K - Kado geki

Kado geki [過度激]

The characters/ideograms mean "excessive stimulation." The first character means, "overdo; exceed; go beyond; error," the second character means, "degrees; occurrence; time; counter for occurrences," the third character means, "violent; get excited; enraged; chafe; incite." 

This term speaks to the excessive stimulation ofter felt when the adrenaline dump occurs due to fear, anger and other emotional chemical floods due to danger and conflict causing the survival instincts to trigger. Controlling the excessive stimulations is an important aspect to training in the martial arts as a self-defense tactic. 

Often professionals preparation for combat use the breathing technique, combat breathing, to calm the mind and control the chemical dumps that occur. There is also the training necessary to trigger combat breathing when the proverbial stuff hits the fan. It can happen in an instant or it can have a lead up time span allowing the mind to perceive and interpret the need for combat breathing.

The deep diaphragmatic breathing techniques keep the body and mind in a calmer state allowing fully use of mental capacities and trained capabilities that often include actions necessary to reduce damage and promote avoidance. 

The line between a calmer reaction vs. rage, anger and violence is a small one and this can mean the difference between deescalation and avoidance vs. fighting, damage and legal ramifications that are far reaching and much harder to handle on many levels physical and psychological.

Kado no kunren [過度の訓練]

The characters/ideograms mean "excessive training." The first character means, "overdo; exceed; go beyond; error," the second character means, "degrees; occurrence; time," the fourth character means, "instruction; explanation; read," the fifth character means, "practice; train; drill; polish; refine; gloss."

Excessive training, over training or kado no kunren means the same in martial arts practice and training - moderation (Setsudo [節度]). As young karate-ka we tend to think "more is better." This is not true. The body has its limitations. It is best to remain steadfast in that limitation for to overtrain or perform excessively will actually cause injuries. 

As younger folks this may not be readily apparent yet as we age it will come to full light that kado no kunren is not a good thing. It is similar to the maxim that for every action there is a opposite and equal action. There are prices to pay for everything we humans do to our bodies and it is best that we take this into consideration even at a very young age. 

Our bodies need to recover properly. It is ok to perform shugyo but it is necessary to take the appropriate time and effort to allow the body to recover and actually build itself to a higher level of ability, condition and most important health. If you find that you are starting to injury easier and with greater frequency then your not taking the time you need.

It is yin-yang, a matter of balance. As this maxim teaches even yin or yang when at its ends still has to return to the medium point to allow for change and progress in the other direction. It is best to achieve a level that holds closer to the center point or intersection of yin-n-yang processes. 

Ah, lets not forget that this applies to the psychological end as well. Burnout is another aspect of kado no kunren, you can over train the mind by doing to much over shorter periods of time for long periods, etc. Burnout is just as serious as burnout of the body.

Kakato geri [踵蹴]; thrust kick

This one is iffy as I cannot relate the characters/ideograms to the stand-alone meaning of thrust kick. The characters/ideograms I have mean "no meaning shows overall." The first character means, "heel," and the second character means, "kick." It is sometimes used with others to create a thrusting heel kick definition but it may be incorrect. Regardless, kakato geri is understood to be a thrust kick.

Kagaishi and Giseisha [加害者 and 犠牲者] (see also uke and tori)

The first term characters/ideograms mean "assailant; perpetrator; wrong-doer; aggressor." The first character means, "add; addition; increase; join; include," the second character means, "harm; injury," the third character means, "someone; person." The second term characters/ideograms mean "victim." The first character means, "sacrifice," the second character means, "animal sacrifice; offering," the third character means, "someone; person."

The kagaishi is the attacker when practicing drills and kumite. The giseisha is the defender. Many martial artists refer to these roles as tori and uke. Uke being the aggressor or attacher while tori being the defender or receiver of the attacks. Both are interchangeable, i.e. as a determination before practice or actually while in practice. The interchanging of roles often happens in the higher levels of martial arts. 

In the early levels it is best to assign the roles and remain within those confines but in the higher levels it is best to switch according to present moment circumstances to achieve a more realistic model especially in self-defense. 

It has a mutual relationship at the lower levers while often a more adversarial relationship at the higher. This is especially important as the only mutual relationship an adversary has with you in defense is one of domination and damage to get to their goals while yours is to defend toward safety and much less damage.

Kage [影]

The character/ideogram means "shadow; silhouette; reflection; image; presence; sign; light (stars, moon)." 

This term I have taken liberties with as to meaning. Yes, it means shadow or in my interpretation "to shadow." The shadowing model is one whereby a practitioner shadows a person who they wish to emulate, to learn from and to guide them in an endeavor such as martial arts. It is another way to convey the importance of the sensei-deshi, senpai-kohai, and tori-uke relationship. 

A shadow is a silhouette of the person being shadowed. It is a part of that person and makes the relationship one of importance. It is that something one assumes when they acknowledge the presence of the shadow. It is and will be a reflection on that persons efforts to teach, lead and guide in martial arts where the potential brutality of the discipline can be either for good or for evil. 

To be a persons shadow, shadowing, is be be in such a close proximity that they will detect everything the person has to offer making the person with the shadow assuming a responsibility that is immense. Immense in that the person is helping the shadow to shape and build themselves into something unique to the shadow, to shed light upon themselves through the teachings and efforts of the person they shadow not to become a mirror image of that person but the use the guidance to build a personal philosophy and moral system that will change the shadow so they become a person who another might wish to shadow. 

A shadow is to follow and observe someone very, very closely. It can be likened to that deshi of old Japan martial systems who becomes sensei's personal person not only learning the art but working as the sensei's personal attendant. A deshi or uchi-deshi [] who is sensei's "inside student." A live-ion who trains under and assists sensei on a full time basis. The uchi-deshi system existed in ancient Japanese arts such as kabuki, rakugo, shogi, aikido, sumo, and karate as well as other more modern Japanese martial arts. 

