A

Ankō Asato 安里安恒  (1827–1906)

Ankō Asato (1827–1906) was an Okinawan martial artist and scholar, best known as one of the direct students of Matsumura Sōkon, a key figure in the development of Okinawan karate.

Asato belonged to the Okinawan gentry class and received a classical education that included Chinese studies, calligraphy, military strategy, and the martial arts. His training under Matsumura Sōkon emphasized discipline, strategy, and ethical conduct, rather than mere physical technique.

He is widely remembered as one of the primary teachers of Gichin Funakoshi, through whom Asato’s approach to karate—marked by restraint, respect, and intellectual depth—was later transmitted to Japan. Asato viewed martial practice as inseparable from moral education and personal responsibility.

Ankō Itosu 糸洲安恒  (1831–1915) 

Ankō (Yasutsune) Itosu (1831–1915) was one of the most influential figures in the history of karate and a direct student of Matsumura Sōkon. His contribution was decisive in transforming karate from a private art into a system suitable for public education.

Building on the teachings of Matsumura, Itosu systematized training methods and emphasized structured practice and progressive learning. He is traditionally credited with developing the Pinan (Heian) kata, designed to make karate accessible to younger students.

Itosu played a central role in introducing karate into the Okinawan school system, ensuring its survival and transmission to future generations. His vision combined technical rigor with educational purpose, laying the foundations for modern karate practice.

Also: Yasutsune Itosu

Annan

Dates: Unknown (legendary attribution)

Annan (or Anan) is a legendary figure, often described as a Chinese sailor, castaway, or itinerant martial artist, credited in some stories with transmitting martial knowledge in Okinawa, particularly in the Tomari area. His name is frequently associated with the traditional origin story of the kata Chintō (Gankaku).
Some traditional biographies list Annan as one of Sōkon Matsumura’s teachers, while other authors argue that this attribution reflects confusion between individuals, places, or oral narratives. There is no conclusive historical evidence for Annan’s identity, and he should be understood as part of the mythopoetic foundation of karate history.

Ason

Dates: Unknown (18th–19th centuries, traditional attribution)

Ason is mentioned in some lineages and secondary sources as a Chinese martial arts instructor linked to Okinawa, particularly in accounts describing exchanges with Fujian, China. Certain genealogies include Ason among the teachers with whom Sōkon Matsumura is said to have studied, although this claim lacks primary documentation.
As with Iwah, Ason occupies a space between history and tradition, serving mainly to contextualize the continental roots of specific technical and conceptual elements of early karate.

B

Bushi (Sōkon) Matsumura c. 1809 – c. 1899

Read under Sōkon Matsumura.

C

Chōki Motobu (1870–1944)

Chōki Motobu (1870–1944) was an Okinawan karate master known for his pragmatic, combative approach to martial arts. Unlike many of his contemporaries, Motobu placed strong emphasis on real fighting ability, close-range techniques, and practical application rather than formal aesthetics.

He was a member of the Okinawan aristocratic class and trained in traditional tōde under several masters, including figures connected to the Matsumura lineage. Motobu is particularly associated with the Naihanchi (Naifanchi/Tekki) kata, which he considered central to effective self-defense.

Motobu’s approach contrasted with the more formalized and educational direction karate later took in mainland Japan. Nevertheless, his influence remains significant, especially in styles and practitioners who prioritize functionality, realism, and applied technique.

Chōjun Miyagi (1888–1953)

Chōjun Miyagi (1888–1953) was one of the most influential Okinawan karate masters of the 20th century and the founder of Gōjū-ryū karate. A direct student of Kanryō Higaonna, Miyagi played a crucial role in systematizing and preserving Okinawan martial traditions.

Miyagi emphasized the balance between hard and soft principles (gō and jū), combining strength, breathing, posture, and internal control. His work helped bridge traditional Okinawan practice with modern martial education, while maintaining strong ties to Chinese martial influences.

Chōjun Miyagi represents a complementary perspective to figures like Motobu and Funakoshi, highlighting the diversity of approaches within Okinawan karate.

