Ageashi (ah-gay-ah-she) 揚げ足
The characters/ideograms mean "finding
fault." The first character means, "hoist; fry in deep fat," and
the last character means, "leg; foot; be sufficient."
This is a cultural word for the Japanese
means of teaching the martial arts where "silence" dominates.
Historically, self-restraint in communications was a product of cultural
attainment, morality and wisdom which means a good deal of communications in
all things Japanese was with silence.
The more one talked the more chance for error
which would disrupt the cultural requirement for "harmony." Silent
non-verbalization often told in stories of great Sensei in traditional dojo is
not indicative of that are form but rather the entire cultural belief system of
Japan.
Negative tone, words, etc. could set off
negative reactions therefore to maintain harmony one expected the other to gain
knowledge through observations and that would explain why it is often part and
parcel to martial arts training that one observe.
This
trait bleeds over to answering questions. It is not a custom to ask a senior
questions and if pressed often to maintain harmony a senior will give a false
answer or one they perceive as what the other wants which again maintains
"harmony."
Agura [胡座 ]
The characters/ideograms mean "sitting
cross-legged (i.e. Indian style)." The first character means,
"barbarian; foreign," the second character means, "squat; seat;
cushion; gathering; sit."
Agura
or sitting Indian style is used to sit in a more Zen like fashion for
meditation. Like martial arts zazen it is internal contemplation. Sitting seiza
is most difficult for westerners. Even Japanese who were not taught and brought
up from very young would have a difficult time sitting seiza. In my dojo of
long ago if we had to sit for longer than five minutes I would normally allow
the adjustment to agura form of sitting.
This is a sitting position often assumed for
a more relaxed state. It is also used by practitioners who are not conditioned
to sit seiza or kiza. The seiza and kiza forms are painful even for those who
have sat in this form their whole lives, i.e. the Japanese. It is also
appropriate for certain situations such as eating at a low table in a casual
restaurant. It is allowed in more formal situations for those who find seiza
and kiza difficult (the elderly or non-Japanese people. Women don't sit agura
or anza style as it is considered uncouth, i.e. they sit formally with both
legs off to one side, with one side of the hips on the floor.
Aida [間] Ma [間] Ma-ai [間合]
The character/ideogram means "space
(between); gap; interval; distance; time (between); pause; break; span
(temporal or spatial); stretch; period (while); relationship (between, among);
space; room; time; pause."
The character/ideogram means "space;
room; time; pause." The characters/ideograms mean "interval;
distance; break; pause; distance between opponents (kendo)." The first
character means, "interval; space," and the second character means,
"fit; suit; join."
Space and interval, often referred to within
the timing of an event, i.e. in martial arts applications. There are distances
a martial artist must have knowledge of and be aware of in physical
altercations.
How you manipulate and use both space and
timing can make the difference between damage and death or avoidance and no
damage. This is also something left to natural learning as one spars or
competes in sparring matches. It is seldom taught outright outside of the
sparring training module but can be taught using various techniques.
The
complexities are numerous and the below will get one started on that journey.
Then there is applying this new knowledge to get it working on the dojo floor
and in the environment that fosters violence and violent behaviors.
With
visual distortions one must learn to gauge distances in a different way to
achieve good SD. In a state where distortion occurs you will feel and fear the
perceived proximity of an adversary, an attacker. There is a technique that can
be practiced so that when it happens you can judge and gauge the actual
distance between you and an attacker. Marc MacYoung writes and teaches that
ma-ai, or distance, is important in the SD arena. Distance provides you time,
time to avoid, deter and/or deescalate creating a possible way to avoid
conflict and its associated violence. How that technique is done requires one
thing from the reader of this post, you read his book, “In the Name of
Self-Defense.”