The shadow, although not actually as complete as the uchi-deshi, still provides a similar relationship that benefits both the person and the shadow. It is a symbiotic relationship where one both grows as one due to the mutual influences they exact upon one another. It is a system that allows the sensei to keep growing toward enlightenment while the shadow learns how to take that path within and upon themselves with a goal of achieving their own path unique to their own cultural beliefs, etc.

Kagu [嗅ぐ]

The character/ideogram means "to smell; to sniff." The first character alone means, "smell; sniff; scent." This word is one used in martial arts not written into the ken-po goku-i but is just as important as the seeing and hearing. Smell can tell you things you may miss by sight or sound. Smell can give warning of a person approaching silently from the rear. 

What you smell when up close and personal with an adversary can speak to what type of an opponent you are dealing with and provide insight into how you can and should handle them. 

Smell is often a forgotten tool in the marital arts tool box. It is worth taking time to figure out how to use smell to defend. Then there is the senses as to dominant sense modes that allow communications to be greater understood. This is a great teaching tool for the sensei tool box

Kaku-jitsu [確実]

The characters/ideograms mean "reliability; soundness; certainty." The first character means, "assurance; firm; tight; hard; solid; confirm; clear; evident," the second character means, "reality; truth." 

As Rory Miller wrote in an article at the Chiron blog, " ... reliability.  This one is endemic in the martial arts.  It is possible to know an awful lot of things that aren't true.  It is always hard to measure the reliability of your own beliefs. (title: Multi-Dimension)"

Martial artists today tend to focus on the quantity of what is known vs. actual reality based reliability what works quality. A hallmark of the more bu-jutsu or goshin-jutsu of martial system whereby you life, health and liberty may be at stake. Bu-jutsu/goshin-jutsu require that those techniques be useful and reliable in a variety of situations and environments. 

How do you find out if something you have learned and know are reliable for self-defense? You need to identify violence in all forms then you need to determine what in that spectrum is actually liable to happen to you and then train diligently toward those dangers. 

In a sense knowing a lot of things in martial arts is good for academia and teaching methods but when the rubber meets the road in a violent conflict or a conflict you need reliability in your tool box to make it work - to survive. The ability to distinguish between these is as important as well.

Kakushi-te [隠し手]

The first two characters/ideograms mean "hidden; secret; concealed." The first character means, "conceal; hide; cover," the last character means, "hand." The first two characters when added to the last mean "hidden hand." 

Notice that both English terms and the differing characters mean the same, "hidden hand." Kakushi-te is used in martial arts to denote a type of bunkai in a kata practiced in a variety of styles, Okinawan karate. How it is explained is that kakushi-te is an element within kata that cannot be readily seen by the eye but is considered hidden from observation. Some believe is is a hidden technique but in reality it is an explanation, of the times of older Okinawa, for the variations within a bunkai of kata, the original or base/fundamental/classical bunkai of kata. 

Some believe this was intended by the old masters of karate, i.e. that they held the philosophy that one must "show but not tell." This is a misunderstanding of the culture and belief system that is the essence of every Okinawan, not just the karate masters of old. It is a philosophy they were exposed to by the Japanese occupiers starting when they invaded in the 1600's. 

In those cultural belief systems it was not a matter of hidden or don't tell over showing. It was a part of the Japanese system called "shikata." Everything done in those cultures from the feudal era and inherited later by Okinawans under occupation was held closely to specific patterns depending on a variety of factors where in martial arts bu-jutsu/bu-do governed. Shikata meant that every detail of society was governed by specific kata or patterns. Everyone who was a specific discipline was governed by specified kata of that discipline. 

The show but do not tell model was created to explain this complex system by non-Asians. We didn't understand shikata  and thus assumed that we would be shown but not told how and why things were as they were. In reality, Asians (emphasis on Japan and Okinawa) could immediately recognize a kata of a discipline by observation. In addition, asking questions was considered outside of a system of harmonious societal beliefs ergo the shikata provided specific patterns that everyone was assumed able to see or observe. When you connect shikata of the culture to various disciplines it becomes easier for the people of that culture to observe and then meld with that group by simple observation. Since shikata for a specific discipline was the same everywhere you, as a person of that culture, would find it easier to detect a means of performing that discipline simply by seeing it in action precluding any need for asking questions.

This is a simplistic response to this term and the whole sum of all parts to the culture and belief system that drives many of the Asian disciplines with emphasis on martial arts. Find the shikata and associate it to the understanding of the ancients culture and belief systems and you have a key to open the door to understanding fully the what, when, where, how and most important "why" of what we inherited in our martial arts/systems. 

Kakureta-te [隠れた手]

The characters/ideograms mean "hidden hand." The first character means, "conceal; hide; cover," the last character means, "hand." The other characters are elements or compounds that help express the other two characters to mean hidden hands.

Kakuto [格闘] (grappling)

The characters/ideograms mean "hand-to-hand fighting; grappling; scuffling." The first character means, "status; rank capacity; character; case (law, grammar)," the second character means, "fight; war." 

Grappling has been around on one form or another for centuries and it is not indicative of just Asian martial systems. Think of various styles and types of wrestling in ancient times. It is a means of engaging in close-combat without weapons where one seizes another and manipulates their body, mind and spirit to overcome and disable or control a person. 

It can involve striking, pinching or other means of vital point manipulation; it involves types of restraining via body parts, vital points and pressure points, etc. It uses the other person and gravity to unbalance and to take the initiative. 

Every martial system utilizes some form of grappling including the Okinawan art of karate. In a nutshell, "Grappling is a non-striking hybrid style formed of wrestling, ju jitsu, and many other submission fighting styles which consists in applying submission holds and choking techniques in order to make the opponent abandon the fight. ..."

