Beniimo (sometimes spelled benimo, beni-imo; sometimes referred to as ube) is a variety of sweet potato with a distinctive purple color. Sweet in taste, the potato is an integral part of Okinawan diet and culture, with its history on the island dating back more than 400 years.

Before the introduction of beniimo in 1605, famine commonly swept through villages on Okinawa. The island’s crops were subjected to a variety of natural torments ranging from the torrents of rain and extreme winds of typhoons to periods of intense draught. One bad storm or a few weeks without rain frequently caused extensive crop failure and starvation of citizens.

Enter Noguni Soukan, a Ryukyuan trading official stationed for a time in the Fukien province of China. Interested in botany, he often passed time learning about Chinese agriculture and experimenting with the plants in his garden. When he happened upon the hardy sweet potato around the turn of the century, he quickly realized that the tuber’s hardy nature would be quite suitable for Okinawa. It grew well in rocky, unnourished soil as well as in marshy, un-drained soil, so no matter what Mother Nature brought to the island nation, the potato would survive.

In 1605, Noguni Soukan returned to Okinawa with his purple potato, and with the help of Gima Shinjo (a higher ranking official eager to improve agricultural development), word of this vegetable of salvation spread. By 1620, the beniimo (known then as to-imo, or Chinese potato) was grown throughout Okinawa, saving hundreds from starvation annually. It later spread to mainland Japan, where it became known as the Satsuma potato.)

During times of agricultural or economic strife, the easily-grown beniimo has always come to the rescue. Some of Okinawa’s older residents well remember bringing a sweet potato to school every day to each for lunch, particularly during the years following World War II.

Recognizing the economic and agricultural impact of the introduction of the beniimo, Kadena Town celebrates Noguni Soukan (whose real name is unknown—Soukan was the title he earned as a Ryukyuan minister, and Noguni was his hometown, located near present-day Kadena) and his contribution each year with a festival. His tomb, located in Kadena Town, is designated a Prefectural Cultural Asset, and there is a statue of him not far from Kadena Marina. Citizens affectionately refer to him as Umu-ufushu, or “Sir Sweet Potato.”

Today, beniimo are integrated into dozens of foods on Okinawa. Not only can they can be cooked, boiled, and mashed in the same way as Russet or Irish potatoes, but they are also commonly found on Okinawa in desserts such as tarts and ice cream and are even sliced into chips and baked or fried. Many prize the purple tubers for their nutritional value, as they are high in antioxidants and vitamins.

In villages across Okinawa, but particularly in Yomitan, are unattended roadside stands that contain loose beniimo. These stands operate on an honor system in which customers take the number of beniimo needed and leave the appropriate payment. Such stands are an icon of everyday, rural Okinawa.

Yachimun no Sato is a cooperative village of artisans located in Yomitan. The village centers around three large kilns, though more than 40 studios and smaller kilns are scattered throughout the area.

After the Battle of Okinawa, Naha City lay in ruins. But slowly, the capital rebuilt. As the area’s economy stabilized and the population density increased, residents grew tired of the smoke that was being spewed into the air by the traditional kilns in the Tsuboya pottery district. Rather than enter into a protracted struggle with the population over scheduled firings and reduced pollution, many of Tsuboya’s artisans relocated to Yomitan in the 1970s and 1980s. Among those first to make the move were renowned potters Jiro Kinjo, Jissei Omine, and Seisho Kuniyoshi.

As most of the potters in Yachimun no Sato learned their skills in Tsuboya or from Tsuboya-trained masters, most of the pottery produced in the village today reflects the traditional Tsuboya style. But the Yomitan area had its own style of pottery, known as kina yaki, centuries ago. Though the style is no longer practiced, examples of it can be seen at museums on Okinawa.

Today, three main kilns dominate Yomitan. Probably the most well known of the three is the central Kita Kiln (Kita Gama). Designed by master potter Shinman Yamada (who has a studio nearby), the kiln is a nobori-gama (climbing kiln) used for firing jōyachi (glazed) pottery. Built on a slope, the kiln consists of nine chambers called fukuro. It is fired only a few times a year, with each artist receiving opportunities to place their items in the kiln to be baked.

The other two large kilns in Yachimun no Sato are Yuntanza and Kinjo Kilns. The latter was designed and used by Jiro Kinjo, a famous Okinawan potter who began his career as an apprentice in Tsuboya and honed his craft over many years. (Kinjo was named a National Living Treasure by the Japanese government. After his retirement in 1997, his son, Toshio, took over the kiln. The works of the Kinjos are known for having fish themes.)