D

Daruma (達磨) "Bodhidharma" (c. 440–480  / c. 528–535)

Daruma (c. 440–480  / c. 528–535)  is the Japanese name used to refer to Bodhidharma, the Indian monk traditionally associated with the transmission of Zen Buddhism to China.

Although Daruma has no direct historical connection to Okinawan karate, his figure became a powerful symbol within martial traditions, representing perseverance, discipline, and unwavering commitment to practice. In Japanese culture, Daruma embodies the idea of standing back up after every fall—an image closely aligned with the ethical foundations of Budō.

In Walking Upright, Daruma is not presented as a historical karate master, but as a philosophical and symbolic reference that helps contextualize the values of endurance, focus, and moral strength found in martial paths.

E

Egami, Shigeru

Read under Shigeru Egami.

F

Funakoshi Yoshihide — 船越義英

Read under Yoshihide Funakoshi.

Funakoshi Giei — 船越義栄 

Read under Giei Funakoshi.

Funakoshi Yoshitaka (Gigo) — 船越義豪  

Read under Gigo Funakoshi.

Funakoshi Tsuru — 船越ツル 

Read under Tsuru Funakoshi.

Funakoshi Uto — 船越ウト 

Read under Uto Funakoshi.

Funakoshi Gosei — 吾正 

Read under Gosei Funakoshi.

G

Gichin Funakoshi 船越 義珍 1868 – 1957

Gichin Funakoshi (1868 – 1957) is widely regarded as the founder of modern Karate-Dō and the key figure responsible for introducing Okinawan karate to mainland Japan. Educated as a schoolteacher, Funakoshi approached martial practice as a means of character development, emphasizing humility, self-discipline, and ethical conduct.

He consistently rejected the idea of karate as mere fighting or sport, insisting instead on its role as a lifelong path (Dō). Through his teaching, writing, and personal example, Funakoshi shaped the philosophical foundations that continue to influence karate practice worldwide.

Also: Sensei, Ro-Sensei, Funakoshi-Sensei, referred to by later generations as O-Sensei 

Giei Funakoshi 船越義栄  c. 1898 – c. 1936

Giei Funakoshi (c. 1898 – c. 1936) , one of Gichin Funakoshi’s sons, is a lesser-known but historically relevant figure within the early transmission of karate in Japan. Although not as prominent as his brother Yoshitaka (Gigō), Giei was involved in the formative period of karate’s expansion and organization.

His early death limited his influence, and much of what is known about him comes from indirect references and family context rather than extensive documentation. Within Walking Upright, Giei represents the fragility of transmission and the paths that history only partially reveals.

Second son. A discreet figure with very limited historical documentation. He lived away from the martial and academic spotlight, which has contributed to the lack of detailed information about his life. He represents the less visible side of Funakoshi’s family history, reminding us that lineage does not always continue within the dōjō. 

Gigō (Yoshitaka) Funakoshi 船越 義豪  1906 – 1945

(also known as Yoshitaka Funakoshi or Waka-sensei)

Gigō Funakoshi (1906 – 1945) was a central figure in the technical evolution of karate during the pre-war period. As Gichin Funakoshi’s son, he played a decisive role in shaping what would later become modern Shotokan practice.

Despite chronic illness, Gigō introduced deeper stances, stronger linear techniques, and a more dynamic approach to movement. His influence was profound but short-lived, as he died at a young age during the final years of the war. In Walking Upright, Gigō often embodies change, intensity, and the risks of transformation within tradition.

Third son and the technical heir of Shotokan karate. A visionary of modern karate, he introduced lower stances, dynamic hip movement, high kicks, rigorous physical conditioning, and a more combative aesthetic. His influence fundamentally reshaped contemporary practice. He fell ill at a young age—most likely with tuberculosis—and died in 1945. Among his students, he was known as Waka-sensei. 

Also: Waka, Waka-Sensei 若先生 , Gigō.

Gima, Makoto 1896 – 1985

Read under Makoto Gima.

Gosei Funakoshi — 吾正

Born: unknown
Died: unknown

Wife of Gichin Funakoshi. Little historical information about her life has been preserved in public records, though she was part of the family nucleus during the formative years of Shotokan karate.

