Ukiyo-Japan » The First of Karate's Fathers: The Life and Teachings of Kanga “Tōde” Sakugawa in the Kingdom of Ryūkyū

The Father of Karate

In the depths of the Ryūkyū Archipelago, now the modern-day Okinawa Prefecture, a martial art was born that would revolutionize the philosophy of self-defense and become a symbol of inner discipline. This was karate—originally known as "Te" or "Tōde," meaning "hand" or "Chinese hand." During Japan’s isolationist period (sakoku), the Shimazu rulers of the Satsuma clan, who had previously conquered the independent Kingdom of Ryūkyū, prohibited civilians from owning weapons. Okinawa thus became a place where the art of weaponless combat took on new significance. In these turbulent times emerged a master whose determination and unique approach shaped what we now know as karate. This man was Kanga “Tōde” Sakugawa—regarded as the father of this martial art.

Sakugawa Kanga, also known as Tode Sakugawa, not only embodied Okinawan traditions but also became a bridge linking local techniques with Chinese Ch’uan Fa (拳法). His mastery did not come by chance—after years of training under the monk Peichin Takahara and the Chinese emissary Kusanku, Sakugawa created his own version of Te, integrating techniques from both native and Chinese styles. It was he who initiated the legend of the "Chinese hand," which would eventually evolve into karate, altering the fate not only of Ryūkyū but also of the entire world of martial arts.

His life is filled with both heroic tales and mysteries—from stories of his journey to China, through forbidden kata, to the legendary “Satunuku,” a samurai honorary title granted for his service to the Kingdom of Ryūkyū. Although many myths and controversies have grown around his story, Sakugawa's contributions remain unquestioned—it is thanks to him that Te techniques survived and evolved, becoming the foundation for karate styles such as Shuri-te and, later, Shorin-ryu and Shotokan.

Who was Kanga Sakugawa? What values did he instill in his students, and what role did he play in shaping the art of weaponless combat? Let us delve into a story of cultural exchange, of mastery earned through hardship and dedication, and of a philosophy that has endured through the ages to continue inspiring those who take their first steps on the path of the "empty hand."

Historical Background

It was a time of tumultuous changes and tensions in a world torn between great powers. The Ryūkyū Archipelago, stretching between Japan and China, served as a cultural and trade bridge, both flourishing and threatened. Ryūkyū was a kingdom whose loyalty and interests were split between two giants—China and Japan. The Ryūkyū rulers had to balance between the influence of Chinese emperors, who saw the islands as a valuable tributary stop, and the Japanese Shimazu clan, which, after invading in 1609, made the islands a zone of its control. Japan, on the other hand, was in the sakoku period—the “closed country” era—when the ruling Tokugawa shogun isolated the nation from foreign influences, controlling every aspect of life in the country and limiting contact with the outside world. Ryūkyū, while retaining partial autonomy, continued to thrive despite its neighbors' imperial ambitions.

The largest island in the archipelago—Uchinaa—flourished, full of bustling marketplaces, quiet temples, winding paths, and picturesque rice fields. The island's population lived by trade—Chinese porcelain, Thai spices, and Korean textiles flowed through the ports in Naha, bypassing Japanese restrictions. It was a place of enterprising people who could optimize their tax and customs structures—smugglers, pirates, traders.

Yet, something distinguished the Ryūkyū Archipelago from other places—a ban on owning weapons. When the Shimazu rulers invaded the archipelago and claimed it as their own, they confiscated the people's weapons. Islanders had to find another way to defend themselves. Stories began circulating about martial artists who, without swords, could neutralize attackers using only simple tools, and sometimes even their bare hands. Techniques were said to exist that allowed a person to stand like a rock against an attack and anticipate the opponent’s moves, moving like the swift current of a river bypassing obstacles.

At the heart of this art was Te—“hand,” a weaponless combat style passed down through generations among the island’s inhabitants. As a result of Chinese influences, Te techniques began to evolve, drawing from Ch’uan Fa (拳法), the Chinese martial art smuggled in by Chinese merchants and emissaries. In Ryūkyū, Te transformed into something more than just a technique; it became a philosophy of life, a means to preserve honor and protect oneself and one's loved ones.