Kaigi [懐疑]

The characters/ideogram mean "doubt; skepticism; disbelief." The first character means, "pocket; feelings; heart; yearn; miss someone; become attached to; bosom; breast." the second character means, "doubt; distrust; be suspicious; question."

This one goes hand-in-hand with sotei or assumptions. A martial artist must develop a good doze of skepticism in all things martial arts especially since this is one discipline that can actually get you killed, not to forget to mention serious injuries in training practice. 

It is another of those teachings tools that all sensei should have in their teaching toolbox to make sure practitioners get the absolute best out of their practice and training in their particular martial system.

Kaihi [回避]

The characters/ideograms mean "avoidance; evasion." The first character means, "round; game; revolve; counter for occurrences," the second character means, "evade; avoid; avert; ward off; shirk; shun."

The very first fundamental principle for the art of self-defense or karate goshin-jutsu-do. The way of self-defense involves a great deal more than just the physical aspects of defense. Defense of the self begins long before you encounter any type of conflict that may lead to physical violence. 

Avoidance involves all the waza, mental type with actions that spring forth from, such as jiko no hanashi no geijutsu or how we talk to ourselves. Then we have awareness of violence and all that lead to it. Then communications or verbal art of self-defense. Now we can talk about situational awareness, i.e. knowing, understanding and recognizing those things that trip the spidey sense saying, "What the ... get the .... out of dodge," type thing - run baby run.

To avoid and evade the enemy is the best strategy one can do in combat. To reach your objective without encountering an adversary and the resulting battle are a primary goal of all military so it should be the same with civil self-defense strategies. 

Learn kaihi, learn avoidance and evasion. Evade by seeing, hearing and then doing, i.e. leave and find a safety zone - avoidance, kaihi.

Kaikaku [改革]

The characters mean "reform; reformation; innovation." The first character means, "reformation; change; modify; mend; renew; examine; inspect; search," and the second character means, "leather; become serious; skin; hide; pelt."

Good and evil are not equal. In reality evil is more powerful than good. This means that the good in all things must be constantly and continually created and preserved. Good comes from unending positive actions of all things, especially humans. Evil occurs of its own accord

Evil is cyclical. Evil ebbs and flows, waxes and wanes (as the moon waxes and wanes) where waxing and waning occur when people are present who have evil in their hearts. To deal with evil, the presence of evil and evil's effects one must "reform" through self-reflection and self-transmutation. 

Kaikaku is to reform, to innovate and cause personal reformation of self thereby through personal actions and moral values influence others to they too reform by example. Sensei is responsible to ensure his actions, deeds and knowledge with a hefty helping of self-reflection toward self-improvement by self-transmutation. 

With a firm and gently hand Sensei instills and inspires using a key toward self-reflection, self-improvement and self-transmutation to all his students in all he does, says, hears and feels. A method by which Sensei reaches his/her own self-enlightenment that influences the path or way for the practitioner. 

How Sensei handles the dojo means the difference of a product, a product that is either good or evil. It takes perseverance, dedication and self-discipline to achieve good and it takes little effort at all to achieve evil. Which path will you follow?

good [良い] yoi: good; excellent; fine; nice; pleasant; agreeable; sufficient; ready; prepared; beneficial; OK, the character means, "good; pleasing; skilled."

evil [悪] waru: evil; wickedness, the character means, "bad thing; bad person."

good and evil [善悪] Zen'aku: good and evil, the first character means, "virtuous; good; goodness," and the second character means, "bad, vice; rascal; false; evil; wrong."

Kaiketsu [怪傑]

The characters/ideograms mean "man of extraordinary talent; wonder man." The first character means, "suspicious; mystery; apparition," and the second character means, "greatness; excellence." 

This term is another for "mastery." It speaks directly to the individual who exemplifies the proficient martial artist who has exceeded the norm for proficiency not only of the technical but also the philosophical or more esoteric learnings and teachings of the martial arts.

Another term often used on the island of Okinawa is "bushi" where the term or title denotes a gentleman's gentleman of extraordinary moral standing where they take their arts and talents directly into service for their fellow humans.

Kaiko-ten [回顧展]

The characters/ideograms mean "retrospective; lessons learned." The first character means, "-times; round; game; revolve; counter for occurrences," the second character means, "look back; review; examine oneself; turn around," the third character means, "unfold; expand." 

While humans have memory and can learn from their experiences to their advantage - unless you record or document your experiences and lessons learned along the way in an accessible form your doomed to repeat the same things over and over again. It is a means of finding what works and what does not so you can discard what does not work. 

In order to discover the good and the bad you have to look back with self-examination and find actions that are going to take you forward, not in reverse or worse keep you in the same rut again and again. You can then learn from your accomplishments and mistakes.

Kaisho [楷書] (see Kazure first)

The characters/ideograms mean "square style of handwriting; printed styles of handwriting; block style; standard style." The first character means, "square character style; correctness," the second character means, "write."

In martial arts this term is used to refer to the nature of the proper, stiff, form that is first taught to practitioners. It is the one that teaches us things like form, function, kamae, fundamental principles of martial systems, transitions, etc. or the more basic aspects of the system. It provides us a foundation, a proper grounding in the systems standard forms. 

Part of shu-ha-ri and also shin-gyo-so we learn to take apart the movements and put them together again in a more random pattern. The complexities of such systems is better served by teaching them in the training hall where you can make use of the senses, i.e. sight, sound, and touch. 

It also explains why the concept of making a full circle or beginning, reaching expert levels and then returning to the beginning again. Going back to the basics/fundamentals after reaching such levels of proficiency, knowledge and expertise opens the doors to things that were not seen, heard or felt when you begin such training. 

