sakuma leaped into a miga (well) and then came flying out again. He was able to accomplish this feat by pressing his hands and feet against the sides of the well to support his powerful body. Even the powerful Motobu Choki was unable to perform such a magnificent feat.
Sakuma Peichins remarkable jumping technique was based on the skills