Another
aspect of ma-ai in SD is associated with the art of “Uke.” In learning and
teaching about Uke the mind-set and mind-state must be changed and this applies
to SD as well. That change is more about receiving with a product of losing the
impulse and desire to “Win” toward a more “Not Lose” mind-set/state. We use
ma-ai to create opportunities to attack and this mind-state of “Attack” opens
the door to winning but also opens the door so that one can leave the room
called Self-defense and enter the other room that is fighting or the illegal
fighting room.
In SD
one must remain within the circle/square of SD. Always aiming for the win often
takes you right out of the circle/square and straight into the repercussions
that include economic ruin and prison let alone the ongoing adverse effects
toward family over time, a long time.
All to
often when teaching about ma-ai in MA circles it is about winning, and winning
at all costs. Yes, there are rules in the competitive forms of MA that control
such things but if a mistake is made that breaks those rules you have referees
to stop things and get things back on track. In SD you have yourself who is so
intent on winning they fail to see those rules that take you out of the SD
circle/square and straight into the circle/square of illegal. There are no
referee’s and with a mind-state/set like described often unchains the Monkey
and that ain’t good.
There is so much more to all this in the MA
world and this is but one effort to train the mind toward a new mind-state/set,
toward one that takes the win out of the SD arena and puts “Not lose” in there.
It is a paradigm shift that must be taken if you use MA or other skills for
defense.
Aimai-sa [曖昧さ]
The characters/ideograms mean
"ambiguity." The first character means, "dark; not clear,"
the second character means, "dark; foolish."
Uncertainty or inexactness meets the sensei
and the sensei meets the practitioners. The inability to convey meaning accurately
and clearly. If in the martial arts you have two distinct interpretations then
the application will suffer. In business it costs money but in martial arts it
causes misconceptions thus damage. Often the damage is physical (to the
individual and the adversary), psychological (as to the aftermath), and legally
(as to both criminal and civil repercussions).
It is
important to address everything necessary to properly practice, train and apply
martial arts but also to make sure there are no aimai-sa, ambiguity, in the
teachings. It is more critical here because so much more is at stake.
Ainuke or Teiton [停頓]
The characters/ideograms mean
"stalemate; standstill; stalemate; deadlock; set-back; abeyance." The
first character means, "halt; stopping," the second character means,
"suddenly; immediately; in a hurry."
In combat situation in which neither
combatant wins or loses. Ainuke tends toward the transcending of combat. Since
I was unable to find characters/ideograms for this term I used my discretion to
choose another term that is similar, i.e. teiton or "standstill." I
use standstill since in my perceptions one who transcends combat in this manner
as described for ainuke both parties or combatants are of such proficiency they
cannot find a chink in each others kamae so they don't fight.
To
reach a standstill or deadlock means neither can direct harm to the other. This
is reminiscent of those legends of samurai who would assume a kamae that seemed
to be motionless to the extent they seemed frozen as statues but in reality it
is the battle of the mind to find an opening to strike, etc. where when none is
perceived by either combatants then a deadlock or stalemate is presented
causing both to stand down from the duel.
Aite [相手] - Ada [仇]
The characters/ideograms mean "opponent
(sports, etc.); other party; addressee; companion; partner; company." The
first character means, "inter-; mutual; together ;each other; minister of
state; councillor; aspect; phase; ;physiognomy," the second character means,
"hand."
Aite or opponent in martial arts is
subconsciously suggesting to participants that the opponent is merely an
companion or partner who opposes us in a sport even or contest.
Ada or
ata or atan [仇]
The character/ideogram means "foe;
enemy; rival; resentment; enmity; grudge; harm; injury."
Ada is adversary which is a "foe;
revenge; enemy; enmity; ill," which all relate to someone who is NOT a
companion, partner or other party who is a sporting opponent.
I work on terminology for the simple reason
that it conveys, often subconsciously, a meaning that promotes such things as
the freeze or when someone who is doing battle stops and says, "That is
not fair, that is outside the rules!"