Look at it as holding true to the kata but allowing the training methodologies to take you beyond the basics to the higher levels so that you can fully understand the basics/fundamentals to the greatest depth and breadth that can not be reached until after a certain level of mastery of the entire system. 

Then there will come a time that you will forget the entire system to reach inside and spontaneously create at each moment the true essence that displays the martial system in ways that seem mystical but truly come from hard work, sweat and blood, dedication and the type of diligent discipline, control and reliance that achieves a type of enlightenment.

Kaisho [楷書] - Gyosho [行書] - Sosho [草書]

The characters/ideograms mean "square style of handwriting; printed style of handwriting; block style; standard style." The first character means, "square character style; correctness," the second character means, "write."

The characters/ideograms mean "running script (a semi-cursive style of kanji)." The first character means, "going; journey," the second character means, "write."

The characters/ideograms mean "cursive script; "grass" kanji." The first character means, "grass; weeds; herbs; pasture; write; draft," the second character means, "write." 

A long time ago I used the analogy of writing to explain the three stages of practice, training and learning a martial art. That analogy holds true and infers other aspects or principles of both theory and philosophy. The Japanese also have used the art of writing to explain how we learn both writing as an art form and martial practice as an art form. 

They use terms like "shingitai [心技体] or three qualities of heart, technique and physique (spirit, mind and body, etc.). Another set of terms to describe this process is also "shui-ha-ri [守破離] or three stages of learning mastery, i.e. the fundamentals, break with tradition and parting with traditional wisdom." 

Kaisho, Gyosho and Sosho are another method to explain the process of mastery in martial arts or any discipline. In a writing form one learns block lettering to begin then a semi-cursive form and as time continues and experience builds along with knowledge of the art one develops a unique cursive style that is similar to fingerprints - unique to one person. In karate the novice is learning fundamental principles and basic techniques, etc. where they feel and seem uncoordinated, predictable, and use up a good deal of energy. As a practitioner moves up a level they feel fluidity, skill, and more efficiency with their movements, etc. As one achieves a more senior level then they begin to look natural and relaxed, use of no effort, and become unpredictable, i.e. the embrace and display the full spectrum of fundamental principles of martial systems and effectiveness, etc. 

All of these terms provide various learning tools so a novice practitioner can become a student practitioner where the ultimate goal is to become a journeyman practitioner. You might ask yourself what it takes to achieve these levels, its practice, practice, practice and study, study, study and sweat, sweat, sweat and blood, blood, blood, etc.

Kai-un [開運] 

The characters/ideograms mean "better fortune." The first character means, "open; unfold; unseal," the second character means, "carry; luck; destiny; lot; fate; transport; progress; advance."

Un-kai [雲海] 

The characters/ideograms mean "sea of clouds." The first character means, "cloud," the second character means, "sea; ocean." 

Developing our karma through a sea of clouds. Life is full of the unknowable for the future is not written yet, only the past has substance. The present moment is constantly changing and how that change occurs is dependent on the individual being present to that moment forming what is and what comes in the future. It is a puzzle that is life, chaos, and how we define the substance within the chaos is by being open to what lies behind the sea of clouds - that misty veil that often keeps reality just a hint beyond seeing, hearing or feeling. 

Our future is better by how we unfold our destiny, progress and fate. Gaining a discipline to hold the moment in the present with the past influences divining what we experience and belief in that moment builds our future. Parting the clouds takes time, effort and diligence found in various disciplines that couple the mind with the body such as martial systems. 

Parting the clouds through continuous training, practice and study with no-mind and effortless wholehearted effort tends to pull the clouds, the veil, from our eyes allowing illusions to die and inspiration to present new of the old is the way of martial systems - often called budo. 

Parting the sea of clouds for clarity to reach a better fortune or future is the essence of why some follow the path that is karate-do. A full heart, a full mind and a complete body for one whole existence that is better with each passing moment.

Kaizen [改善]

The characters/ideograms mean "betterment; improvement; Japanese business philosophy of continuous improvement." The first character means, "reformation; change; modify; mend; renew; examine; inspect; search," the second character means, "virtuous; good; goodness." 

Kaizen, or continuous improvement, is deeply ingrained in the mind-set, culture and belief systems of the Japanese. This will also apply to the Okinawan/Japanese with the changes in their culture beginning in the 1600's when Japan assumed control over the Okinawans.

What makes the martial arts and other art forms extraordinarily perfect is a mind-set of continuous improvement over any other trait. Even profit is placed aside for the art of harmonious improvement. 

When westerners entered into the study of martial arts in the forties and fifties (1940's/1950's) along with other traits like silent instruction relying on intuitive ability dominated instruction, training and practice predicated on continuous improvement under the auspice of master-apprentice relationships where the time it took to come out from under that system toward independent practice could be ten to twenty years. 

Often when observing masters in their winter years still endeavoring to achieve perfection in the fundamental/basic waza it is not because they cannot do them efficiently and proficiently but their custom and belief that what is important is kaizen, continuous improvement. To be a master is to be perfect and being perfect means to continuously strive for the elusive ideology of perfection.

Kajutsu [解体撤去]

The characters/ideograms mean "arson and demolition." The first character means, "unravel; notes; key; explanation; understanding; untie; undo, solve; answer; cancel; absolve; explain; minute," the second character means, "body; substance; object; reality; counter for images," the third character means, "remove; withdraw; disarm; dismantle; reject; exclude," the fourth character means, "gone; past; quit; leave; elapse; eliminate; divorce." 

This is martial art where one becomes an expert in arson and demolition, i.e. related to the Ninjutsu system.

Kakemono [掛け物]

The characters/ideograms mean, "hanging scroll; sugared sweets; quilt." The first character means, "hang; suspend; depend; arrive at; tax; pour," the third character means, "thing; object; matter."

