The characters/ideograms mean "breath." The first character means, "breath; respiration; son; interest (on money)," and the second character means, "blow; breathe; puff; emit; smoke." The word ibuku [息吹] under the same characters/ideograms means "to breathe."
Breathing is one of the many fundamental principles of martial systems and/or effectiveness there for one who breathes in certain patterns and rhythms according to what they are doing becomes critical to adhering to that principle and its associated principles to achieve master of said principles and by that martial power that equals martial effectiveness. Combining with posture, structure, movement, focus, etc. we achieve martial effectiveness.
The manner in which we perform ibuki or breath determines the effectiveness and power of applied martial arts and in many cases self-defense. It fundamentally becomes a deep, diaphragmatic, breathing process. For instance:
Ibuki is a focused breathing method used in martial systems. The breathing kata of karate is called "sanchin." It is the use of deep, diaphragmatic belly, breathing to moderate power and energy in the body and mind.
Kiai begins with proper breathing techniques [once again, note that this is begin and all principles are involved where kiai is another expression of many of those]. When you exhale you should feel both muscles and bone relaxing. When inhaling one should feel the strengthening of both muscle and bone. When exhaling you feel a loss of strength and energy while the opposite is true when inhaling. To attack emptiness with fullness is a sure means of not losing. Therefore kiai is synonymous with the art of breathing.
The practice of deep, diaphragmatic belly, breathing is called 'fukushiki kokyu'. One must keep the body soft, pliant, and elastic. It order to do this one must again concentrate energy and breathe in the hara, while keeping the chest empty. Proper posture has an important bearing on proper breathing and also promotes proper flow of energy, ki, through out the body by means of body meridian (energy pathways) lines.
Breathing techniques also promote counter infusion of chemicals to counter the adrenaline dump that comes with conflict. Deep diaphragmatic breathing techniques not only compensate for visual acuity loss but other effects of the dump.
Look at the Way as void or air where proper breathing allows us to achieve that way. All of karate-do hinges on breathing and applying those principles such as knowledge of critical things martial. The void is the way, the way is the air we breathe.
In haragei one who has mastered this system prefers to sync their breathing with their opponent. This tells the haragei master many things about the opponent. This indicates that one aspect of controlling an aggressor may be in either getting in synch with their body rhythms or being able to disrupt them to your advantage. This may be the impetus that drives the ability of masters to cause a disruption to another persons rhythms, energies or stability mentally and physically - dissonance resulting in breaking rhythms.
"Breathing is not just the physiological process of inhaling and exhaling. It is the conscious ordering of the breath so that it blends smoothly with the movement of the body and the flow of the spirit." - Onuma Hideharu with Dan and Jackie DeProspero
The character means "one; best in; the most (...) in (where adjective follows)." In the sense if the martial arts it has additional meaning depending on the context in which it is used. In martial arts ichi is used to denote "unity," the integration of the many (multiple elements) into the "one."
In addition when coupled with the suffix of "hon" as in ichi-hon, it means one fundamental or one essential. Ichi is also expressed in isshin where the prefix "is" added to shin means one heart.
Ichigen Chikara [一元力]
The first word and first two characters mean "unitary." The first character means, "one," and the second character means, "beginning; former time; origin." The second word and character mean "force; strength; might; energy; ability; capability; proficiency; capacity; effort; exertions; power, etc."
The words and characters mean "unitary energy" which is further described in martial arts as "Ki." This unitary or singular energy of the body-mind drives both and connects us to the "one whole" universe which is also comprised of energies. It also references the "one" energy of the great tai chi, that which created the duality of our cosmos, yin-yang.
Our physical-mental efforts are for naught if not to create a unified whole or wholehearted person and martial artist. It is through the efforts of the mind connecting to the body, the body is led by the mind and the mind is forged though the physical of the body. The duality of the singular effort of martial training creates a whole or unitary energy used and directed by the body-mind.
It is through the symbiotic working of the mind-body that Ki is developed, harnessed and applied to both physical and mental actions, deeds, and efforts. It is that which creates a holistic person whose "heart/wholehearted" is similar to the Heaven and Earth - symbolic metaphors of ancient traditions of martial systems.
Ichi-teki yui [位置的優位]
The characters/ideograms mean "positional advantage." The first three characters mean "positional; positionally." The first character means, "rank; grade; throne; crown; about; some," the second character means, "placement; put; set; deposit; leave behind; keep; employ; pawn," the third character means, "bull's eye; mark; target; object," the last two characters mean "superiority; ascendancy; predominance." The first character means, "tenderness; excel; surpass; actor; superiority; gentleness," the second character means, "rank, grade; throne; crown; about; some."