Gosei Yamaguchi 1909 – 1989

Gosei Yamaguchi (1909–1989) was a prominent Japanese karate master and the founder of Gōjū-kai, playing a fundamental role in the international dissemination of Gōjū-ryū karate. A direct student of Chōjun Miyagi, he contributed decisively to the systematization and organization of Gōjū-ryū both within Japan and abroad.

Although deeply influenced by the Okinawan roots of the style, Yamaguchi represented a phase of institutionalization in karate, transforming an art transmitted through personal lineage into a modern organizational structure. Known for his strong personality and organizational vision, he was a key figure in the postwar expansion of karate, a process not without tensions and controversies.

His legacy clearly reflects the tension between tradition and structure, between fidelity to origin and the need for order—a recurring conflict in Walking Upright.

H

Hidetaka Nishiyama 1928 - 2008 

Born: October 10, 1928, Tokyo, Japan
Died: November 7, 2008, Los Angeles, United States

Hidetaka Nishiyama was a Japanese karate master, educator, and one of the most influential figures in the international development of traditional Shotokan karate. He was a direct student of Gichin Funakoshi (Ro-sensei), as well as a student of Gigo Funakoshi (Waka-sensei), and later a close collaborator of Masatoshi Nakayama. Nishiyama consistently emphasized karate as a budō discipline, rooted in ethics, biomechanics, and self-development, rather than as a purely competitive sport.

After settling in the United States, he played a decisive role in the global dissemination of traditional karate by founding the All-American Karate Federation (AAKF) and later the International Traditional Karate Federation (ITKF). Through these organizations, Nishiyama promoted a technically rigorous, non-competitive, and pedagogically structured vision of karate, influencing generations of instructors worldwide and shaping the modern understanding of karate as a martial art grounded in the principles of budō.

Hironori Ōtsuka 1892 - 1982

Nombre en orden japonés: Ōtsuka Hironori (大塚 博紀)
Nació: 1 de junio de 1892, Shimodate, prefectura de Ibaraki, Japón
Murió: 29 de enero de 1982, Japón

Hironori Ōtsuka fue un maestro japonés de artes marciales y el fundador del Wadō-ryū karate-dō. Formado inicialmente en jūjutsu (Shindō Yōshin-ryū), fue también alumno de Gichin Funakoshi, integrando principios del karate okinawense con la tradición del jūjutsu japonés.

Su enfoque se caracterizó por la evasión, la fluidez y la armonización con el oponente, diferenciándose de interpretaciones más rígidas o lineales del karate. Ōtsuka encarna una vía alternativa dentro del karate japonés, donde la adaptación, el control y la eficiencia prevalecen sobre la confrontación directa.

Hironishi Unknown

Dates: Unknown (20th century)

Hironishi was a Japanese martial arts practitioner and instructor, referenced in historical and oral accounts related to traditional budō transmission during the early to mid-20th century. While less documented than other figures of the period, he is associated with the preservation and teaching of classical martial values, particularly discipline, etiquette, and lineage-based instruction.
His name appears mainly in contextual or secondary sources rather than formal institutional histories.

Hirohito 1928 - 2008

Born: April 29, 1901, Tokyo, Japan
Died: January 7, 1989, Tokyo, Japan

Hirohito was the 124th Emperor of Japan, reigning from 1926 to 1989, a period known as the Shōwa era. His reign encompassed some of the most turbulent events in Japanese history, including Japan’s militarization, World War II, defeat, occupation, and postwar reconstruction.
After the war, he renounced the concept of the emperor as a divine being and became a symbolic constitutional monarch under the 1947 Constitution. His role during the war remains a subject of historical debate.

Hōan Kosugi 1881 - 1964

Born: December 14, 1881, Japan
Died: April 3, 1964, Japan

A Japanese painter, calligrapher, and art educator, associated with both traditional Japanese aesthetics and the early modern artistic movements. His work developed primarily in the fields of ink painting (sumi-e), calligraphy, and illustration, and he played a significant role in the cultural and intellectual environment of prewar and postwar Japan.

Hōan Kosugi is widely recognized as the creator of the celebrated tiger illustration that appears on the cover of Karate-Dō Kyōhan by Gichin Funakoshi. This image has become one of the most enduring symbols of Shotokan karate, representing the idea of contained power, constant vigilance, and the balance between calm and force—concepts deeply rooted in budō.