On traditional dojo walls hang scrolls with maxims of special significance to martial arts and martial artists. The scrolls espouse such things as core principles that govern training and practice in the dojo. They often relate to lives outside the dojo as well. 

Traditional scrolls are painted on paper or silk. They are more apt to be called Kakejiku [掛軸].

Kaketsukeru [駆け付ける]

The characters/ideograms mean "to run to; to come running; to rush (someplace); to hasten." The first character means, "drive; run; gallop; advance; inspire; impel," the second character means, "adhere; attach; refer top; append."

Kaketsukeru, or to run to or to run like the wind. This term is probably what I consider to be the most important waza of martial arts ever. It is the one that everyone should consider in all self-defense situations, run baby run. 

My sensei once got us all together in the dojo to teach us this new, foolproof, and best self-defense kamae/waza ever. Needless to say we were excited that we were actually going to learn something new since we were practicing something for over a couple of months. 

He said, stand in a seisan-dachi. Raise the left arm so the upper arm was perpendicular to the ground and the forearm fist were vertical with fist pointing toward the heavens. The right arm was to the rear with the upper arm in the same perpendicular position to the ground and the forearm and fist vertical with the fist pointing to the earth. (hint: he got this from the ken-po goku-i :-)

We all assumed the position and then he said this is the technique you will use, kaketsukeru. We looked at him and then he did that cheshire grin and laughed saying, run baby run. He said rightly so that in all conflict you must make every effort to avoid and that often means to run in any direction that would provide a safety zone and as far away from violence and conflict as possible.

Kakie (kagi) [カキエ] [鉤]

The characters/ideograms mean "to hook." This particular term also means in martial arts circles "push hands; sticky hands, etc." The character means, "hook; barb; gaff; brackets."

This term also makes references through the ninth ken-po goku-i, tactile or tactual or tactility or haptic, as a means to train and practice both the mind and body to "sense" body movement, body alignment, body pressures, rhythms and cadence. It is a method to discover through tactile ability the strategy, tactile and technique. It is a method to sense how your body moves and how your adversary's body moves and how to make changes through tactile ability to move your body with that of an adversary in a manner allowing proper counters to take strategic and tactical advantage. 

Kakie is an Okinawan dialect that means "to hook." It is a part of the ancient Ti/Te tradition of the culture and denotes training with a partner for a tactile development of the body-mind connection and is best practiced with eyes closed after the initial learning curve is passed. It involves motions with constant arm contact while moving the hands in a circular motion while the entire body also moves and senses minute changes in motion, cadence, rhythms, etc.

Kakie also has as "bunkai" a number of close combat techniques and counter techniques that are also applied in a tactile manner. It is important the one not rely on sight and hearing alone but enhance the ability to feel tactually, to feel and use feeling to apply such techniques. There are three general categories of kakie, i.e. Hichi Gaki, Ushi Gaki and Hani Gaki.

Kakie is unique to the Okinawan fighting system of Ti/Te and should not be assumed a part of or concept of the Chinese push/sticky hands techniques. Keep in mind it is not an exercise for timing and body conditioning (karada kitae is body conditioning); it is not just practiced in Goju but rather in all Okinawan Ti/Te; finally it is NOT a form of kumite.

It might also be that kakie is a basic or fundamental practice leading toward "Shokusokugi." 

See also "Shokusokugi."

Kakure [隠れ] Karateka[空手家]

The characters/ideograms/terms when combined take on the meaning of "hidden karate person." The first character means, "hidden; concealed; unknown," the second character means, "karate practitioner, i.e. first character means empty, second means, hand and third means expert; performer." 

This phrase means one who practices empty hand in a solitary fashion. It also denotes one who teaches the few rather than the many. The many speaks toward commercial endeavors while the few speaks to the individual and a few participants who follow the same path toward proficiency and enlightenment. A solitary practice of a martial system while mentoring a handful, three or four, of practitioners. 

We can see this often in a traditional way, i.e. the back yard dojo that is a Okinawan tradition where the ancients first taught outside their homes or sometimes the family burial area's, etc. It can now be understood and the optimal method of passing down the martial arts.

Kakushin [確信]

The characters/ideograms mean "belief; conviction; confidence." The first character means, "assurance; firm; tight; hard; solid; confirm; clear; evident," the second character means, "faith; truth; fidelity; trust."

Kakushin or beliefs are seemingly written in stone for many human beings. It is that one trait that is most difficult to change. Once a person establishes a solid belief system often that person would die for it regardless of whether it is proven to be a false one. 

The basic components of a belief system are; one, our perceptions, two, our cognitions, three, our emotions and four, our social interactions.

Kamae [構え]

The two characters mean, "posture (e.g. in martial arts); pose; style; stance," and the first character means, "posture; build; pretend," and the second character us a kana character that adds to the first character as an emphasis or suffix to add meaning. In another definition it means, "structure; construction; a posture; stance; a position; a pose; an appearance; take a stance; assume; care about; and meddle."

"What ever kamae you assume, do not think of taking a kamae, instead think of being ready to strike." - redacted from Musashi, Miyamoto

防御の構え（ぼうぎょのかまえ） / a defensive posture, a protective position

門構え（もんがまえ） / an appearance of the gate, a style of the door

身構える（みがまえる） / assume a posture of defense, stand on guard, take a stance, square off, stand ready

Definitions from the Web:

1. Fighting postures/stances.

2. Guard or posture.

3. Attitude or posture. The stances; a general term found in all of the Japanese disciplines.

4. Attitude or spirit in the performance of techniques or kata.

5. Kamae may also connote proper distance with respect to one's opponent.

6. A ready position or posture.

7. A Japanese term used in the martial arts. It translates approximately to "posture". The Kanji of this word means "base".