Today, about 40 pottery studios are scattered in and around Yachimun no Sato. Each embraces a unique style and continues Okinawa’s rich crafts legacy. Many of the studios are open to the public and invite visitors to watch (but not disturb) the pottery masters as they work. Those wishing to purchase pieces may do so at individual ateliers, at some of the shops surrounding the Kita Kiln, or at cooperative stores along Highway 58. Prices range from less than ¥1,000 to several million yen. Those wishing to not pay full price for pieces should hold out for the village’s annual sale in December.

Visitors to Yachimun no Sato should also take time to peek into Mid-Air Glass Blowing Studio, the home of renowned glass artist Seikichi Inamine. Inamine specializes in using natural materials to color used glass bottles and create beautiful works of art.

Eisa is a lively, high-spirited dance that has become one of Okinawa’s most notable performance arts. Eisa dances are traditionally associated with Obon celebrations but can also be seen throughout the year at locations such as Okinawa World and Ryukyu Mura.

For hundreds of years, eisa dances were reserved solely for Obon, the festival during which Okinawans honor deceased ancestors. During the festival, those offering prayers often recited incantations of a poem called "Iro Iro no Esa Omoro". This poem, along with more than 1,000 other poems and songs, is found in the Omorosōshi, one of Okinawa's oldest texts. (Omoro are chants that were sung throughout the Ryukyus during the 12th through 17th centuries. St. Taichu, a Buddhist monk, introduced many Buddhist prayers and chants to Okinawa and translated them to language that the island's commoners could understand. He gave musical melodies to them as well, and thus blended Buddhist prayers with local poems and songs. Many of these were recorded in the Omorosōshi .) Historians believe that over time, “Iro Iro no Esa Omoro” melded with songs from the Omorosōshi and transformed into a dance known as the esa omoro, the precursor of the thunderous rhythms and chants of today's eisa.

Historically, these prayer-songs were performed by either men or women, depending on the region in which one celebrated Obon. In Shuri and central Okinawa, where the eldest son of a nobleman was expected to learn sanshin, dance, and other high-class arts, eisa was passed from male to male. But in more rural areas such as the Ogimi and Kunigami regions of Okinawa, priestesses played dominant roles in religion and thus learned the esa omoro's chants and dances.

As eisa was a dance for the dead, the costumes of the dancers were originally made in muted earth tones. Most of the costumes were made of bashofu (a cloth made from banana fibers) and incorporated straw waistbands or headbands.

Eisa took a turn toward its modern appearance after the Meiji Restoration of 1868. During the first few decades of the Meiji era, modern folk songs arose as adaptations of traditional Buddhist incantations. Village youth associations began to mingle with increased frequency, watching each other's eisa performances and taking bits and pieces that they liked.

World War II, however, brought almost total destruction to Okinawa, devastating the island physically and economically. Spiritually, Okinawa also received a significant blow, although it was far from a fatal one. Like a phoenix from the ashes, the island's citizens began to rebuild their communities and reinstate their annual traditions. Some of those traditions came back in their original form, and others, like eisa, got a facelift. Competitions between eisa troupes developed, and judging criteria quickly centered on costume design, drumming technique, and dance synchronization.

Music continues to be central to eisa performances today, especially taiko (drums). Within each troupe are separate contingents of ōdaiko (barrel drums, usually red in color), shimedaiko (smaller, laced drums), and paranku (hand drums) players. Rounding out the percussionists are individuals with cymbals and Yotsutake castanets. Sanshin players also play a vital role in the music of eisa, though their sound often takes a backseat to the pounding of the taiko.

Taiko players not only pound on their instruments, they also leap and twirl through the air. Accompanying them are dancers waving fans and kerchiefs. All move together in geometrical patterns, and are clad in brightly-colored costumes. Each village has unique costumes for eisa performances, differing not only in color, but also in construction. Eisa performers in northern Okinawan often sport light, cotton kimono, while their central Okinawan counterparts don uchikaki (vests) over white or black t-shirts. Dancers from southern Okinawan sometimes wear costumes with bright leggings. Females usually wear navy blue kimono that feature square patterns of white.

Running and weaving throughout the performers are white-faced comic characters known as nakawachi and marumun. (Though some villages don't have such characters during their eisa performances.) Since eisa dancers perform during the heat of summer, they must stop and rest, and while they do, these jokesters keep the crowd entertained. They are also responsible for bringing water to thirsty performers.