If your martial system is sport oriented
where you two person with mutual acceptance enter into a contest that is
governed by rules with an outcome that is not life threatening - mostly,
accidents do happen - then you both are opponents of one another.
If your martial system is budo oriented where
you two or more persons are not mutually agreeing to a fight, combat or
violence, i.e. or all three, where injury, damage and even life ending results
are in the model then you are both adversaries who have one goal, to not lose;
to not receive any more damage than is possible; to not end up in the morgue;
to not end up in the hospital; to not end up with injuries of the disabling
kind then your adversaries, not opponents.
Where I am concerned is when using
terminology in budo training or supotsu training you must explain it or it will
often, subconsciously, result in misinterpretations and perceptions.
It can
be said the differences between an opponent and an adversary are rules, one has
them and one does not. You can also say the difference in opponent and
adversary is the difference between a contest and a fight. You can also say the
difference in opponent and adversary is the difference between a school yard
scuffle and a violent attack. Enemy vs. partner .... rival vs. other party ....
harm and injury vs. damage and disability, etc.
Aite-kan [相手感]
The characters/ideograms together have no
definition on my sources. The first character means, "together; each
other; mutual; inter-; physiognomy; phase; aspect," the second character
means, "hand," and the third character means, "sensation;
feeling; emotion."
This
combination for martial systems is actually similar in the western meaning
given for the term "kakei or touch; feel opponent." This also
connects to tactile or touch which a martial artist must use and rely on over
their eyes and ears when in a clinch, a fight or a conflict.
Akashingo [赤信号]
The characters/ideograms mean "red
light(s)." The meaning in general refers to a traffic light. The first
character means, "red," the second character means, "faith;
truth; fidelity; trust," the third character means, "nickname;
number; item; title; pseudonym; name; call."
In this particular usage, the martial arts,
red lights takes on a meaning similar to what most folks associate to a
"spidey sense" or a sixth sense that says, "something is
wrong." It is a combination of visual cues, auditory detections and
tactile feelings that in congruence tell us that something is wrong.
Look at as discordant notes you cannot
directly relate to but spell trouble. You detect something that should not be
there but say "danger." You feel through visual, auditory and tactile
means that something is happening or about to happen that could be dangerous.
Do martial arts training facilities address
such sixth senses? If they do, are they simply assigning it to some supernatural
ability that does not exist or are they teaching you to listen to your spidey
sense or teaching you to react to your red lights, your akashingo. When the air
shifts, you feel a prickle at the back of your neck or the hairs on your arms
raise up and tickle you, are you scanning around your environment? Are you
focusing your awareness on what is going on in that environment? Are you using
your acquired knowledge about danger, violence and victimization models so you
can take appropriate actions to avoid?
These are things that are not easy to address
and sometimes are scoffed at as metaphysical supernatural bull but when you
understand that the unconscious mind detects things present before the
conscious mind can acknowledge them you will begin to understand their
importance. The supernatural is actually a combination of knowledge, training,
practice and application of focus and awareness with a good dose of avoidance
and prevention that assists the survival instincts to send a red light or
spidey sense that you will actually listen too vs. scoff at as simply nothing.
The
difference could be damage vs. avoidance of same.
Akiramenai (ah-kee-rah-may-nigh) 諦めない
The character/ideogram means "abandon,
give up." Another cultural word that speaks to all the artistic pursuits
indigenous to the Japanese culture to include its influences in the arena of
the martial arts.
Stores abound from Okinawa, Japan and China
of those who pursued arts and martial arts to seek revenge or "giri"
in regards to real or perceived insults or slights. This is referred to as the
"unbounded pride" syndrome and it plays a key role in this
persistence. It describes why many who seek out martial arts at their origins
come face to face with these unusual attitudes and behaviors. It is why often
the levels or steps provided within dojo tend to be small, subtle and
incremental.