My definition or usage of kamae in practice is to take a posture and stance when engaged in combat. It is understood that there are esoteric traits or qualities a person must assume in order for it to function well and actually work in combat. Some of the esoteric traits/qualities can be:

Zanshin-mushin, chinkuchi, ma-ai, kime, rhythm, spirit, body mechanics, and so on.

When we refer to kamae we are referring to the assumption of the posture and stance, nothing more nor nothing less. The additional attributes some speak of and attach to the term and usage of kamae would be an elaboration of the terms use by that individual or group. Does this mean that kamae means all that, nope, it simply means taking a posture and stance.

An example is in Ken-do, one can take a chudan-no-kamae, gedan-no-kamae, or jodan-no-kamae. This means middle, lower, or upper posture and stance. There are not specific rules that say one must take a particular stance such as heiko-dachi with a specific holding of the arms and hands. This is what makes "taking kamae" universal and unique in that what ever stance and posture you assume you are taking a kamae.

Understand that in my view kamae means just what I describe, posture and stance. I also want to elude to the fact that if you do not take on and practice those traits and qualities I partially describe here then that means your kamae is not effective or very good.

To assume that one solid and perfect kamae you must practice bringing all those other esoteric and exoteric traits and qualities into that one kamae.

I really enjoy reading posts and articles on such topics as kamae because although the term does not necessarily encompass the additional idea's posed in such writings it does make one think and if that enhances the practice and training of a person then it is a good thing.

In my humble opinion it is not good to enhance meanings just to make them look and sound exotic. Just append the ideas on to the meaning, true meaning, as an exercise in the possibilities. Much like teaching tuite in Isshinryu. It is not Isshinryu so don't say it is so. Just say that you teach tuite in your Isshinryu training hall.

Accuracy is the hallmark of a true bushi. We practice for accuracy in history, the techniques, and the kata, the wearing of the uniform for it reflects on our way and by osmosis reflects on those who trained us and has great effect on those we train and come in contact with in our journey.

Kamidana [神棚]

A household Shinto shine. Often seen in Dojo as well. The first character means, "gods; mind; soul," and the second character means, "shelf; ledge; rack; mount; mangle; trellis."

The Shinto shrine, kamidana, in the home or dojo can be very elaborate. What I mean is the shrine is intricately created in wood and like all things Japanese speaks to the artistic pension of the Japanese, all Japanese. 

Normally placed up on the wall with a variety of items related to Shinto ceremonies, etc. are placed at the shrine. Often confused with the word, Kamiza, which is the seat of honor on the dojo. Kamiza has no apparent connection to Shintoism.

Kamiza [上座]

The two characters/ideograms mean "chief seat; seat of honor." The first character means, "above; up," and the second character means, "squat; seat; cushion; gathering; sit." The antonym, meaning "bottom seat," is shimoza (下座).

In the dojo the kamiza is the seating for the Sensei usually in front of the kamidana. It is usually at the front of the dojo opposite the entry to the dojo. Because of its location to the kamidana it is considered the best and most comfortable seat in the dojo. All seats of lesser comfort in the dojo are behind the kamiza flowing back into the dojo floor proper getting closer to the entryway or door where on finds the shimoza or bottom seat. 

In a traditional dojo it is of great importance to assume the correct seating position, and to leave the kamiza free for the most important person present, whether it is a special guest or the person of highest rank. 

The front of the dojo itself is called the "shomen [正面] or the shinza. i.e. a place where there is a god or spirit; place containing the sacred object of a shrine."

Kan [勘]

The character/ideogram means "perception; intuition; the sixth sense." In karate-jutsu-do kan refers to the sharpness of one's mental and emotional senses. It is a faculty of intuition, a sensitivity that beings when karate training begins. One is not aware of it but they are training kan as they practice. 

Kan is achieved through personal effort in practice and training. It is to perceive the unspoken, to acquire the implications of what is conveyed during the mentoring of Sensei to Deshi. 

It is to be more sensitive to our environment, both internally and  externally. To sense others and to sense ourselves and to sense the vibrations that exist between two or more person's in proximity. It is honing the mind, the body-psyche, to provide for the bodies resources in all life activities including conflict.

Kan'nō [官能]

The characters/ideograms mean "the senses; sensuality; carnality." The first character means, "bureaucrat; government," the second character means, "ability; talent; skill; capacity." 

Kan'no or "senses" mean one thing in life but are special in handling self-defense, fighting and combatives, i.e. You can't trust the evidence of your senses. You can't trust the evidence of your feelings - your internal perceptions - either. It all depends heavily on such things as what you have been told about them in advance, what is fashionable at the time, whether they are part of your culture and ethnic group, and what power relationships exist between them and you.

None of which has anything to do with "reality." Like "real" pain and "real" illness or disability, the specifications depend upon the "perceiving" individual. What we have to deal with in our daily lives is the evidence gathered by our perceptions and this is especially important in self-defense where yours or their perceptions may come to blows. We need to keep those perceptions as accurate as possible, by being willing to perceive things with an open mind and being careful to pay attention to things so that they will yield adequate data.

Remember that the evidence of our personal perceptions may be drastically different from the evidence of some other person's. Realize that our body-mind reacts to what it "perceives" as real, whether it is "out there" or not.

The mechanisms we use to process information from both internal and external environments are our sensory systems - sight, hearing, touch, smell, and taste. Addressing such things in martial system practice and training go a long way to teach, instruct and train in avoidance, deescalation, awareness, legal considerations-manners, and the last resort in self-defense, knowing body mechanics along with fundamental principles of martial system when applying the physical techniques necessary to end the damage.

Kanbase [顔]

The character/ideogram means, "countenance; visage; face; honor; dignity." We as humans and particularly westerners are accustomed to reading faces from infancy. Face-to-face encounters usually involve situations that are perceived as important. We depend on face-reading, mostly at an unconscious level, for fundamentally all of our personal or interpersonal relations. 