In martial arts ichi-teki yui is a tactical position of advantage of an adversary. It is of particular interest since its understood this particular positional advantage is applied in open-hand conflicts (without weapons). It means you have taken a kamae or strategic position leaving no opening for attack; you control the attacker's lead limbs as in the range or redirection of their attack/defend or redirection of hands, feet or force.
In my view this is taking advantage of the adversary's OODA loop, disruption of the observation and orientation levels keeping them in a loop that allows no attack or no defense of an attack.
Even tho this term, characters/ideograms, refers to open-hand situations the principle is applied to all means of conflict that may include weapons or large scale military operations of strategic value.
The characters/ideograms mean "mobility." The first character means, "shift; move; change; drift; catch (cold, fire); pass into," the second character means, "move; motion; change; confusion; shift; shake," the third character means, "degrees; occurrence; time."
Mobility is the ability to move or be moved freely and easily. Its a physics thing but more importantly it is that something that allows martial arts to work. It is an ability to remain mobile in chaotic, dangerous and dynamic situations. It allows you to move from one application to another with fluidity and stability so that the application has a chance to success.
Mobility speaks to the fundamental principles of martial systems that speaks to the mobility as it applies the the human body. It means one can achieve the principle of physiokinetic's. It also allows us to achieve proficiency in the principle of technique. Mobility comes from a combination of rhythms, balance, control, motion, speed, timing and more.
How our mobility works is how it affects our movement in any or all applications. It shifts to meet the challenges of the move being performed in relation to a move by an adversary.
The idea in fighting and especially self-defense is to remove an adversaries ability to remain mobile, to move properly as applying the fundamental principles. Mobility must be efficient while getting the maximum out of applications.
Take a look at the fundamental principles of all martial systems and relate how they would apply in training, practice and applications when keeping mobile, mobility.
To keep moving regardless also speaks to the freeze. To freeze is to be immobile and immobile means exposed and open to damage while mobility keeps the body and mind moving relieving the tendency to freeze. If your moving then your adversary has to reorient in order to decide how to act. Mobility is also a tactic and/or strategy.
Taking a momentary static position, etc. causes an adversary to lock on to that position so when you become mobile again you reset their OODA loop back to observe and orient. As long as they are immobile at those stages you have the advantage, simply by remaining mobile.
Mobility also speaks to the hands, wrists, elbows, shoulders, hips, knees, ankles, feet, etc. that any restrictions changes the type and degree of mobility available to the person acting, moving or applying mobility to action. Flexibility also allows for a degree of mobility. Again, I speak to the fundamental principles of martial systems, i.e. that area allowing the type of movement for power.
This should inspire one to learn, know and apply the principles that are fundamental to all movement of the human body and thus to all systems of martial prowess.
Ido shizen [移動自然]
The characters/ideograms mean "shifting nature." The first two characters/ideograms mean, "movement; migration; removal; mobile," the first character means, "shift; move; change; drift; pass into," the second character means, "move; motion; change; confusion; shift; shake." The second two characters/ideograms mean, "nature; spontaneity; naturally; spontaneously." The first character means, "oneself," the second character means, "sort of thing; so; if so; in that case; well."
Martial Arts are of a shifting nature. This seems the core reason traditional martial arts practice is a boredom killer. Even in those early days my systems, Isshinryu, creator was constantly shifting how he practiced his karate. It seems to be the nature of how one pursues the study of martial arts.
All to often we find, in the West, a pension to remain steadfast in specific practices, i.e. always doing the same fundamental technique the exact same way as supposedly taught by the founder and creator of said system. But is this the true nature of martial arts or any combative discipline? I submit that the answer is no.
If we look at how the older guys, the masters who created the systems to begin with, practiced, trained and taught their systems we see a constant flux in what was taught. In a true martial arts training system there is not standardized method of teaching any group of persons. That type of training was inherited by the military who brought it home to the West and by the influences of the school systems who had to deal with large numbers of students removing the one-on-one method of training and teaching.
After all, when our military brethren trained in the fifties and sixties they were greatly influenced by the Japanese/Okinawan need to implement martial arts, i.e. karate, into the school systems circa early 1900's. Since that was the primary exposure to the masses of a watered down system of karate, etc. for the youth it took hold and had strong influences on how it was taught to gaijin or foreigners.