Eisa performances held during Obon still contain vestiges of their Buddhist roots. Though performers move from home to home along their route through the village, stopping at homes that have paid for individual performances and on street corners where locals have gathered, they always begin with nembutsu, or Buddhist prayer-songs, in the kami-ashagi, or local place of worship. They then begin the all-night task of escorting spirits back to the spirit world, concluding Ûkui (escorting day) and Obon.

One of the unmistakable sounds of summer on Okinawan is that of local eisa troupes practicing on sticky, sultry evenings, preparing for Obon or for the island's eisa competitions. Though many learn basic dancing and drumming techniques as youngsters in school, the practice countless hours each summer to learn new routines in preparation for Obon and the eisa festivals.

The two most popular eisa events are the All-Okinawa Eisa Festival, held annually at Koza Athletic Park in Okinawa City, and the 10,000 Eisa Dancer Parade on Kokusai Street in Naha City. Both are open to the public and showcase Okinawa's cultural heritage for locals and tourists alike.

Obon is a three-day holiday set aside each summer to honor deceased ancestors. During this period, family members celebrate the return of ancestral spirits by gathering together, feasting, and praying.

Some label the events of Obon as ancestor worship. But “worship,” in the sense that many Westerners think of the term and associate it with Christian rites, is something of a misnomer pertaining to this three-day holiday. A more appropriate term for Obon rituals might be ancestor veneration. The practice of honoring ancestors has been around for centuries, and Okinawans adopted it sometime around the 1300s. (Though the concept may be foreign to many Americans and Europeans, it continues throughout Latin America and Asia—consider Mexico’s Dia de los Muertos.) Many Okinawans believe that after people die, they continue to exist in a spiritual world, where they sometimes exert powerful influences over the living.

The week prior to Obon finds many family members (especially females) busy with preparations. Of foremost importance is cleaning the butsudan. This family altar, which is passed down from generation to generation and usually is kept at the home of the eldest male son, is a wooden cabinet with doors. Inside are several platforms that hold small wooden plaques containing the names of family members who have passed away. As the butsudan will the center of a great deal of attention during Obon, it is dusted and polished to a high shine. In The entire house usually receives similar treatment in preparation of hosting relatives from near and far. Additionally, relatives also sweep their family tombs and clear them of debris (foliage, weeds, and so on) that may have accumulated during the past months or year.

Obon begins with Unke (also spelled Unkeh, meaning “welcoming day”). On the evening of this first day of celebration, families hang glowing lanterns outside or place candles along exterior pathways to guide spirits back home. They also open the doors of the house to allow spirits to enter. Bowls of water are placed at the entrance so that spirits can wash their feet after their long journey. The butsudan is adorned with candles and flowers and overflows with offerings for the spirits, which often include rice, fruit, sugarcane, tea, and sake or awamori. (Some families also arrange a table filled with various dishes, possibly including the favorite dishes of the deceased, at the doorway as an immediate welcome to the spirits.)

The second day, Nakanohi (“middle day”), finds many of the living spending time praying to ancestors at the family butsudan, where as many as three meals may be served throughout the day. Prayers vary from general communications to requests for forgiveness for not praying sooner. Though some may offer individual prayers, some families pray together. Additionally, family members may move about during the day, traveling from one family butsudan to another, bearing traditional gifts such as sake, incense, and rice.

The final day, Ûkui, serves to escort the sprits back their world. To accomplish this task, families throw lavish farewell dinners and prepare portions in boxes. They light incense and offer prayers to their ancestors, asking for protection and forgiveness for any perceived neglect. Some families throw an adanomi (the pineapple-looking fruit of the adan tree) out the door to signal to ancestors that it is time to return to the spiritual world. Another custom is the burning of paper spirit money, or uchikabi, so that ancestors have no needs upon returning to their realm.

As a final escort to the departing spirits, troupes of eisa dancers move throughout the streets and alleys of each town. The dances, which incorporate drums of all sizes, have roots in traditional Buddhist prayers. Dances begin after the sun sets and continue into the early morning hours. (For more information about eisa, see the eisa article in the Cultural Icons section.)

Obon is celebrated throughout the Japan, but the holiday’s customs differ slightly on Okinawa. The most notable difference is the dates on which the festival is held. Mainland Japan celebrates Obon from August 13 to 15 each year, while the Okinawa festival dates are set according to the lunar calendar and thus change from year to year. Additionally, Obon festivities in mainland Japan often culminate with Bon odori (dances) and the floating of lanterns, while Okinawan festivities center conclude with all-night eisa dancing.