Westerners don't tend to subtle facial expressions to display emotional intent. Often our facial expressions will trump any words we may speak. Often the fact will display truth when the tongue wages falsehoods. 

There are some who can hide true feelings behind faces that display pleasantness, happiness and understanding but underneath may be ugly, unhappy and totally lost in understanding. How does a martial artist tell? A most difficult question that warrants a lot of answers and none of them are simple or easy.

To read a face takes great skill and a martial artist who is not involved with a profession that requires such things can only achieve a modicum of success learning about this difficult ability - reading faces. The complexities involve not only race and creed but also cultures, beliefs, perceptions, environments, etc. where a lack of knowledge in any or all areas leads to misunderstandings and maybe result in conflict - even violent conflict. 

Then there is the face you present to others. This becomes important in a conflict. If the other guy perceives something they don't like or care for in your facial expressions then the fight could be on. Its a bit like the guy who says he does not want to fight who walks away, hears an expletive and just has to turn his head and get the last word in ... ops, your either shot or running from a group intent on stomping your face into the pavement. Before walking away you give this guy an shitty look  that says "asshole" and the same thing can happen.

Kangaekata [考え方]

The characters/ideograms/kana mean "way of thinking." The first character means, "consider; think over," and the last character means, "direction; person; alternative." 

Mind-set, that which a karate-ka assumes long before they enter the arena of budo, i.e. karate-jutsu-do. Mind-set,that which you must assume wholeheartedly before entering the world of violence be it by profession or by unlucky encounter. I am not discussing what it takes to enter into a sport oriented competition although that has its benefits but rather the mind-set you assume to "act" correctly in a fight or violent encounter. 

The mind-set you assume as a Sensei to speak, write and teach correctly with correct vocabulary and proper communications necessary to create in practitioners the correct, accurate, mind-set before they have to "make it work." 

The mind-set is a way of thinking, it is an idea and a concept that one must come to terms with through self-reflection and self-transmutation. It  is what you must consider, think over, before you apply your skills as a martial artist. 

You must encode your mind and acquire a mind-set that gives you not just direction but alternatives to the chosen path then absorb it into your being wholeheartedly.

In addition, consider this - a mindset problem masks errors people make because of their expertise, because they have dogmatically adhered to their perception of things and can not see it in any other way. 

Kangeiko [寒稽古]

The characters/ideograms mean, "mid-winter training; cold training." The first character means, "cold," the second character means, "think; consider," the third character means, "old." 

Kangeiko, or mid-winter training, is a form of shugyo training. It is an austere training. It is a mind-body training regimen, i.e. karate training in the dead of winder - a Japanese traditional martial training. It is about training the mind while subjecting the body to winter extremes as one might do for shugyo. It is a process of individual growth through martial training that subjects the practitioner to things normally not endured. 

Kangeiko or cold training is a type of toughness training. I look at it as a mind-state training. If the mind does not experience hardships then it will not remain fluid when hardships are encountered. Hardships teach us to endure and persevere. We force ourselves to perform under difficult and painful conditions to strengthen the individuals spirit by teaching us about our true limitations or as I like to say, our limitless abilities. 

It is an annual challenge to the dojo and its practitioners. It is about engaging in practices that bring the practitioner closer to perceived limits so they may surpass them thus teaching them about their limitless abilities. It is about pushing yourself so as to develop the ability to surpass the stresses of combat, fighting and self-defense.

Kanjo [感情] -noun / noun with genitive case particle ｢の｣ :

The characters/ideograms mean "emotion; feeling; feelings; sentiment." The first character means, "emotion; feeling; sensation," and the second character means, "feelings; emotion; passion; sympathy; circumstances; facts."

You might wonder why this word and character/ideogram set is a part of a martial art terminology list. The most dangerous part of the human condition that is the primary lead toward conflict is one's emotions. Not the positive one's but the negative ones. Anger, fear, frustration, etc.

In martial systems it is imperative one train the mind and body to deal with the emotional aspects of conflict. The emotions trigger the adrenaline dump that further exacerbates the human condition in properly dealing with conflict. In order to deal with the substantive issues underlying all conflict we have to remove the emotional part so the substantive can be dealt with by appropriate means. 

If the martial artist and/or the professional does not deal with the tactics and techniques necessary to put the emotions, i.e. the ego and the pride or what some call the monkey, aside for mental clarity toward the situation and its context then they cannot deal with the substantive issues properly. The monkey will be driving the bus and that means a whole lot of obstacles and resulting damage, i.e. pain or possibly death, legal, medical, moral, etc. 

Add the appropriate reality based training that will trigger such emotions as fear or anger or frustration to recognize and then deal with them so the substantive issues can be dealt with through enablement of rapid discharge of heightened emotions allowing productive resolutions for differences in cause of conflict.

This term is critical to handling high stress conflict. We are subject to our emotions even tho they are ephemeral in nature because they tend to trigger so many systems in the body that are "survival" traits of all humans. Depending on emotions a person can be affected by adrenaline and all those sense changes that result. It also unleashes our monkey brain. 

Controlling emotions is not possible but recognizing them and taking steps to mitigate their effects is the goal in training and practice. If your geared to train toward combative conflict resolution aspects of martial systems then this is critical. When we are hit by our emotions we recognize them and allow them to pass without attaching negative suppositions to them. If the fire is not stoked then the flames of emotion are truly evanescent, they will dissipate quicker. 

When you allow emotions, kanjo, to dissipate then your systems are not subject to the full blown effects of the adrenaline dump. You have a semblance of control to allow the part of the brain that is logical to see the substantive issues and act accordingly. This part is critical to understand and train for in reality based training sessions before you have to endure them in live conflicts. 