In addition, various oral traditions and contextual sources attribute to him the design of the calligraphic sign reading 松濤館 (Shotokan), originally produced on metal plate to identify the dōjō. Although this authorship is not conclusively documented in formal institutional records, the attribution is consistent with his relationship with Funakoshi and with his role as an artist capable of translating martial and philosophical values into visual language.

Beyond his artistic production, Kosugi was involved in educational initiatives aimed at integrating art, philosophy, and cultural identity, influencing subsequent generations of artists and thinkers. His figure represents a point of convergence between traditional Japanese art and the symbolic transmission of karate as a way (dō), rather than merely as a technical discipline.

I

Isao Obata 1904 - 1976 

Name in Japanese order: Obata Isao (小畑 功)
Born: 1904, Japan
Died: 1976, Japan

Isao Obata was one of the pioneers of Shotokan karate and a key figure in its introduction into the Japanese university environment. A direct student of Gichin Funakoshi, he played a fundamental role in the early dissemination of karate at universities such as Keio, contributing to its consolidation as both an educational and martial discipline.

Obata represents the first generation of practitioners who helped establish Shotokan on the Japanese mainland, laying the foundations for its later institutional expansion.

Iwah

Dates: Unknown (18th–19th centuries, traditional attribution)

Iwah is a figure of oral tradition in Okinawan karate history, generally described as a Chinese martial arts teacher associated with the early transmission of quanfa to the Ryūkyū Kingdom. His name appears in several modern genealogies as one of the teachers traditionally attributed to Sōkon Matsumura, alongside Sakugawa and Annan.
No verifiable historical records confirm his biography, place of origin, or dates. Iwah should therefore be understood as part of the traditional narrative explaining Chinese influence on early karate rather than as a fully documented historical individual.

J

Jigorō Kanō (1860–1938)

Jigorō Kanō (1860–1938) occupies a unique position in the history of Japanese martial arts. As the founder of Jūdō and the creator of the Kōdōkan, Kanō was not only a martial innovator but also an educator and reformer who understood the role of martial practice within modern society.

Although Kanō was not a karate practitioner, his influence on the development and acceptance of Karate-Dō in Japan was profound and decisive.

Education before technique

Kanō approached martial arts through the lens of education. For him, technique had value only insofar as it contributed to the cultivation of character. His principles—seiryoku zen’yō (maximum efficient use of energy) and jita kyōei (mutual welfare and benefit)—redefined martial practice as a means of moral and social development, not merely combat proficiency.

This educational framework would later resonate deeply with Gichin Funakoshi, who shared the conviction that martial arts should serve as a lifelong path (Dō), shaping conduct, restraint, and responsibility.

Creating a place for Karate in Japan

At a critical historical moment, Kanō recognized the value of Okinawan karate and its potential contribution to Japan’s martial culture. He invited Funakoshi to demonstrate karate at the Kōdōkan and supported its introduction into academic and institutional environments.

This support cannot be overstated. Without Kanō’s endorsement, karate might have remained a peripheral Okinawan practice, struggling to find legitimacy in mainland Japan. Kanō provided Funakoshi not just a stage, but credibility—placing karate within a recognized pedagogical and ethical framework.

Influence through structure, not domination

Kanō did not attempt to absorb karate into jūdō, nor did he seek to control its development. Instead, he offered something subtler and more powerful: a model.

From Kanō, Funakoshi learned how a martial art could:

• exist within modern educational institutions,

• retain ethical depth while adapting to new contexts,

• be systematized without losing its moral core.

This influence shaped Funakoshi’s insistence on calling his art Karate-Dō, emphasizing the Dō—the path—over technique alone.

A shared vision of the Dō

Both Kanō and Funakoshi understood that the true danger facing martial traditions was not defeat in combat, but loss of meaning. They believed that without ethical grounding, martial practice degenerates into spectacle, violence, or empty ritual.

Kanō’s vision of martial arts as a tool for personal refinement and social harmony reinforced Funakoshi’s own rejection of ego, competition, and personal glorification. Their philosophies converged on a central idea:
the martial path exists to improve the human being, not to elevate the fighter.