You have to ask yourself, did those masters truly pass on the system to the gaijin or was it a means, a strong need, to gain acceptance to the occupiers who had lots of money to pass around and with the after effects of the war meant food on the table and economic stability. After all, my system's creator became a wealthy man with the contracts he obtained with American servicemen assistance to the special services system. This is not a disparaging remark but rather a life requirement - you want to eat and feed your family you do what is necessary to achieve that goal.
Is this possibly how we lost the shifting nature of martial arts. Take a read at the Mokuren dojo, i.e. "Hang on and be Dragged to Death!" http://www.mokurendojo.com/2013/09/hang-on-and-be-dragged-to-death.html He provides some interesting thoughts on the process that is the normal nature of martial arts and is the inspiration for my thoughts here today.
I find it beneficial when you consider the chaotic shifting nature of combatives or self-defense. If that teaching model seems to shift and flux to a seemingly chaotic teaching method when our minds struggle toward some semblance of stability we should then look underneath that shifting and we just might find that what does not shift are the universal fundamental principles of martial systems leading the whole system. The way some technique is done may shift according to new information, the new times, the new requirements toward defense and the new perceptions of the sensei and his or her disciples.
The world shifts and changes constantly, that is the nature and the basis for the yin-yang principal - the core universal principal of all life the permeates every thing done in nature and is seen in our microcosmic world of martial systems.
When someone shifts according to the nature and present moment it becomes an improvement and also becomes a frustration to the student trying to grasp the new just when they feel they are starting to understand the old. Again, take a look and the underlying universal fundamental principles of martial systems involved and you may find that both the old and new are based on the same, exact and unchanging set of principles.
Accept the true nature of all martial systems, the shifting nature of the art while embracing the true nature that lies beneath all the flux and changes. The same exacting universal fundamental principles of martial systems - of life - that is the systems true and standard teaching of any and all systems.
The characters/ideograms mean, "excuse; excuses; explanation." The first character means, "say," the second character means, "translate; reason; circumstance; case."
Excuses are like A$$#@!#$. Don't tell me you have not heard that one before. Recently in a blog a martial artists spoke of all the excuses he or she heard in a recent training session. Everyone can come up with some explanation as to why they can or cannot do something but that is not the point.
In lieu of making excuses try counting to ten and then think of ways around those excuses. We humans tend to lean toward excuses or explanations when push, shoved or pressured. We also in today's society tend to speak out way to quickly allowing the monkey brain to insert excuses before we actually have a moment to think clearly on what we are about to say or do.
One of the most important traits I believe I learned as a Marine was to stop making excuses and simply get the job done. Don't get me wrong, if it is truly something I don't like or just don't want to do I can make up a pretty good excuse but when the rubber meets the road I simply to my very best to get the job done. If I were perfect when confronted with something I just don't want to do I could simply say "No or No Thanks." But I am human.
Once, in the dojo, a young person tweaked the elbow when putting effort into a technique while the arm was positioned and aligned incorrectly. They needed to sit out for a while since it was not debilitating in order to prevent further exacerbating damage. They stepped of the dojo training floor and preceded to undress and pack as if to leave for the remainder of the session. I walked over and asked what they intended. The response was an excuse to leave and go do something else they wanted to do. I recommended that maybe it would benefit them to sit on the sidelines and observe. I explained that although participation was better that something good can still be learned through observation.
This is simplistic but it also promotes that excuses are just excuses to get out of hard things for the more gratifying things we humans tend to want to do. It is the same when someone says that they are tired from the days work so they want to ease through the warm-ups and basic technique/fitness forms of practice. Really, in lieu of trying to excuse yourself from the effort maybe you can redirect that toward a postive, i.e. think to yourself in lieu of the excuse to relax and take it easy you can say to yourself that in a self-defense encounter you will have to quickly get past any tiredness you feel and go all out to remove yourself from the encounter and get to safety.
In other words no matter what you can use as an excuse to not come to practice or to not do your utmost at practice you pretend that the entire practice and the extra effort to extend your self beyond all those things is merely another means to go beyond as if your in the fight, fighting for your life.
Excuses are like ...., everyone has one but try making excuses to do beyond the comfortable and into the stress filled world that will ensure your survival be it a self-defense situation on the street or your life in a combative scenario. You can bet your bottom dollar that a violent criminal is not going to care if your tired from the day or that work out you just finished in the gym and you can bet your bottom dollar that your enemy in combat is not going to give a crap about your excuses in the zone when he tries his best to kill you.