Keep the monkey in its cage and allow the logic of your vulcan mind to act correctly and appropriately. :-)

Kanjō inyū [感情移入]

The characters/ideograms mean "emotional involvement; empathy." The first character means, "emotion; feeling; sensation," the second character means, "feelings; emotion; passion; sympathy; circumstances; facts," the third character means, "shift; move; change; drift; catch (cold, fire); pass into," the fourth character means, "enter; insert." 

Kanjo inyu or "emotional involvement" is not openly discussed in martial art training and not in self-defense training where such training leads to a greater mastery of avoidance and deescalation, etc. 

How we involve emotions can mean the difference between success or failure when applying our abilities in conflicts. This is not just those physical conflicts but the more emotional driven everyday conflicts, i.e. strong disagreements, etc., that evolve from misunderstandings, miscommunications and mistakes in actions taken, etc. 

Some aspects to training the emotional aspects is how we use those emotions to boost our abilities or cause our abilities to diminish. Anger vs. excitement; fear vs. anticipation, etc. Being overcome by the adrenaline dump mental and physical response vs. making use of chemical responses to excitement, anticipation, etc. 

Kankaku-ki [感覚器]

The characters/ideograms mean "sense organ." The first character means, "emotion; feeling; sensation," the second character means, "memorize; learn; remember; awake; sober up," and the third character means, "utensil/ vessel/ receptacle; implement; instrument; ability; container; tool; set."  

When teaching a martial art we as Sensei must use all the sense organs to transmit all there is to know about the martial systems. There is the often dominant sense mode of "sight." We tend to relate to the sense mode even when our own dominant sense is not sight. It is the dominant sense mode of westerners and is often the one other sense dominant persons must adhere to in life but to transmit adequately one must know, understand and communicate in the sense mode of the practitioner. 

The three most likely to be best for passing down the system adequately are "sight," "hearing," and "touch or tactile, etc." This does not mean we should not incorporate the sense of "smell." If you learn about violence you will find that a sense of smell can tell you two things. One, your breathing and that is good. Two, the smells of an adversary can tell you about that person and give you information to better avoid or overcome. 

It can be very illuminating to know, understand and utilize your own sense mode and how it affects and is affected by intense emotional encounters.

Kankaku-ki [感覚器] Kunren [訓練]

These two sets of characters/ideograms have been given a meaning of "sense training." The first set of characters/ideograms mean, "sense organ." The first character means, "emotion; feeling; sensation," the second character means, "memorize; learn; remember; awake; sober up," the third character means, "utensil; vessel; receptacle; implement; instrument; ability; container; tool; set." The second set of characters/ideograms mean, "practice; training." The first character means, "instruction; explanation; read; Japanese character reading," the second character means, "practice; train; drill; polish; refine." 

Recently I have read a post or two on sense training. Often it is loosely connected to what some define kata bunkai to be regarding the senses. It has been said that Tatsuo-san had attributed certain sense training to certain aspects of the kata of Isshinryu. Considering the sources and their unofficial sources I have my doubts. I can also say with certainty that anything can be connected to almost anything in explaining things let alone in karate or any martial system. 

Regardless of this view one who practices any martial system should take a front seat toward figuring out how to utilize the senses to the most one can. I tend to start with touch as an important sense. I also attribute the term "feel" to be not only what we feel with our bodies but what we feel as to our so called sixth sense. 

Then I focus on the sense of sight as a more dominant one in martial systems. We humans, especially today, rely heavily on what we see but this is a bit convoluted because we have to understand that what we see is not always what is actually there or happening. What I am saying is our perceptions, our beliefs and our culture and all those entail influence our sight. Then when the trigger goes off dumping adrenaline and other chemicals in our bodies and brains we can also be fooled even more. The monkey and lizard brain where the lizard tends to drop into those inherited survival instincts nature provided to help us way back in the cave man days. 

The last sense I consider important is the sense of smell. When a potential adversary is close to you what you smell can tell you what you may encounter and how you may avoid or deescalate, etc. Other more experienced folks have posted on this sense and it is kind of interesting to listen to practitioners when they first hear how a smell can tell you about what you perceive. Of course you have to use this type of practice without judgements or preconceived notions as to what it means to you vs. what it truly means in the world. 

The best way to train the senses is to pay attention to those same senses when you spar, kumite or even compete. Then you can utilize those senses every single day as you walk through normal life. 

One such post talked about proximity sense training while doing kata. This is a good basic fundamental start but one must remember that spatial perceptions and proximity are only a start. Take for instance a blitz attack from behind that is totally predatory, how would you have used a sense to have perceived it as it is coming or as it starts to do damage? 

When we train and teach we have to remain vigilant as to how we explain or verbalize so the practitioner does not mistakenly assume there is no more and that this one thing is it.

Kankyo [環境]

The characters/ideograms mean "environment; circumstance." The first character means, "ring; circle; link; wheel," the second character means, "boundary; border; region."

Kankyo-henka [環境変化]

The characters/ideograms mean "environmental change." The first two characters mean the same as the two for kankyo. The third characters mean, "unusual; change; strange," the fourth character means, "change; take the form of; influence; enchant; delude; -ization." 

In the martial arts and in regards to self-defense environment becomes a means by which we can set boundaries where our level of readiness increases as we enter into an environment and as we progress through it - all dependent on threat levels perceived. Perception is also important as to environment since a lack of knowledge would hinder detection so knowledge also becomes important toward environmental perceptions, detections and strategies, etc.

Environment also speaks to the two levels of self-defense labeled "avoidance" and "deescalation." The threat levels encountered also dictate which tactic and strategy is put forth to handle conflicts.

Knowing your environments as you travel the way or path, i.e. in the streets the locations you frequent, means not only being aware of danger but also what is available within each environment that can be used to identify or avoid conflict, etc. It means picking up on what is a safety zone, a place of protection or a place of avoidance, etc.