In these times, within the unique and original culture of the Ryūkyū archipelago, the title Peichin held a special place—equivalent to the Japanese samurai, but combining both warrior and scholar. Men bearing this title were respected, meticulous in their craft, and served as guards of local rulers and the kingdom’s protectors.

And in the shadow of these great events and dependencies appeared a young martial arts adept—Kanga Sakugawa…

The Youth of Sakugawa

When Kanga Sakugawa was born in the small village of Akata, nestled in the hills around Shuri, Ryūkyū was a vibrant, cosmopolitan kingdom and a haven for smugglers, traders, and entrepreneurs. His family belonged to the warrior class, but life on the island required not only fighting skills but also profound wisdom and flexibility. From a young age, Kanga grew up with stories of great warriors, travelers, and monks. He listened to their tales, imagining himself as a hero, though he did not yet know the difficult path he would have to follow.

His father, Kangi Sakugawa, was himself a respected warrior and held the title of peichin—a status that denoted respect, authority, and knowledge not only in martial arts but also in philosophy and mental discipline. Although strict, Kangi saw something exceptional in his son—a warrior’s spirit smoldered in the young boy’s heart from an early age. When the boy was strong enough, his father began teaching him the basics of Te, "hand," simple self-defense techniques without using weapons. However, Kanga would later realize that these techniques were more than just a tool for defense—they were a “path.”

The young Sakugawa sought a master, someone who could show him the true meaning of the warrior's path, and thus he met Peichin Takahara—a renowned monk and teacher, respected throughout Ryūkyū for his wisdom and skill. Takahara was not only a warrior but above all a philosopher and thinker. For young Kanga, Takahara was like a living symbol of everything it meant to be a warrior—not just mastery of techniques, but also inner peace and understanding. Training with Takahara was rigorous, requiring not only bodily strength but also mental resilience, for the master believed that martial arts were merely a tool to shape a person’s inner self.

Soon, the boy learned the essence of the philosophy of “dō” (道)—the warrior's path, based on three principles: ijo (慈愛) – compassion, katsu (勝) – knowledge of techniques, and fo (忠) – complete dedication to one's craft. Takahara taught him that a true warrior does not seek battle but peace, and that martial arts are a form of introspection, not aggression. Kanga absorbed these lessons, though initially, they clashed with his natural youthful energy and eagerness for combat. Each meditation, each movement, each exercise on the makiwara (wooden training board) taught him that strength is not just control over the body but also the mind.

Years passed, and young Sakugawa became more adept, more peaceful, more focused. Takahara saw that his student was becoming something more than just a warrior. Kanga, through his master’s training and teachings, began to understand that the warrior’s path also meant responsibility. However, he was still young—impulsive, witty, lively, and constantly getting into trouble. The real trial was yet to come.

The Chinese Adventure

Kanga Sakugawa had already endured years of rigorous training under Takahara, but fate had prepared an encounter that would change his life. One day, while walking along the winding banks of a river in Shuri, he noticed an elderly man with a stern yet calm face standing motionless by the water. The cool air surrounded the stranger like a mysterious aura, and his gaze was fixed on the flowing river, as if he saw something more, something others could not grasp. He stood precariously close to the edge of the dock.

Sakugawa, young and full of bravado, decided to play a prank. A legend passed down orally from generation to generation says that he quietly approached the old man, planning to push him into the water. However, just as he reached out, he felt an iron grip on his shoulder—the old man hadn’t moved, but his hand held Sakugawa in a steel clasp that threw the young man off balance. This man turned out to be the Chinese master Kusanku (公相君 – Gōngxiāngjūn), who had come to Ryūkyū as an emissary of the Qing dynasty.

Kusanku, instead of becoming angry with the cheeky boy, saw potential in him. His gaze softened, and after a moment, in which Sakugawa regained his composure, the master spoke in a quiet, calm voice. He pointed out the youth’s lack of discipline but also encouraged him to continue training. Sakugawa felt a mix of shame and fascination; the stranger radiated a power he had never before witnessed.