The characters/ideograms mean "intimidation; to threaten; to intimidate; menace." The first character means, "intimidate; dignity; majesty; menace; threaten," the second character means, "menacing; dignity; majesty; threaten."
Ikaku, or intimidation is prevalent through out many disciplines but none more so than in martial arts. It is not always direct and obvious. When one puts on the black belt there is a form of intimidation involved. When one enters the dojo, when one addresses or is addressed by a Sensei and when one is facing an adversary both in the training hall and out on the street they all experience intimidation.
The size of an adversary often is perceived as intimidation especially an angry and hell bent on doing you damage very large person. Body language is used in conflict to intimidate and dominate with the goal of causing enough to force an adversary to "back down."
How often is the ikaku factor taught, talked about and trained in the dojo? It is there but often left to its own devices and the person intimidated is often left to their own devices on handling ikaku or intimidation.
I once wore for a time the red/white paneled obi and I found out that along with my age it intimidated many of the proponents training with me. I stopped wearing it.
Intimidation must be addressed in the dojo or any training facility to optimize and maximize learning, thinking and creating. A Sensei or Senpai must not exude an aura of ikaku-teki, or a threatening or menacing atmosphere of the only practitioners who will remain are those of like ikaku-teki.
The character/ideogram mean "anger; rage; hatred; wrath." The individual character means, "angry; be offended."
You should read the term "kyofu" as the principles of that term also apply to the term ikari or "anger." This is also an emotion that can be beneficial to your ability to overcome the effects of anger and allow you to use it beneficially while you use the anger of an adversary to unbalance them and allow you to achieve victory - provided avoidance, evasion, or deescalation fail to work for this moment.
The character/ideogram means, "reverence; awe; respect." The first character means, "fear; majestic; graciously; be apprehensive," the second character means, "awe; respect; honor; revere."
Sensei sometimes receive respect for what they are and what they are capable of. Sensei sometimes are venerated far above mere respect, they end up being revered by those who would follow their path. Sometimes sensei get elevated to legendary god like status that can be unhealthy and disabling to the person, persons and system or style of martial art.
Reverence must be tempered with humility with an understanding that as humans, no human is beyond fallibility. We all make mistakes even those who appear to have reached a level of so called enlightenment or mastery of any discipline. We must remain skeptical toward those who would be "experts." Experts deserve respect but reverence might be a bit much.
We revere our culture with all its flaws and imperfections. We revere our beliefs that stand outside at a higher level than mere human beings. We as martial artist must temper our practice and training with those who we would follow with skepticism because once we put someone, anyone, on a pedestal they are bound to fall off - it is inevitable.
Be in awe of someone who has achieved good things, be respectful of those who have achieved great things, and be skeptical of those who have seemingly achieved god like legendary status for they are still human and therefore fallible. Fallibility is inherent to being human and is what speaks to our humanity.
Ikken hisatsu [一拳必殺]
The characters/ideograms mean "one fist, certain kill." The first character means, "one," the second character means, "fist," the third character means, "invariably; certain; inevitable," the fourth character means, "kill; murder; butcher; slice off; split; diminish; reduce; spoil."
This term or phrase is used in Okinawan karate to mean one fist, blow or punch to kill. It is symbolic to the nature of training in karate during those early years on Okinawa, i.e. circa 1600's. It was during this time when weaponry were banned from the island peoples and the resulting development of karate or China hand provided a means to defend against weapon wielding adversaries be they Okinawan, Japanese or other nefarious individuals they encountered during shipping efforts or when said same anchored in the bay and stepped off onto the land, Okinawa.
Ikken hisatsu can be achieved through karada kitae or body hardening. The most known method was the makiwara, i.e. a post a karate-ka used to develop hands and feet that were like steel resulting in an ability to kick, punch or strike with "one punch, certain death."
In reality there is no known facts or historical data of a person dying from one punch or kick, etc. Usually when a person dies in a hand-to-hand conflict it is because of the fall rather than the technique. It can be said that the punch or kick caused the death by causing an adversary to fall and hit their head, etc. causing death. There are no records in any country that proves a singular punch or kick caused a death directly. Although possible, it is rare and seldom documented.
This term or phrase is more symbolic of the times and the training necessary to harden the body for the rigors of civil battle. It is meant as a goal to reach for in training and practice to preserve one's own life in hard times under the rule of samurai and others. Even the nature, culture and beliefs of Okinawan's that are honorable and mostly peaceful still requires a means of self-defense against oppressions of the times. Even if truly unattainable the one strike model of training and practice takes the mind and body well beyond the norm and into the realm of the extraordinary.