Though the religious nature of the holiday may be distant to some, for most the festival is an opportunity to reunite with family.

Kinjo-cho Stone Road (Kinjo-cho Ishidatami Michi) is a two-meter wide, 300-meter long path paved with large blocks of Ryukyuan limestone. It is located in Shuri, Okinawa, to the south of Shuri Castle.

Okinawa has many gusuku (castles), and Shuri Castle is the most well-known to tourists. The castle, which was constructed late in the 14th century, served as the administrative center of the Ryūkyū Kingdom for nearly five centuries. Kinjo-cho was built in the early 16th century to connect Shuri with southern Okinawa by way of Shikina, Madama-bashi, and Kokuba. The road originally spanned more than 10 kilometers, but most of it was destroyed during the Battle of Okinawa in World War II.

Centuries after its construction, this cobblestone road is still used daily by the residents of Shuri. Surrounding it is a handful of traditional Ryūkyūan homes with red tile roofs. The towering trees that give shade to many parts of the road are also a vital part of Shuri’s heritage. Better known as aka-gi and kuwano-hae-no-ki among the locals, these trees stand anywhere from one to 15 meters tall and average 250 years of age. Signs lead to one tree in particular, the Oh Aka Gi, which is the subject of a local legend about mochi (rice cakes) and a boy-turned-demon falling to his death.

Kinjo-cho is one of several ishidatami on Okinawa. Others include Hijigabira in Shuri, Okoku Stone Road in Sashiki and Yamada Stone Road in Onna.

Katusuren Castle is located on the Katsuren Peninsula on the eastern coast of Okinawa. Today, the ruins of the castle are an educational attraction, hosting tourists, schoolchildren, amateur historians, and curious passersby.

Excavations and historical research show that Katsuren Castle was constructed during the 12th century. During its first two centuries of existence, successive occupants (which were primarily local chieftains known as aji) increasingly fortified its walls. The castle sits atop a hill and boasts a commanding view of Nakagusuku Bay and the Pacific Ocean, as well as lands to the north, south, and west, making it an ideal defensive position.

Several of Katsuren’s lords are intertwined into the rich history of the Ryukyu Kingdom. A lord named Mochidzuki resided at Katsuren in the late 14th century. Mochidzuki came to power when King Sho Taikyu (to whom Mochidzuki’s daughter was wed) had taken the throne of the Kingdom of the Ryukyus. But Sho Taikyu’s leadership abilities left much to be desired; he spent the kingdom’s money on frivolities for the royal court and his subordinate lords and did little to help the poverty that plagued much of the island. So the commoners that lived under Mochidzuki’s rule suffered.

Sometime in the early to mid 15th century, Mochidzuki found a young infant and took the child in. This child grew up to become Amawari, one of Okinawa’s most legendary historical figures. As he grew, Amawari saw the conditions of the people outside the castle walls. After he was grown, Amawari called for Mochidzuki on evening. In the distance was what appeared to be a long line of troops approaching the castle. Wanting a better view of the perceived invaders, Mochidzuki followed Amawari to a higher wall. As he squinted into the horizon and strained to see the approaching men, Amawari pushed him over the edge and to his death below. In fact, the line of men approaching Katsuren Castle were not a threat and had been orchestrated by Amawari.

To the poverty-stricken people of Katsuren, Amawari was a hero. But the new aji harbored a secret desire to expand his rule. Aware that Amawari’s rising star posed a threat, King Sho Taikyu offered his daughter in marriage as an attempt to secure Amawari’s loyalty.

As time passed, it became clear that Amawari needed to be watched, so the king asked Gosamaru (who had long been a loyal vassal) to move from Zakimi Castle to Nakagusuku Castle (just across the bay and within sight of Katsuren Castle) to keep an eye on his foe. In 1458, after years of bitter rivalry, Amawari prepared to move against Gosamaru. As the latter marshaled his forces to repel the attack, Amawari slipped off to Shuri and told the king that Gosamaru was preparing to attack Shuri and take the throne. Seeing Gosamaru’s forces being organized, the king believed Amawari and asked him to lead the royal forces against the lord of Nakagusku.

When Amawari came, Gosamaru refused to fight the Shuri forces out of loyalty and instead took his own life. Amawari then set his sights on returning to Shuri to overthrow the king. But the king’s daughter (Amawari’s wife) learned of the plan and escaped to Shuri to warn her father. The king then raised his army, which marched north and defeated Amawari. In the years that followed, no aji rose to significant power at Katsuren Castle.

