![]() In the other hand, media artists have been utilising audio-visual media to reinterpret the traditional aesthetics through emerging technologies, such as employing virtual reality technology to write the ‘spatial calligraphy’. In one hand, modern calligraphers begin to use different media to create ‘digital calligraphy’ and collaborate with programmers to produce new experiences. In the recent decades, artists and researchers have shown an increased interest in applying new technologies to traditional arts in Japan, especially in the field of calligraphy art, painting, and the Zen culture. Judging from this they were surely relevant and obviously close students. Nevertheless, together with Chōjun Miyagi himself these two were commonly referred to as the " Three Castles " or " Three Strongholds " of Gōjū-ryū. From among the disciples of Kanryō Higaonna few have possibly ever heard about Yoshiteru Ikemiyagi and Hōhitsu Gushimiyagi. The purpose of this article is to bring to general attention an important character who was already a student under Higaonna and seems to have accompanied almost the entire life of Chōjun Miyagi. But there were many more students that did not just disappear following Higaonna's death. The same problem is also true for the students of Kanryō Higaonna in the Naha-te lineage we are used to hear about Jūhatsu Kyoda, Chōjun Miyagi and Seiko Higa. Hence, there are always the same persons who are frequently mentioned, while others almost inevitably remain overlooked. This situation, strangely, is valid for both the early and the late stages of the Master's life. It should be noted that no one can seriously claim to know the actual number of Miyagi's students, either dead or in some cases still alive, which may legitimately be considered to be of his Gōjū-ryū-lineage, and in this sense can even make flow other lines of students of his students, causing the Gōjū-ryū-lineage to be predominantly much more dynamic than static and tendencially impossible to define. Usually analyses are based on one's own personal knowledge and sometimes on personal relations, so they are neither comprehensive nor exhaustive, but only the result of readily available data. Moreover, many short termed students will surely have had a merely functional relationship with the master, one which plainly will not raise them to the status of what we consider a personal disciple. For this reason the personal relations will surely be too many to research and investigate in the attempt to provide safe and comprehensive data. Unfortunately, in the face of the large number of students that the Master may have had it seems that the very attempt is doomed to fail – especially when taking into account the many students he had at his various educational responsibilities in the schools of Okinawa and at the Police Academy. It will always be difficult and questionable, given the manifest impossibility, to indicate the " totality " of Master Chōjun Miyagi's students throughout his life. ![]()
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