This is why apprenticeships in these martial
arts as well as any other disciplines takes from ten to thirty years. It also
speaks toward the need for perfection in things like kata, etc. for the culture
driven from ancient times, the feudal era, resulted in a culture that makes
every single tiny event an art form where errors or blemishes are not easily
acceptable.
In
martial arts when traveling to those dojo that are considered the source of
instruction westerners might well be warned of this syndrome and lower their
western expectations and accept what is for it will be what it is and we cannot
and should not try to change it.
Anmoku (explicit) [暗黙]
The characters/ideograms mean "tacit;
implicit; explicit." The first character means, "darkness; disappear;
shade; informal; grow dark; be blinded," the second character means,
"silence; become silent; stop speaking; leave as is."
Mokumoku
(tacit) [黙々]
The characters/ideograms mean "silent;
tacit; mute." The first character means, "silence; become silent;
stop speaking; leave as is." The second character is an adjective giving
conjugation creating an adverb.
Explicit vs. Tacit Knowledge
Tacit knowledge is that knowledge that is
understood or implied without being stated. [silent: implied by or inferred
from actions or statements] In traditional Asian martial arts, classical in
nature, this form of instruction is and was culturally driven. The kata of the
culture, i.e. shikata, comes from the feudal era where everyone and everything
had is form and function. You could tell by the way one walked what they did
professionally.
The west mistook this silent aspect of the
culture as meaning stand offish, inscrutable, remote, etc. where in Japan the
culture assumes that everyone knows and can detect from silence, subtle body
language, mood, tone, and intuition the implied meaning of the communications.
Explicit knowledge is that knowledge that is
stated clearly and in detail, leaving no room for confusion or doubt.
[precisely and clearly expressed or readily observable; leaving nothing to
implication] This form of communications is the norm here in the west where we
expect and are use to "straight talk." We try our best to convey the
exact intent in our communications but often due to factors outside of
awareness get into confusion and conflict due to the perceptions of individuals
in regard to the culture and ethnic groups, the power relationships, the perceiving
person, the sensory input modes, the perceptions of perceptions as to truth and
accurate facts, and both the internal and external environments.
Sensei,
if aware and knowledgable, can use these two venues of communications to
enhance their ability to convey to practitioners both the tacit and
explicit/implicit knowledge necessary to gain knowledge, experience and
proficiency in martial systems. Since martial arts are also physical you add in
the sensory methods of learning with the primary sense mode of the individual
used you can show them, communicate tacitly and explicitly, and then tactually
(tactile/touch/tactility/tactual) guide the mind and thus the body in learning.
Antei [安定]
This term refers to stability; equilibrium.
The first character/ideogram means, "relax; cheap; low; quiet; rested;
contented; peaceful," and the second character means, "determine;
fix; establish; decide." For the life of me on this one, as with many not
here, I cannot see the connection or symbolism that when joined mean balance
and/or equilibrium. Who am I to question ... ?
Equilibrium, when we experience cold we strive to warm-up. When the heat
becomes unbearable we strive to cool-down. In the most desirable situation we
are neither hot or cold, but just right - equilibrium of temperature of the
body, mind and thus spirit.
To achieve balance in the life we live we have to achieve an equilibrium
of the mind, body and spirit, i.e. Heaven, Earth and Humanity. Humanity is that
which makes us "human." Equilibrium of the mind, body and spirit is
that perfect blending where one cannot be discerned from the other - a
challenge.
The heart you can depend on; the mind is fluid, chaotic and always in
flux. It takes the hara to bring the other two into balance, equilibrium, the whole.
The
levels of nature are written in stone and we cannot subvert them to our
individual needs, i.e. pass them to achieve the more fun aspects of life. We
have to endure all of life's events, bad and good, to achieve balance,
equilibrium, and enlightenment.
Anza [安座]
The characters/ideograms mean "sitting
quietly; sitting cross-legged." The first character means, "relax;
cheap; low; quiet; rested; contented; peaceful," the second character
means, "squat; seat; cushion; gathering; sit."