The characters/ideograms mean, "consistency." The first character means, "one," the second character means, "pierce; penetrate; brace," the third character means, "sex; gender; nature."
Martial Arts are built around repetition and that is also "consistency." It is about knowing what is expected of each practitioner and for Sensei as well as the practitioner how to succeed in martial arts. There is nowhere this is more important than in applying a martial art toward self-defense where one confronts fears, anger and conflict (both verbal and physical violent behavior).
One must achieve a level of performance and continuity to achieve a level that doesn't vary greatly over time and this repetitive time involves encoding the mind, lizard brain, to overcome sometimes inappropriate survival instinctually driven actions for survival.
Ikkensei is about creating a consistency within training and practice that leads to higher levels whereby those repetitive actions are encoded such that the brain can pull, mix and match on the fly according to circumstances, stimuli and situations especially regarding conflict.
Ikusa kao [戦顔]
The characters/ideograms mean "war face." The first character means, "war; battle; match," the second character means, "face; expression."
Something you acquire through the processes of life and the practices/training in martial arts. It is a compilation of attitude, demeanor, body language, confidence, proficiency, humility, wisdom, gentlemanly behavior, lethality, honor, dignity, etc. It projects an aura of, "I mean you no harm yet you don't want to test me."
Call it a type of military bearing if you want an example. This face is not that face depicted in movies such as "Full Metal Jacket: Boot camp scenes" but rather something that sets off the spidey sense in a person saying, this guy is something to be conscious of and to avoid conflict with, etc. It is that something that is inherent in the sheepdog.
It is that something that is not taught but learned and earned in time but it is something that can be taught to bring into awareness and to connect it to the more metaphorical teachings of martial arts as one would achieve in studies of culture, beliefs and the ken-po goku-i as it relates to ancient classics and other sources.
It is not a caricature but rather an underlying aura that surrounds a person and tends to extend farther than normal. I believe this is the reason why the ancient Japanese samurai used masks with their helmets and armor. I also suspect that is why the "Noh plays" have the masks as well that convey certain feelings and attitudes of the players for the audiences.
Inori Shimotaki (Suigiyo ? ) [祈下滝]
The characters/ideograms mean "pray under a waterfall." The first character means, "pray; wish," the second character means, "below; down; descend; give; low; inferior," the third character means, "waterfall; rapids; cascade."
The original term discovered is suigiyo that is not defined at any of the sources available to the author. It is sometimes seen in martial arts as a way of performing shugyosha [修行者] or austere training of a kind. It is often observed as a martial artist sitting under a waterfall, up in the mountains, and during some of the coldest days of the year to reach a more Zen like state.
The term suigiyo states it as praying under a waterfall to purify the soul through the body. In winter it requires no small effort to go through this penance, yet it is known that some adherents of this practice to submit to the colds of winter under a waterfall for up to thirty minutes.
The characters/ideograms mean "cosmic dual forces; yin and yang; sun and moon." The first character means, "shade; yin; negative; sex organs; secret; shadow; moon," and the second character means, "sunshine; yang principle; positive; male; heaven; daytime; sun."
These are the Japanese pronunciations and characters for the yin-yang symbol. Such symbols once delved into thoroughly as with any other symbol toward the cultural content is one of the gateways to understanding the Okinawan, Japanese and Chinese way. It must be remembered that discovery of the cultural system of any humankind is a matter of the "time, 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."
The lessons we learn therefor teach us through a koan of karate, the ken-po goku-i, the reason and teachings of the fundamental principles that govern all martial systems. Using these factors, i.e. time, cultural and ethnic groups, etc., remain a foundation to understanding and thus the art of avoidance, i.e. removing the need to take physical actions allowing the mind to avoid conflict, etc.
In this spirit of In-Yo we find that Yo is about the outer space around the body and in is the inner space around the body. The outer is exposed to nature and the inner ins not exposed. The inner is also considered the reverse side and the outer is the exterior or "face" of the body.
Another term combination to help explain and understand is the "ura-omote" concept. Conceptually the ura-omote is a means or way of interacting in Japan. Look at it as also the use of Uke-Tori for interactions within the dojo where in-yo and ura-omote drive training and practice. This also explains the practices of Sensei in mentoring of practitioners, i.e. "the Japanese to speak in indirect terms, and to leave it up to the other side to divine their intent. "
Look at in-yo, ura-omote, uke-tori as mirror images of front and back then begin to understand the connectedness of practice and training.
