K - Kankyo Ishiki

Kankyo Ishiki [環境意識]

The characters/ideograms mean, "environmental awareness." The first two characters means, "environment; circumstance." The first character means, "ring; circle; link; wheel," the second character means, "boundary; border; region." The second two characters means, "awareness; sense; consciousness." The first character means, "idea; mind; heart; taste; thought; desire; care; liking," the second character means, "discriminating; know write." 

This phrase/term is used to expand on the idea in martial arts, situational awareness (Jokyo Ishiki [状況意識]). Both can be used in connection with each other for a fuller understanding of what a person needs for self-defense, etc. 

Situational awareness is comprised of a certain type of knowledge required for a tactical/strategic response to any given situation where for self-defense this would encompass knowledge of violence, the laws and the techniques/actions/tactics necessary to avoid, deescalate or stop an adversary. Part of avoidance is also environmental awareness, i.e. the knowledge required to know where you are at, what situations you may encounter and how to handle those situations, i.e. the rules of the group, the rules of social behavior and how you learn those rules, cultural beliefs and so on to avoid, deescalate and act accordingly. 

If you are aware of the environments requirements before you enter it you then can avoid issues then if you do encounter an issue your situational awareness requirements should provide you the information necessary to avoid violence, deescalate yourself then your adversary or if necessary to take the appropriate physical actions to remove yourself from danger and into safety. 

It is not just about the physical techniques necessary in the fight but all those leads or tells that lead up to the fight. If you are not aware, knowledgable and trained adequately then you will be a victim. Self-defense has many aspects of which the last resort is to apply physical actions that cause damage. It is an instructor of self-defense's obligation to his or her students to know this and to adequately teach it.

Kanpai [感佩]

The characters/ideograms mean "deep gratitude; heartfelt appreciation; not forgetting to express one's gratitude." The first character means, "emotion; feeling; sensation," the second character means, "wear; put on (a sword)."

Kanpai [完敗] The characters/ideograms mean "complete defeat; utter defeat; annihilation."

Kanpai [乾杯] The character/ideograms mean "toast; drink (in celebration or in honoring of something); drinking one's glass dry; cheers."

Often heard bandied about in martial arts circles. When one speaks it aloud they can be expressing deep gratitude, etc. to a person, place or thing. When one states, "Kanpai Sensei," they are offering this type of expression. Then when one is speaking the term to a group in a club, bar or restaurant with an alcoholic drink (or just a drink) they are toasting, i.e. giving cheers, unless it is directed toward some one, thing or place. 

The one definition many martial artists may not be familiar with is the one meaning complete defeat, etc. You think that when one cheers kanpai that they are celebrating something or other but it also means just the opposite, i.e. expressing annihilation, utter or complete defeat in something.

Kanpeki [完璧]

The characters/ideograms mean "perfect; complete; flawless." The first character means, "perfect; completion; end," and the second character means, "sphere; ball." The overall intent for this post is "perfection."

We seek perfection in martial systems. This seems to be a "goal" and that in my perception is a flaw. A flaw because perfection is unattainable and it is because simply we are all humans and humans are naturally flawed. Actually flawed may not be adequate but what might is to say humans are in flux, constantly changing as each moment passes. I would say, "Perfection is the seeking of it for to be perfect is a journey and not an end result. - unknown" 

You have heard the stories about the masters who still practice "basics" (emphasis of quotations mine) and explain they have not gotten it right yet or it is not perfect yet. This statement also leads to a misunderstanding of perfection. It actually should be that the master was still working on the perfection, the journey toward the perfection in always trying for perfection. 

It comes down to the moment when perfection might be perceived the moment changes and new influences dictate that the old was not actually perfect but was a good beginning toward another path or journey in seeking perfection.

Kansoku [観測] -n- Kansatsu [観察]

The characters/ideograms mean "observation." The first character means, "look; view; outlook; appearance; condition," the second character means, "fathom; plan; scheme; measure." 