See
also Kiza, Seiza, Anza and Shikko
Anzenken [安全圏]
The characters/ideograms mean "safety
zone; buffer (e.g. against defeat)." The first character means,
"relax; cheap; low; quiet; rested; contented; peaceful," the second
character means, "whole; entire; all; complete; fulfill," the third
character means, "sphere; circle; radius; range."
I use
this term to mean comfort zone. For a professional and for those who
need self-defense gaining the experience necessary to make it work requires
that you take yourself outside your comfort zone. You have to extend beyond the
physical, mental and emotional comfort zone and experience as much as possible
in area's that result in a stronger body, mind and spirit. Having an academic
understanding of violence and the resulting pain and suffering that go with
violence requires experience while remaining healthy.
Ao kusa no hito [青草の人]
The first character/ideogram
means, "green; blue," the second character means, "grass; weeds;
herbs; pasture; write; draft," and the third character means,
"person; man."
Green grass man comes from
the Shinto looking-glass God in that it connects the great tai chi to dualistic
monism and then to man who is taught and perceived to be a "plant
consuming entity." This means to many, vegetarian.
As martial artists we are
naturally concerned with fitness and health. We take care of the external
physical through the physical practice of martial arts but we don't necessarily
give focus to the internal health and fitness of the body except by skimming
over diet as we perceive, understand and consume. Apparently the ancient
Japanese and Chinese long long ago recognized that man was meant to be a
plant-oriented consumer. Our nature and our teeth as example are not formed or
meant to chew meat or meat oriented foods.
The LGG actually makes
reference to the type of teeth are best used to grind grain. Then there are
references to our close connections to plant and plant life as it was created
and evolved as the Yin to the Yang being "man or mankind." Everything
to do with health and fitness are tied closely to plant oriented foods only and
introduction of meat leads, and current research bears fruit on this aspect,
disease.
As Sensei of traditional or
classical martial systems, even sport oriented for optimal performance, it is
suggested that ao-kusa-no-hito be discussed and at the very minimum references
be provided for self-research. I can see from personal experience the effects
of this type of nourishment. We are truly "green-grass man."
Ashi-kitae [足鍛え]
The characters/ideograms mean "foot
conditioning." The first character means, "leg; foot; be
sufficient," the second character means, "forge; discipline;
train."
This
exercise is done by one partner while they use their instep of the foot to help
condition the legs and shins of their partner.
Ashi no jutsu [足の術]
The characters/ideograms mean "foot
technique." The first character means, "foot; leg; be sufficient;
counter for pairs of footwear," the third character means, "art;
technique; skill; means; trick; resources; magic."
This
term or phrase is one I use to refer to all the following leg techniques. I
find this easier since not much is needed to define the various fundamental
techniques as that is the venue of the dojo where a full fledged sensei can
transfer that tactile knowledge directly where written words cannot.
Atarimae (Ah-tah-ree-my) [当たり前]
The characters/ideograms mean "natural;
reasonable; obvious; usual; common; ordinary." The first character means,
"hit; right; appropriate; himself," the last character means,
"in front; before." [note: it may seem that the following does not
relate to this "modern" translation, it must be remembered that the
complexities of the language and ideograms/characters change in usage as they
relate to groups and disciplines at any given moment]
The way things are done in the dojo,
traditional/classical Japanese dojo, are best explained by the cultural
influences that began in the feudal era which were also pushed to the
Okinawan's due to Samurai influences around the 1600's when Japan assumed
control of the island.
In the dojo there is a distinct hierarchy,
i.e. the master/sensei to apprentice-deshi-kohai hierarchy. Westerners felt a
bit out of place because in the early years the silent instruction prevailed
and as western culture drove them they failed to realize that it was expected
they would discern from other non-verbal factors the instruction.