The characters/ideograms mean, “the harmony of yin and yang energies.” The first character means, “shade; yin; negative; sex organs; secret; shadow,” the second character means, “sunshine; yang principle; positive; male; heaven; daytime,” the third character means, “harmony; Japanese style; peace; soften; Japan,” the fourth character means, “fit; suit; join.”
A term to express an overall fundamental meaning behind the study of the Ken-po Goku-i. A terse karate koan that is presented at the very start of practice and training, i.e. when you first start you adventure into the world of martial arts - Okinawan Karate. This study like the martial arts is an ongoing contemplation of the goku-i that will change and remain fluid for the practitioner.
Although a definition of the goku-i uses the English word “secret” there are no secrets within the terse tome but rather a key to open the mind to all the possibilities that are within the practice and training of martial arts. The karate koan, goku-i, in its terse form leaves a chasm of opportunity to form the interconnection of principles toward a fuller and holistic understanding of the arts that drive the application. Without this the martial arts are merely a set of physical activities sometimes used in a violent way.
Even tho, on first appearances, the goku-i seems to use a modest and plain form to first introduce the fundamentals of yin-yang or In’Yo (in Japanese) when applied in practice and training tend to unlock what is already within each of us, the ability to formulate a philosophical theory about what we seek in the arts. It unlocks and points us directly to the fundamental principles of martial systems. Those principles that drive the arts regardless of style or systemizations often seen on the surface of all forms of practice and training.
In’yo-wagou is about balance for balancing yin-yang is the creation of harmony of those intrinsic energies the are the very foundation of life or life energies. The Chinese call this life energy, “Jing [精] (prenatal, postnatal and kidney, etc.; one of the three treasures of traditional Chinese Medicine along with Qi and Shen).” In Japanese the term is “sei [精] meaning spirit; sprite; nymph; energy; vigor; strength; fine details and semen.”
The characters/ideograms mean "the cosmic dual forces (yin and yang) and the five elements (metal, wood, water, fire, and earth) in Chinese cosmology." The first character means, "shade; yin; negative; sex organs; secret; shadow," the second character means, "sunshine; yang principle; positive; male; heaven; daytime," the third character means, "five," the fourth character means, "going; journey."
Yin-yang, in-yo or inyogyo refer to balance in martial arts. Everything has its opposite, it is a matter of pyhsics and it is a matter of nature and the universe. The universe is literally made up of opposites and that means it is a part of every single instance of anything that resides in our universe.
In martial arts the ken-po goku-i provides us a key to understanding the in-yo-gyo of practice, training and the way. There is heaven and earth; sun and moon and the circulation of life in all things. In martial arts it speaks toward being hard and soft, being balanced so our weight in all things does not unbalance us, our ability to go this way or that way as to direction, the ability to strike on not strike, the ability to hear and listen or not hear and not listen and our ability to feel both emotionally and tactually.
Inka kankei [因果関係]
The characters/ideograms mean "causal relationship; nexus; consequence." The first character means, "cause; factor; be associated with; depend on; be limited to," the second character means, "fruit; reward; carry out; achieve; complete; end; finish; succeed," the third character means, "connection; barrier; gateway; involve; concerning," the fourth character means, "person in charge; connection; duty; concern oneself."
This "causation" or inka kankei is another of those terms seldom discussed openly in martial systems where its importance grows the closer that practice comes to self-defense. Causation or an action causing something becomes an important topic in legal circles as well. They connect a type of conduct with the effects determined through hindsight of evidence and this is why the self-defense legal workings are most difficult to navigate.
Causation or cause and effect. If someone disses you and you react with an emotional response driven by the ego and pride vs. silently ignoring the comment and walking away. Once is avoidance, which is legal, and the other is aggression, which is not legal.
The characters/ideograms mean "metaphor." The first character means, "conceal; hide; cover," and the second character means, "metaphor."
You may be wondering once again what a metaphor has to do with martial arts. When you figure that it involves things like "a figure of speech," or a "phrase applied to an object or action," you may begin to get the relation. A metaphor is also a thing that is symbolic of something else or something more abstract and that is why this term/character/ideogram is provided.
I look to the ken-po goku-i to be a metaphor that points to a good deal of ancient symbologies that tell us a cultural story of the systems we practice today. A traditional form of training and practice often has links or connections to the past that explain the "bunkai" of things martial. Yes, bunkai is not just a word used to explain the meaning or application of a technique.