Under Kusanku’s guidance, Sakugawa began intensive training in the Chinese art of Ch’uan Fa (拳法), learning techniques and principles that would forever change his fighting style. These were not ordinary strikes or blocks—each movement was precise, subtle, reminiscent of the play of natural forces. Kusanku taught him how to observe the opponent, how to use his energy against him, and how to flow in combat, to feel the fight like the current of a river—fluid and directed.

Kusanku passed on to Sakugawa one of his most precious techniques — a kata that the young warrior would later name in honor of his master: Kusanku. Kata was like a war dance, containing all the principles of Ch’uan Fa. Each day, with the determination of a master, the young man practiced the kata movements, learning patience and inner harmony.

The legend says that Sakugawa even went to China and spent years there, studying under the best masters. However, historians remain skeptical—there is no evidence of his lengthy journey. Contemporary researchers suggest that this may just be a part of the legend surrounding his figure. Many of these stories could have been the product of the imagination of his students and subsequent generations who wanted to enrich the story of their master.

Regardless of the truth, one thing is certain—the influence of Chinese martial arts, which Sakugawa learned through Kusanku, transformed his style and made him one of the most outstanding warriors of his time. Kusanku planted a seed that Sakugawa cultivated in Ryūkyū, which eventually grew into a tree from whose branches future generations of karate practitioners would draw.

Developing His Own Fighting Style

After completing his training in Chinese martial arts, Sakugawa Kanga possessed something that set him apart from other warriors and teachers of Te. He was now not only an adept of the local martial art but also a student of the Chinese master Kusanku. He possessed more than just techniques—a philosophy that would define his life and transform traditional Te. His movements became more precise, and his strikes—seemingly measured, full of controlled force. Sakugawa felt that his task was to merge what he had learned from Master Kusanku with the native traditions of Ryūkyū.

The style of Te on the islands at that time was relatively simple—based on short, direct techniques meant to quickly incapacitate an opponent. However, Sakugawa had a vision. Inspired by the Chinese techniques of Ch’uan Fa (拳法), he decided to add depth and sophistication to the local style. He introduced fluid, circular movements that allowed the practitioner to transfer and intercept the opponent’s energy—this was a new quality in hand-to-hand combat. In this enriched version of Te, Sakugawa integrated the Chinese approach to energy—qi (氣)—and principles of balance, which were new to his compatriots.

One of his most significant achievements was the creation of the Kusanku kata, named in honor of his Chinese teacher. The kata was more than just a sequence of movements—it was like a manual of fighting philosophy and technique, filled with hidden meanings and subtle details. The Kusanku kata included moves from Chinese techniques—there were jumps, drops to low positions, and techniques that used the opponent’s strength against them. Each movement of the kata had meaning and symbolism—it represented not only physical strength but also inner peace and balance, which were crucial in Kusanku’s teachings. This sequence of movements later became the foundation of the Shuri-te (首里手) style and an inspiration for future generations who transformed Te into what we now know as karate.

Sakugawa soon earned the nickname Tōde, meaning "Chinese Hand." This nickname carried deep significance—it indicated both his knowledge of Chinese techniques and Kusanku’s influence, as well as the fact that Sugisawa’s style was based on the native Te. His mastery and the respect he gained through his skills made “Chinese Hand” more than just a title—it became a symbol of a new, more versatile fighting style.

Under his influence, traditional Te gained a new quality, becoming more than just a set of techniques—it became a path. Thanks to Sakugawa, Ryūkyū’s Te began to attract attention not only from local warriors but also from those who came to the island with curiosity and respect for this new martial art.

Further Evolution of the Tōde Style Toward Karate

Kanga Sakugawa's contribution to Ryūkyū’s Te was enormous and can be seen in modern karate. In particular, his most famous student, Matsumura Sōkon, played a crucial role in developing what we know today as Shuri-te. Matsumura was an exceptional figure—both a student of Sakugawa who absorbed his techniques and fighting philosophy, and a master himself who, through his own genius and perseverance, created the foundations of karate that have endured to this day. Matsumura transformed Shuri-te, drawing from Sakugawa’s teachings and enriching them with his own experiences, thus gaining recognition throughout Okinawa for his fighting style. This style later became the foundation for Shorin-ryu and inspired the creation of other schools, such as Shotokan.