Lasting impact on Karate-Dō

Through Kanō’s support, karate gained access to:

• universities,

• formal instruction,

• national recognition.

Through Kanō’s example, Funakoshi gained a template for how to transmit karate responsibly in a changing world—without surrendering its essence.

In this sense, Jigorō Kanō stands not as a karate master, but as a guardian of the conditions that allowed Karate-Dō to survive and mature in Japan.

Editorial note (for Walking Upright)

In Walking Upright, Kanō represents:

• the bridge between old traditions and modern society,

• the idea that adaptation does not require betrayal,

• and the possibility of institutional growth guided by ethical restraint.

Without Kanō, Karate-Dō might still exist—but not as the disciplined, respected path that Funakoshi envisioned.

K

Kase, Taiji (1929 - 2004)

Read under Taiji Kase.

L

The Letter “L” in Japanese Names

Traditional Japanese does not contain the “L” phoneme. Instead, it uses a sound represented by the consonant “R”, pronounced somewhere between a soft r and an l for Western ears. For this reason, Japanese proper names do not include the letter “L” in their original form; its appearance usually results from transcription errors or Western adaptations.

M

Matsumura Sōkon

Read under Sōkon Matsumura.

Makoto Gima 1896 – 1985

Makoto Gima was an Okinawan karate master and one of the important transmitters of karate during its early development in Japan. Trained in traditional Okinawan methods, Gima emphasized fundamental principles, kata practice, and continuity with Okinawan roots.

His role was less institutional than others, but his influence persisted through teaching and personal transmission. Gima represents the quieter side of karate history: practice maintained through fidelity rather than innovation.

Mitsuo Inoue

Born: date not publicly documented (Japan)

Status: Living in Buenos Aires, Argentine.

Mitsuo Inoue is a Japanese Shotokan karate master, known for his work as an instructor and for his contribution to the dissemination of traditional karate outside Japan. Trained within the framework of the Japan Karate Association (JKA), he belongs to the generation of instructors who transmitted Shotokan with a strong emphasis on technical accuracy, discipline, and structured teaching.

His instruction is characterized by attention to detail, pedagogical clarity, and respect for the classical principles of budō, maintaining a balance between technical rigor and character development. Throughout his career, he has influenced numerous practitioners and instructors, particularly in Europe, where he is associated with a faithful and rigorous transmission of Shotokan karate.

Mitsuo Inoue represents the model of a teacher shaped by the Japanese institutional tradition who, without seeking personal prominence, contributed consistently to the preservation and continuity of karate as a martial and ethical path.

Mitsuo Fictional character

Fictional character appearing in one of the chapters of Walking Upright. The character has no historical or biographical connection to the real karate master Mitsuo Inoue. Its inclusion is a deliberate narrative choice by the author, intended to allow the name to appear symbolically within the story, as a gesture of recognition and commemoration, expressed through fiction.

This choice does not seek to establish real-world links or reinterpret historical facts, but rather to pay tribute on a literary level, while clearly respecting the distinction between fictional characters and documented historical figures.

N

Masatoshi Nakayama 1913 – 1987

Name in Japanese order: Nakayama Masatoshi (中山 正敏)

Born: April 13, 1913, Kanazawa, Ishikawa Prefecture, Japan

Died: April 15, 1987, Japan 

Masatoshi Nakayama was a Japanese Shotokan karate master, educator, and one of the most influential figures in the systematization and modern dissemination of karate after the Second World War. A direct student of Gichin Funakoshi, he played a central role in the technical, pedagogical, and institutional consolidation of Shotokan.

He served as Chief Instructor and principal technical authority of the Japan Karate Association (JKA), from where he promoted a structured teaching model based on scientific principles such as biomechanics, methodical repetition, and technical standardization. Under his leadership, multiple generations of instructors were trained, contributing to the worldwide spread of Japanese karate.

Nakayama was also the author of foundational works, most notably the Best Karate series, which played a decisive role in the international transmission of Shotokan. His approach marked the transition from traditional karate to an organized, global system, generating both admiration and debate regarding the relationship between tradition, martial effectiveness, and sport.