Today, the ruins of Katsuren stand tall atop a hill, offering a beautiful panorama of Okinawa and the Pacific. Visitors approach the castle from a nearby parking area and ascend through four enclosures.

At the height of Katsuren’s power, guests entered the castle through the stone walls along its base, which featured arched gates named Haebaru Ujou on the northern and southern sides. Within this first wall were four wells, whose water provided vital lifeblood to the castle. Because water was collected inside the castle walls, the structure could hold out for a sustained period of time if attacked. Attached to the fourth enclosure is a stone wall that forms what was known as the east gusuku. This area is sometimes referred to as Katsuren’s fifth enclosure.

Moving from the fourth to the third enclosure, guests would have passed through a wooden gate called Romon. Inside was a large area used for various religious and secular ceremonies. Next is the second enclosure, which would have been the aji’s pavilion and main residence. Above that is the first enclosure.

Archaeological excavations at Katsuren Castle have yielded many pieces of Chinese porcelain as well roof tiles. These tiles are particularly impressive, as the only other structures known to have them were Shuri Castle and Urasoe Gusuku (Shuri Castle’s predecessor).

In 2000, UNESCO designated Katsuren Castle as one of the Gusuku Sites and Related Properties of the Kingdom of Ryukyu, making it a World Heritage Site.

Tama-u-dun (also Tamaudun) is a limestone mausoleum that houses the remains of members of the Sho En dynasty of the Kingdom of Ryukyu. It is located in Shuri, roughly 200 meters from the Shureimon.

Tama-u-dun was built in 1501 (Koji 14) by order of King Sho Shin, who wanted to the remains of his father (King Sho En) closer to Shuri Castle. As successive generations passed away, their remains were also placed here.

The total area of the site of Tama-u-dun spans 2,442 square meters and is enclosed by two-meter high walls hewn from Ryukyuan limestone. Visitors enter through a gate into a rectangular outer courtyard covered with coral sand. After passing through another gate, guests find themselves in the inner courtyard (also covered with coral sand) and facing the large limestone crypts.

The mausoleum, which was built into the side of a limestone escarpment, has three sealed rooms. At the time of its original construction, it had a wooden roof. According to an inscription in a stone in the outer court, the easternmost room (on the left if facing the tomb) housed the remains of kings and queens, while the westernmost one (on the right) was reserved for the remains of princes, princesses, and other members of the royal family. The center room, called Shiruhirashi, was where remains were placed before the bones were washed. Short stone staircases lead to the entrance of each room.

Topping the tomb are a stone lion and lioness, which served to ward off evil spirits. A monument in the outer courtyard cites that the pair of fearsome statues were added as a result of drama within the royal family over inheritance of the throne.

Like most other sites around the island, Tama-u-dun was damaged during the Battle of Okinawa. After the war was over, efforts were made to restore the mausoleum to its original state.

In 1972, upon Okinawa’s reversion to Japanese control, Tama-u-dun was designated a National Important Cultural Property and a National Historic Site. In 2000, UNESCO designated it one of the Gusuku Sites and Related Properties of the Kingdom of Ryukyu, making it a World Heritage Site.

Today, there is a museum located on the grounds of the site. It houses artifacts excavated from the area as well as ceramics significant to the royal family and the history of Okinawa. Admission to the museum is included in the nominal charged to visit Tama-u-dun.

Fukushu-en (Fukushu Garden) is a Chinese-style garden located in Naha City. It was constructed to celebrate the city’s historical ties to China’s Fujian province and current relationship with the city of Fuzhou.

For hundreds of years, the Ryukyu Kingdom had solid trade relations with China. Thousands of vessels moved back and forth between the nations, not only carrying goods such as Chinese porcelain but also ferrying passengers, including emissaries wishing to better understand the culture of their trading partners and artisans and builders seeking to expand their knowledge of their craft. The Chinese influence can be seen in the architecture, cuisine, and culture of Okinawa.

In 1981, Naha City (the capital of Okinawa Prefecture) and Fuzhou City, China (the capital of the Fujian province, with which Okinawa traded a great deal) cemented their historical ties by becoming modern-day sister cities. To mark the 10th anniversary of this tie, as well as the 70th anniversary of the incorporation of Naha City, construction began on Fukushu-en.

Designers in Fuzhou drafted plans for the garden's layout, hoping to represent the natural beauty of their home nation as well as particular scenic spots from throughout their home city. Chinese technicians came to Okinawa to ensure the gardens were as authentic as possible, and even imported special materials for the project. The result is a tranquil space where visitors can relax and reflect in the middle of the bustling city.