The legacy of Sakugawa’s style survived in schools like Shorin-ryu, which directly reference the techniques of Shuri-te. Shorin-ryu, founded by Matsumura’s students, preserved the essence of this style—quick, direct movements based on precise strikes and dodges, as well as the philosophy of “flowing combat,” which Sakugawa instilled in his style. Sakugawa’s influence also extended to Japanese Shotokan, where Gichin Funakoshi, inspired by Ryūkyū’s karate, integrated elements of Shuri-te to create a system that gained immense popularity in Japan and around the world.

Sakugawa also became famous as a master of bōjutsu, or the art of staff combat, and left behind the kata known as Sakugawa no Kon. This kata, full of long, balanced movements, has survived in various versions to this day and is still practiced as part of Ryūkyū kobudō. Sakugawa no Kon became a model for later bōjutsu techniques, with its different versions—including “shō” and “dai”—taught over the decades. This kata represents not only weapon control skills but also Sakugawa’s spirit—his determination, discipline, and deep understanding of movement.

Thanks to Matsumura and other heirs of his tradition, Sakugawa remains one of the fathers of modern karate, whose techniques, philosophy, and legacy have permeated many styles and schools of martial arts, not only in Okinawa but also in Japan and around the world.

Controversies

The history of karate, like many other martial traditions, is filled with legends and oral transmissions that cannot always be confirmed by historical facts. Sakugawa Kanga, also known as Tōde Sakugawa, is a figure who over the years became a symbol of Okinawan martial arts, but his biography and achievements are often subjects of controversy and reinterpretation. Problems in accurately reconstructing his life stem from the fact that many details about Sakugawa have only survived in the form of oral stories, often passed down from generation to generation in traditional martial arts schools. What we know about Sakugawa is thus a blend of facts and legends that have introduced considerable confusion and often led to the creation of different versions of his story.

One of the most discussed aspects of Sakugawa's life is his alleged journey to China. According to tradition, Sakugawa was said to have spent many years in Fuzhou, studying martial arts under Chinese masters such as Kusanku. Oral transmissions claim that Sakugawa was the first Ryūkyū resident admitted to the imperial martial arts academy in China, where he was to learn Ch’uan Fa and other Chinese styles. However, many historians and karate researchers, such as Dana Masayuki, doubt the authenticity of this journey. Research on official records shows that Sakugawa’s name does not appear on any lists of students sent to China at that time, casting doubt on the credibility of these stories. There are suggestions that if Sakugawa did indeed travel to China, it was only as an assistant on a tributary mission, which would have given him limited opportunities to study martial arts, and his stay would have lasted no more than half a year to a year and a half.

Such discrepancies in interpreting Sakugawa’s life largely arise from oral traditions and a desire to emphasize his unique role in the history of Ryūkyū/Okinawa. These stories may have been deliberately exaggerated by his successors to lend greater authority to his teachings and highlight his influence on the development of karate. Moreover, the fact that after Sakugawa’s death, his students—especially Matsumura Sōkon—created their own styles, such as Shuri-te, which became the foundation of modern karate schools, made later generations see Sakugawa as a legendary master, an almost mythical ancestor of karate.

The interpretation of Sakugawa’s role has changed over the years. While he was once recognized as the “father” of Ryūkyū karate, contemporary researchers view his achievements more critically, emphasizing that his contribution to the development of Te was probably significant but not necessarily as unique as tradition suggested. Early sources describe Sakugawa as a master of local martial arts, but only under the influence of students like Matsumura was his style systematized and recognized as distinct, deserving a special place in history.

Thus, Sakugawa Kanga became both a historical figure and a legend. His influence on modern karate is undeniable, but its scope—debatable. The facts of his life remain hidden in the shadows of legends and reinterpretations created by successive generations of students, masters, and historians.

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