When we explain one thing in the martial arts often it comes from a metaphor that explains the symbol that creates a story that exemplifies the thing being taught or explained. This word or term applies to those who are seeking knowledge as a foundation for practice and training and therefore knowing, understanding and applying metaphors and symbols to current times becomes important.
It is often discovered true and correct meaning when we search out the culture and beliefs of those who provided such combative systems or arts that were once lost but now found through In'yu or the study of metaphors in martial arts.
The characters/ideograms mean "attraction (e.g. magnetic, gravitation); affinity; attractiveness; magnetism." The first character means, "pull; tug; jerk; admit; install; quote; refer to," and the second character means, "power; strength; strong; strain; bear up; exert."
This term is something best explained by the yin-yang (in-yo in Japanese) concept. It is about duality and the attraction of the yin and the yang to one another. Everything including actions either attract or repel. When things complement one another, as symbolized by the yin-yang symbol, the relations remain positive and beneficial.
In martial systems it is also necessary to lead practitioners toward Inryuku or attraction to one another as if complementary energies, i.e. like magnets. Learning to perceive the attraction or repelling of relationships and encounters is crucial to avoidance and appropriate actions to avoid or end conflict.
Inryoku is both positive and negative depending on how it is used and applied. How you use this will generally decide how the conflict will be either avoided or handled. This practice does not just appear as you grunt and groan through practice but rather takes a good deal of intelligence and insight in not only human behavior but toward the self, you.
This speaks to the projection of "will; volition or intention" with a product of resolve in who you are, what you can do and how you apply it. It brings about a self-confidence that can influence in a positive way all who encounter one of "intention and will."
The characters mean "one version; (a) blow; (a) certain book; one long cylindrical thing; an experienced geisha." The first character means, "one," and the second character means, "book; present; main; origin; true; real."
In martial arts sport oriented tournaments ippon means "one point." In the traditional/classical sense when training and practice achieved a state where death was not the immanent result, i.e. bokken and shinai were created along with armor, i.e. ?, several contests could be fought where a single technique is determined or recognized when fully completed in combat resulted in a blow that would put that opponent out of combat. The use of a single, decisive, technique where the result was death.
"What is sought after in the martial arts is the ideal ippon, that is, a victory obtained through a technique that has an integral connection with that which is fundamental to the combat." - Tokitsu, Kenji Sensei
Ishi [意志] -noun
The character/ideogram means "will; volition; intention; intent; determination," and the first character means, "idea; mind; heart; taste; thought; desire; care; liking," and the second character means, "intention; plan; resolve; aspire; motive; hopes."
Often this is not overtly taught to practitioners of the martial arts. They are required and assumed to learn it when they spar or compete. But, sparring and competing are not fighting in the violence of the street situation. This is something taught to the military as a "will to win the war." To say for the individual Soldier, Marine or Airman the will to win battles.
The martial artists, karate-ka, etc., must give themselves permission to use what is necessary to stop the fight and be safe and secure with the least amount of force necessary (see books by Rory Miller and Marc MacYoung to gain more on force and what is considered enough to get the job done).
Ishi or will is something that should be taught. First to provide the accurate knowledge necessary to make that moral decision to do what is needed. Second is to give yourself permission to do what is needed. Third, is to train for reality as to violence in all its forms with the proper "will" to do what is needed. Make all the required decisions in training before you enter harm's way.
Ishiki hen'yo jotai [意識変容状態]
This phrase of characters/ideograms mean "altered state of consciousness." The first character means, "idea; mind; heart; taste; thought; desire; care; liking," the second character means, "discriminating; know; write," the third character means, "unusual; change; strange," the fourth character means, "contain; form; looks," the fifth character means, "status quo; conditions; circumstances; form; appearance," he sixth character means, "attitude; condition; figure; appearance; voice (of verbs)."
The only way I can truthfully speak to this phrase is to ask the question, "do you discuss the possibility of a person or adversaries altered state of consciousness/mind when teaching self-defense?" The only answer I would want to present is, "if no, then have them read the book scaling force by Miller and Kane."
Personally I have never knowingly encountered anyone who has this state other than a person who is drunk or under the influence of some drug. When I speak here the altered state should include many other mental issues I am not qualified to speak on for this post.
The characters/ideograms mean "dignity." The first character means, "intimidate; dignity; majesty; menace; threaten," the second character means, "faith; truth; fidelity; trust."