His figure clearly embodies the tension between preserving Funakoshi’s legacy and the need for structure, modernization, and institutionalization—a central theme in Walking Upright.

Nishiyama Hidetaka 

Read under Hidetaka Nishiyama

O

Obata Isao

Read under Isao Obata.

Ogawa Fictional character.

A name used symbolically to represent the masters who, despite their importance in the early years of the discipline, have gradually lost visibility and recognition over time. Its inclusion pays tribute to those who contributed decisively to the transmission of karate, even though their names did not endure in official histories. 

Okuyama Fictional character.

A Japanese surname used symbolically to represent practitioners and teachers associated with budō and the traditional arts whose contributions were significant, but whose specific identities have faded over time. Its inclusion acknowledges those figures who formed part of the real fabric of martial transmission, even if they were not preserved in historical records.

Ōtsuka, Hironori 

Read under Hironori Ōtsuka. 

S

Saigō Takamori 1828 - 1877

Born: January 23, 1828, Kagoshima, Satsuma Domain (Japan)
Died: September 24, 1877, Kagoshima, Japan

Saigō Takamori was a high-ranking samurai, political leader, and military figure from the Satsuma Domain, and one of the central personalities of the Meiji Restoration (1868), the process that ended the Tokugawa shogunate and restored formal power to the emperor. He initially supported the modernization of the Japanese state but later opposed the rapid Westernization reforms and the abolition of the samurai class.
His break with the new government culminated in the Satsuma Rebellion (1877), the last major samurai uprising, after which he died in battle. In Japanese collective memory, he is remembered as “the Last Samurai”, a symbol of loyalty, honor, and the tension between tradition and modernity.

Shigeru Egami 1912 - 1981

In Walking Upright, Shigeru Egami does not appear merely as a historical figure, but as a symbol of continuity—a man standing at the threshold between inheritance and transformation. He represents the quiet conviction that not everything needs to be changed simply because change is possible.

The Egami of this narrative is shaped by what is known, what is remembered, and what has been whispered through generations of practitioners: a man wary of excess, cautious of innovation for its own sake, and deeply committed to the idea that the value of Karate-Dō lies precisely in what has already proven to endure.

Rather than seeking to reform the art, this Egami seeks to protect its inner logic. He embodies the belief that tradition is not stagnation, but memory in motion—a structure that has survived precisely because it does not bend to every passing impulse. In a period marked by reconstruction, ambition, and institutional expansion, he becomes the counterweight: the reminder that growth without restraint risks erasing meaning.

This portrayal does not claim to reproduce the historical Egami in full accuracy. Instead, it draws from accounts, interpretations, and legends of the time to articulate a deeper tension within Karate-Dō itself: the struggle between adaptation and preservation, between visibility and substance. Egami stands on the side of what works because it has worked—because it has shaped character, not because it can be measured or rewarded.

In this sense, Egami functions less as an innovator and more as a guardian. He does not oppose progress openly, but questions its direction. He asks whether efficiency replaces understanding, whether structure overtakes purpose, and whether recognition begins to matter more than integrity.

Within Walking Upright, Egami becomes a mirror for a fundamental question:
If the path has carried generations forward, at what point does changing it mean abandoning it?

He is not the loudest voice in the room, nor the one that history rewards with institutions or titles. Yet his presence anchors the narrative in a moral axis that refuses to be hurried. Through him, the book explores the idea that sometimes the most radical act is not to invent, but to remain faithful.

Sōkon (Bushi) Matsumura c.1809 – c.1899   /  c.1797 - c.1890

Note: The dates vary depending on the source; both chronologies are considered the most widely accepted. 

Bushi was an honorific title used in Okinawa to refer to members of the warrior class.
In the context of karate history, “Bushi Matsumura” is a respectful way of referring to Matsumura Sōkon, one of the most important figures in the development of Okinawan martial arts.

The title Bushi emphasizes Matsumura’s status not only as a martial artist, but as a man shaped by classical education, ethical discipline, and responsibility. It reflects the social and cultural background in which karate developed in Okinawa, where martial practice was closely linked to personal conduct and service.

