TOGKF Australia

Photos are such a rare possession these days!

A few weeks ago, I asked Uehara Sensei if he would be willing to share any karate photographs he might have. Given that he is truly a walking encyclopedia of all things Goju-ryu, I knew there was a good chance he had preserved some remarkable pieces of history.

The very next day, he arrived with a few photo albums documenting his amazing karate journey of over 60+ years. Needless to say, they were filled with incredible treasures: photographs of first-generation students of Miyagi Chojun, a striking black-and-white image of Uehara Sensei and his brother, Uehara Ko, practicing kakie, training photos from the Jundokan, images of many well-known Goju-ryu practitioners from various ryuha in their prime, and even a potentially historic photograph that is currently being researched.

Among some of the most meaningful to me were his photographs with Miyagi An’ichi Sensei, including the one shared in this post. During training, Uehara Sensei frequently draws upon Miyagi An’ichi Sensei’s teachings through stories, kata, and characteristically demanding applications. He often speaks with great fondness about the one-on-one instruction he received, where lessons were communicated in the Okinawan language allowing for a deeper transmission of knowledge and understanding.

I feel incredibly fortunate that Uehara Sensei provided the opportunity to view these remarkable photographs as they are a priceless visual record of our ryuha’s history and a reminder of the generations who preserved and passed on this tradition.

Absolutely amazing and very well deserved!

A truely amazing place!

I remember reading several years ago about the demolition of Nagamine Shoshin’s historic Kodokan Dojo in the Kumoji district of Naha. The Kodokan served as the Matsubayashi-Ryu Honbu, and members from around the world made efforts to preserve the dojo. However, after the passing of Nagamine’s son, Takayoshi, it was ultimately decided that the land would be repurposed. I could empathize with those members, as I am sure many held cherished memories of their training and experiences there.

The word honbu 本部 can be loosely translated as 本 (hon), meaning “origin” or “root,” and 部 (bu), meaning “group,” “division,” or “department.” Within a budo organization, a honbu is generally regarded as a place for upholding technical standards, issuing instructor certifications, and establishing administrative policies.

While those functions are important, Honbu, to me personally, represents the structural embodiment of Higaonna Sensei’s life’s work. It physically manifests decades of training, sacrifice, teaching, research, preservation, and transmission.

In many ways, Honbu also serves as a legacy for future generations. It is a place where those abroad have the opportunity to step outside the comfort of their own front door and make the pilgrimage to Okinawa to experience their chosen art not as karate tourists, but as karateka following the path of a legitimate lineage anchored in history and Okinawan culture.

Karateka can experience firsthand the traditional kigu undo training equipment utilized by Higaonna Sensei, historical photographs, accumulated memorabilia, and the atmosphere of a dojo shaped by generations of dedicated practice. More than simply observing artifacts or architecture, one encounters an environment where rigor, preservation, and the passing on of knowledge remain part of everyday training.

That may be why places like Honbu matter so deeply. They are not merely buildings where karate is practiced, but repositories of memory, culture, perseverance, and tradition. Long after photographs fade and generations pass, the walls, presence, and spirit of such places continue to quietly teach those who enter them.

Nagamine Shoshin once described the dojo as a sacred place where the human spirit is polished and courage is cultivated, a sentiment that, in my humble opinion, deeply reflects the spirit of Honbu, where austere training, perseverance, and preservation continue to shape those who enter its doors. In many ways, to stand within Honbu is to stand within the living history of Higaonna Sensei’s art itself.

Outstanding 👏🏼