We also didn't absorb the cultural meaning to
the period of time it would take to actually learn and master the system, i.e.
the period of years being on average ten to fifteen years. Atarimae was not
recognized and western practitioners assumed the minimal physical aspects of
the system were complete.
The culture of the martial arts of that time
indicated that the disciple with the discipline were expected to learn what was
needed without being told. This didn't hole well with the western cultures
especially in those years after world war two since our attitude was that of
the conquerer and they the conquered.
This
once again promotes the need of a traditional martial artist to understand at
least in this fundamental form the culture and belief systems that governed
everything, every single detail no matter how trivial or minute that explains
the "bunkai" if you will of the systems, styles and branches. It was
the way of doing things then and coupled with our culture and belief and way of
doing things is how the system, style and branch grow and prosper to the times,
the people, and the cultures.
Atatamaru [暖める]
The character/ideograms mean "to warm;
to heat; to warm oneself; to warm up; to get warm." The first character
means, "warmth."
This term speaks to the warm-up's used in
martial arts to warm up the body, to prepare for the rigors of karate and to
help prevent injuries when you practice and train. The question arose in a
reading recently, i.e. "Does a Lion warm up before it takes down prey or
does it just spring into action and eat dinner?"
Now, I am not advocating a practitioner NOT
warm up properly but I would suggest considering practice sessions, reality
based, where warm-up's are skipped. Your walking down the street and attacked.
You are not going to say, "Whoa, dude, give me a moment to warm up
properly first." Ain't gonna happen is it. Yet, how many of us train, at
least periodically, to spring into action without warming up to see how we
react, act and actually apply the physical aspects of defense. (assuming we
tried all the other stuff, i.e. avoidance, evasion, escape, etc.)
Atatamaru or warming up is something we
should do to help our bodies adjust and endure the rigors of self-defense
training because we don't want to cause unnecessary injuries, etc. but think
about testing out what our bodies are capable of outside the norm, the box.
Always warm up for the dojo but think about testing the ability to sprint
instantly on the prey to see what your body and mind can do or overcome.
Try it in the dojo, on a warm day, outside
and in the cold bundled up in warm clothing and see what happens; see what
happens if your out in the cold with little warm clothing too.
So, why do warm-ups? If you are training for
sport then it is imperative to help the body increase its ability to apply the
sport techniques, etc. If you are training budo then it is also imperative to
not only build up the bodies ability to endure the application of techniques
but it also provides longevity for it provides a barrier against injuries as
much as it can in a budo traditional training and practice model. If you are
training for self-defense then it is also imperative to avoid injuries but it
also means, as in budo as well, you should intersperse training sessions with a
"few" that are geared toward instant cold to hot models to test out
and to introduce the practitioner to what that feels like, the effects of it
and any repercussions that could lead to long term injuries.
After
all, injuries are a body weakness that an adversary can exploit so it behooves
us to limit them or if unable to mentally and physically overcome and ignore
them when the proverbial dung hits the oscillating bladed thingy.
Atemi [当て身]
The characters/ideograms mean "strike;
blow." The first character means, "hit; right; appropriate;
himself," the second character means, "somebody; person; one's
station in life."
In martial arts atemi is often described as
"a concentrated destructive power." When I hear someone refer to an
ability under the heading of atemi I also think of the makiwara. In order to
develop a concentrated destructive power in a punch, strike, or kick the best
tool used in karate is the makiwara. There are a variety of makiwara used today.
No
where else does any discipline of fighting speak to the type of concentrated
destructive power built or conditioned in the hands and feet with emphasis on
the hands, i.e. ergo kara te or empty hand. I speak of modern times as I
suspect that in boxing, a western martial art, before the days of wraps and
gloves when bare fist-t-cuffs existed that there may have been some form of
training used to toughen, condition and prepare the hands and fists for hitting
harder targets, i.e. a persons head.
Atodjie [後知恵]
The characters/ideograms mean
"hindsight." The first character means, "behind; back;
later," the second character means, "know; wisdom," the third
character means, "favor; blessing; grace; kindness."