When the name Bushi Matsumura appears, it does not indicate a different person, but rather highlights Matsumura Sōkon’s role as a warrior-scholar and his position within the Okinawan gentry.

T

Taiji Kase (1929 - 2004)

Taiji Kase (1929 - 2004) was one of the most influential Japanese Shotokan karate masters of the 20th century and a key figure in the dissemination of traditional karate in Europe. He was a direct student of Gichin Funakoshi and also trained under the influence of Gigo Funakoshi (Waka-sensei), whose technical imprint—lower stances, greater use of the hips, and a more direct martial approach—profoundly shaped Kase’s understanding of karate. He later trained within the Japan Karate Association (JKA), working closely with Masatoshi Nakayama.

As a JKA instructor, he was sent to Europe in the 1960s, where he played a decisive role in the training of generations of practitioners, particularly in France. Over time, however, he distanced himself from the increasingly sport-oriented and regulated approach of the JKA, advocating instead a vision of karate centered on martial effectiveness, ikken hissatsu, internal work, and technical freedom.

After leaving the JKA, Taiji Kase developed what is now known as Kase-ha Shotokan, a personal interpretation of Shotokan characterized by more natural stances, intensive use of the koshi, deep breathing, changes of rhythm, and an understanding of combat closer to budō than to sport. In this context, he promoted the Kase Ha Shotokan-Ryū Karate-Dō Academy (KSKA) as a framework to preserve and transmit his technical and philosophical legacy.

Kase’s karate is distinguished by its emphasis on direct experience, constant adaptation to the opponent, and the absence of formal rigidity, qualities that made him a figure both highly influential and controversial. His legacy clearly embodies the tension between tradition and modernity, between institution and martial freedom—a central theme in Walking Upright.

Taka Fictional names

Names of Japanese origin associated respectively with the hawk and the crane. In the context of budō and Japanese cultural tradition, they are used symbolically to represent martial and ethical qualities rather than to designate specific historical figures. In Walking Upright, they are used as aliases, functioning as contracted names and affectionate nicknames. 

Tsuru Funakoshi — 船越ツル

Born: unknown
Died: unknown

Daughter of Gichin Funakoshi. She lived in Tokyo and maintained a close relationship with her family. Very little public documentation exists regarding her life.

U

Uto Funakoshi — 船越ウト

Born: unknown
Died: unknown

Youngest daughter. There is scarce publicly documented information about her life and activities.

W

Waka

Read under Gigō Funakoshi 

Y

Yoshihide Motobu 1913 – 1998

Yoshihide Motobu (1913 – 1998) was an Okinawan karate master and the son of Chōki Motobu, one of the most pragmatic and combative figures in Okinawan karate history.

Trained directly by his father, Yoshihide became a key transmitter of the Motobu lineage, particularly its emphasis on:

• close-range fighting,

• practical application,

• realistic self-defense,

• and the centrality of Naihanchi (Naifanchi/Tekki).

Unlike some other branches of karate that became increasingly formalized or sport-oriented, Yoshihide Motobu preserved his father’s functional and applied approach, teaching quietly and without institutional ambition. His role was not to reform karate, but to maintain a method that had proven effective.

Yoshihide Funakoshi — 船越義英

Born: unknown (Okinawa, late 19th century)
Died: unknown

Eldest son of Gichin Funakoshi. Born in Okinawa, he accompanied the family during their relocation to Tokyo. Testimonies describe him as responsible and closely supportive of his father, especially during the difficult postwar years. He did not play a prominent role in the public teaching of karate, but he was an essential part of the founder’s domestic and emotional support system.

Yoshitaka Funakoshi 

Read under Gigō Funakoshi

About the Author

Milton Chanes is an author and researcher whose work is deeply connected to education, technology, and traditional martial arts. His writing combines historical rigor, practical experience, and a critical perspective on how knowledge, values, and traditions are transmitted—and transformed—over time.

Through his books, Chanes explores Karate-Dō not only as a martial discipline, but as a path of human development, ethical reflection, and cultural responsibility.

👉 [More about the author]

Walking Upright does not seek to provide definitive answers. Instead, it offers a path: to observe carefully, to understand deeply, to question honestly, and above all, to remain upright—in practice, in teaching, and in life.