The gardens are divided into areas entitled Shadow, Brilliance, and Light, and the fauna in each is designed to give visitors a visual treat throughout the seasons. The grounds are enclosed by a tall, concrete wall that separates them from the hustle and bustle of Naha City. Pagodas and pavilions ring a central pond filled with hungry fish that are fed by visitors. Also scattered throughout the grounds are large banyan trees (native to Okinawa and Fuzhou) and dozens of detailed carvings of dragons, mystical creatures, and Buddha.

To get to Fukushu-en, head south on Highway 58 from Camp Foster. At Kumoji intersection (Highway 42), turn right. Continue straight for about one half of a kilometer. Fukushu-en is on the left. The gardens are open daily from 9 a.m. to 6 p.m., and entrance is free. Free parking is available across the street.

Sonohyan Utaki Stone Gate (Sonohyan Utaki Ishimon) is located in Shuri Castle Park, roughly 50 meters to the rear of the Shureimon.

For centuries, prior to departing the grounds of Shuri Castle, the King of the Ryukyus stopped at Sonohyan Utaki to pray. In 1519, King Sho Shin ordered a gate to be constructed in front of this sacred grove of trees and commissioned a man named Nishito to accomplish the task. Nishito hailed from Taketomi Island, and his skills as a stonemason were respected and admired throughout the Ryukyu Islands. (He later assumed duties as a minister of the Yaeyama Islands.)

The gate is made of blocks of Ryukyu limestone. Under the archway are two wooden doors, and above it are 13 stone rafters supporting the stone-shingled roof. On the ridge of the roof is an ornament, each end of which has a carving shaped like a mythical sea animal called a shibi.

Sonohyan Utaki Stone Gate was designated a National Treasure in 1933. However, it sustained heavy damage during the Battle of Okinawa, when the grounds of Shuri Castle came under heavy fire due to use as the headquarters of the 32nd Division of the Japanese Imperial Army. Much of the gate was destroyed. However, the gate was reconstructed in 1957. Reconstruction was again undertaken in 1981 (and completed in 1986), as the gate had begun to deteriorate due to shifts in its foundation.

When Okinawa reverted to Japanese control in 1972, Japan designated the gate an Important Cultural Property. In 2000, UNESCO designated Sonohyan Utaki Ishimon one of the Gusuku Sites and Related Properties of the Kingdom of Ryukyu, making it a World Heritage Site.

Today, visitors can still be seen praying at the gate.

Hakugin-do Shrine is a Shinto shrine located in Itoman City, Okinawa.

Itoman has long been associated with fishermen. Even today, residents of this southern city refer to themselves as uminchu, or “people of the sea” in the local dialect. So, appropriately enough, the legend of Hakugin-do begins with a fisherman.

Centuries ago, a fisherman (named Bidun in some versions of the story) was down on his luck and needed to borrow money. He turned to a samurai from Satsuma (an area in mainland Japan) named Kodama Saemon. But the fisherman was unable to repay the loan at the required time, and fearing the samurai’s wrath, hid in a nearby cave. Angry at the fisherman’s disappearance, the samurai scoured the town looking him. When the samurai finally found him in the cave and was ready to take the fisherman’s life, the uminchu quoted an old proverb: “When angry, do not strike. If you must strike, do not do so in anger.” Assuaged by the fisherman’s words, the samurai put down his sword and spared the man’s life. He granted another grace period to the fisherman.

When the samurai returned to his home, he found his wife in their darkened bedroom, asleep with another man. Angry, the samurai again reached for his sword, but the fisherman’s words immediately sprang to mind. He dropped his sword, and the clatter awoke the slumbering duo. The individual sleeping next to the samurai’s wife had been his mother. The old woman had dressed as a man and slept with her daughter-in-law to protect her while the samurai had been away. It was then that the samurai fully realized the wisdom of the words the fisherman had spoken.

The samurai soon returned to Okinawa to thank the fisherman and cancel the debt. But the fisherman had already collected the money and refused the pardon. The two finally agreed to stow the money in the cave in which the fisherman had hidden from the samurai. That cave of legend is said to have been located where Hakugin-do is today.

Hakugin-do has long been visited by fisherman offering prayers for a bountiful harvest and the wives that prayed for their safety. On the day of the Itoman hârê (dragon boat races), the winning team parades to Hakugin-do following victory. The shrine is also mobbed by throngs during the New Year holiday as well as the lunar New Year.