Hindsight or Atodjie is to understand a
situation or event only "after" it has happened or developed. It is
where one can patiently and peacefully consider a situation or event after it
has occurred but where it goes wrong is when used as a judgement against the
actions of another or even self to determine how it or the event
"should" have gone, etc.
It is an innate feature of humans to have the
ability to review the past, to say what has happened, and why. Hindsight is a
lot easier than foresight. Looking back into the past, you can say, "Why
didn't this person do this or that to prevent the catastrophe, etc." You
may find this used against you in a self-defense legal situation where not only
will they review, decide what should have happened but also tell you why your
in trouble when you thought you weren't. Make sense?
We often incorrectly think by hindsight that what occurred was more
predictable than they were before it took place. It is a phenomenon that
affects contexts and situations long after they occurred and it comes down to
how one would and could be judged as to the actions they took, say in a violent
attack.
You as a martial artist must learn that what you witness either
personally or by electronic means is to be tempered with the fact that you are
not seeing what they are seeing, not feeling what they are feeling, what
pressures they feel. You are not dealing witht the impact of how the emotions
affect their judgement and performance. It means, "until you lie it, you
can not possibly know."
Hindsight
is always a matter of over-thinking the past. It is also a part of our survival
instincts. We tend to think we understand a situation far better than when it
actually occurred. We don't stop to think that hindsight doesn't change the
past but it just might help with the future. It does contribute to better
training and practice if done correctly. You are simply trying to understand an
event or situation after it happened or developed. Some call this the after
action report.
First
and foremost you have to leave ego and pride outside the door. There is no room
for either one when using hindsight or AAR's to discover what could and should
have occurred to better the situation or event. It is the recognition of the
realities, possibilities, or requirements of the decisions made in the event
after it occurs.
You
cannot allow unreasonable or unrealistic hindsight into the picture either. It
all has to be vetted through additional training and practice for a realistic
scenario that may or might happen in the future. The important thing, another
one anyway, is to understand that the past even or situation will not repeat
itself exactly like it occurred and that means you have to use intuitive
experience to discover how that event or situation could occur with different
dynamics, etc.
Kodo o hokoku-go [行動を報告後] means after action
report.
Atosaki [後先]
The characters/ideograms mean "context;
front and rear; before and after; both ends; beginning and end; order;
consequences." The first character means, "behind; back; later,"
the second character means, "before; ahead; previous; future;
precedence."
Atosaki
or context speaks to the ken-po goku-i and the intent Tatsuo-san had when he
presented a copy to students, the intent was to gain a knowledge and
understanding of the context that drives the system, the context being the
culture and beliefs he had as represented in the gokui. Without that context,
there is no way for a Westerner to truly understand the East and therefor the
East's martial arts.
Aun no Kokyu (Ah-uhn no Koe-que) [阿吽の呼吸]
The characters/ideograms mean "the
harmonizing, mentally and physically, of two parties engaged in an
activity." The first character means, "Africa; flatter; fawn upon;
corner; nook; recess," the second character means, "bark;
growl," the forth character means, "call; call out to; invite,"
and the fifth/last character means, "suck; imbibe; inhale; sip."
In the martial arts as with many other
aspects of the cultures involved the word "haragei" is used when
describing the ability to get in unison with an adversary, i.e. to synchronize
breathing and thinking to get into synch with others. It involves thinking and
behaving as one with others which promotes the ability to intuit or anticipate
what others are going to do, say and behave. This promoted the silent
instruction method often causing great stress to western participants in
martial arts in Japan and/or Okinawa.
I
quote, "When new deshi enter Japanese dojo, most of the attitudes and
behavior they are expected to exhibit are not verbalized or given to them in
the form of written instructions. They are expected to pick up these things
through their aun no kokyu." - Boye LaFayette DeMente in his book.