Those who practice Isshinryu might argue this word and set of characters/ideograms actually mean one heart but take a look closely at the characters. This particular usage of ideograms means, "dignity." I use this as one of the many meanings alluded to through our ken-po goku-i to help martial artists, i.e. karate goshin-jutsu-do practitioners, understand the many facets to the systems they practice.
Ishin or dignity is the bane of avoidance/deescalation and addressing this in the self-defense training becomes important to the art of avoidance and deescalation. It requires a good deal of self-discipline most male adults lack in a adrenaline induced ego driven effort to save face or dignity. Dignity is not written in stone and no one can take away a person's dignity - only the person can allow it to be taken or diminished. There are no scars or long term physical effects that will result in any type of disability. Even the psychological effects of such things is solely dependent on that individual and their level of esteem.
Either you have it or you don't, no one can take it or give it and the only person on this planet who can do any of it is YOU. Let it go and save yourself the sad and terrible effects of physical fighting, violence and combatives.
The characters/ideograms mean "one mind; wholeheartedness; one's whole heart." The first character means, "one," the second character means, "heart; mind; spirit." Isshinryu means in this definition "one heart/mind/spirit style/school."
In this instance although the characters/ideograms are the same for the Isshinryu system, the one heart style, I also attribute a bit more meaning to the word, characters and ideograms. I look at it as meaning "one's whole heart." The word that is the keystone to this meaning is "whole."
When we speak of whole, especially in the martial arts, we speak of whole as in both sides of the heart, the yin and yang of the heart for the heart is comprised metaphorically speaking of two sides that make for one whole heart. With out the whole heart there cannot be a wholehearted practice of any martial art.
To practice and train wholeheartedly or with wholeheartedness one's mind and body must also be utilized in a holistic way to achieve mastery of the self, the system and life. This means as the word shin [心] indicates a practice that is of whole heart, whole mind and whole spirit. To have a whole heart, mind and spirit one must seek the entire aspect of a system of practice.
This entire system speaks to the physical, the psychological and the spiritual which is the physical manifestations of waza, kata and kumite while the psychological is the mental attainment of knowledge, culture and beliefs that are morally correct, and the spirit that is enhanced and developed by the attitude, effort and diligence given toward the wholehearted practice of the physical and psychological, i.e. the mind-body connections.
The characters/ideograms mean "Wholeheartedly; single-mindedly; fervently; intently." The first character means, "one," the second character means, "heart; mind; spirit."
The first two characters are used to symbolize the one heart system of Okinawan karate-goshin-do. The last kana character is used to express isshin'ni or wholeheartedly or wholehearted. Being of a wholehearted person is a state that resembles a stoic resoluteness, to eliminate all conflict both in our environment and within ourselves. It is a resolution to eliminate any physical processes that would interfere with the physical processes of another human.
To achieve a wholehearted practice of karate-goshin-do the individual must overcome a condition of inner division and make the self into a holistic and integrated whole. The spirit or heart that is the essence of Isshinryu practice and is felt to apply to all systems of marital practice and training.
It also applies to a type of practice and training. One that is single-minded in its intensity to achieve proficiency in a complete holistic way. It is an ability to develop and enhance a human ability to provide undivided attention thoroughly, deeply, intently and completely to the entire spectrum that is karate-goshin-do.
In a more spiritual sense it is a holistic blend of the heart, mind and spirit of the practitioner. It is holistic approach to not just the combative aspects of the martial arts but the more spiritual guiding principles that applies a moral belief system governing the use and application of a physical combative system with responsibility toward self and others. A sense of responsibility.
Isshin [一心] Ryu [流] no [の] Takeyabu [竹薮] or [一心流の竹薮]
The characters/ideograms mean "one heart style bamboo grove." The first character means, "one," the second character means, "heart; mind; spirit," the third character means, "style of; method of; manner of; school (of thought)," the fifth character means, "bamboo," the sixth character means, "grove; thicket; bush; underbrush."
The phrase means the style Isshinryu of bamboo grove. The bamboo grove is symbolic of the practitioners personal interpretation of the Isshinryu karate-goshin-do system as created by Shimabuku Tatsuo Sensei. It is a personal interpretation of the practitioners wholehearted practice that in essence is derived from the original style of Isshinryu, the whole heart style or way.
or possibly: Takeyabu [竹薮] no [の] Isshin [一心] Ryu [流] or [竹薮の一心流]