Kansoku or observation is another most important aspect of learning a martial art. In a traditional or classical dojo you would observe the dojo practitioners in positions to observe all things that go on in the dojo and on the dojo floor. It is a part of training one's awareness through observation, i.e. kansoku. 

If unable to train or practice for any reason you will find the budo-ka always attending dojo in a kansoku mode, sitting patiently and with acute awareness to all that is going on while the other dojo participants are practicing and training. 

When kumite, a modern method, is in motion all other practitioners are sitting seiza quietly and with acute awareness kansatsu or observing [観察] to learn and critique, in their own minds and possibly later for the entire dojo.

Kanten [観点]

The characters/ideograms mean "point of view." The first character means, "outlook; look; appearance; condition; view," the second character means, "spot; point; mark; speck; decimal point." 

You present a viewpoint. To do so means you want a comment from the person or persons you presented said viewpoint too. This is a normal means of communicating. If the person or persons present their viewpoint in response and it happens to be a different one, i.e. they disagree with your viewpoint, then what do you do?

First, you present your facts to support your viewpoint with clear, concise and non-inflammatory voice and body language. You don't place personal attacks within those facts - you simply state the facts as you know them in support of your viewpoint. The idea is to gain acceptance of your viewpoint, not to force anyone to accept your viewpoint - acceptance of the facts counter to ones beliefs are the important goal here with out antagonism or conflict, provide your facts are acceptable and valid to your viewpoint. 

If the other person or persons fail to accept your viewpoint and those facts supporting that viewpoint what do you do? You don't continue to antagonize the other person or persons because this just closed their mind to knowledge and solidify their viewpoint and belief beyond reason. It does not promote change or acceptance of your viewpoint. It is also important to remember that maybe, just maybe, your viewpoint is not as accurate as you believed. Be ready to change if they provide facts in support of their viewpoint to warrant change on your part - be open minded.

If they fail to convince you of their viewpoint and you fail to convince them of your viewpoint, do you just keep beating them about the head and shoulders, metaphorically speaking of course, trying to "force" them to accept your viewpoint? No, you did your due diligence in presentation of facts in support of your viewpoint. There is no need to continue the struggle regardless of how right you may be and how wrong they may be because if they have dug their heels in deep enough nothing you say, do or write will change their minds. Actually, unless they also fall prey to "taking it personal" they will just stop listening to you and your viewpoint and simply promote their view and viewpoint to those who will listen or read that viewpoint. Same goes to your viewpoint. 

What does it accomplish by arguing constantly with those who cannot, will not or refuse to listen to your viewpoint? Nothing but conflict. If you live and breathe to be in conflict then this is your game. This is how flame wars begin and propagate. The love of the conflict is what drives them now, not the viewpoint or the facts - those are merely the excuses used to continue the conflict, disagreement or disagreeable situation. You can't convince those who believe and will not change their viewpoints that all depend on how well one present their viewpoint and facts in support. 

Once of the principles, i.e. fundamental principles of martial systems, is economical movement. This applies to presentation of viewpoint as well. You give the viewpoint, you provide facts to support that viewpoint, you listen to the counter points with supporting facts, you either accept or reject those viewpoints and facts with an open-mind and then you move on and leave those with differing viewpoints to live their lives as they have seen fit and forget them to focus on those of like minded viewpoints - leave the conflict that cannot be resolved with those who fail to change their viewpoints for what ever reason and focus on those who will listen with an open mind. More productive and efficient that way and lives up to the ideals of martial arts way, karate-do and the fundamental principles of martial systems of which you practice, train and apply.

Kantan-ryoku [簡単力] or Tanjun-ryoku [単純力]

Both of these characters/ideograms mean "simple force." The first set of characters, i.e. the first character means, "simplicity; brevity," the second character means, "simple; one; single; merely," the third character means, "power; strength; strong; strain; bear up; exert." The second set of characters, i.e. the first character means, "simple; one; single; merely," the second character means, genuine; purity; innocence," the third character means, "power; strength; strong; strain; bear up; exert."

When applying force in martial arts it is important to know and understand how simple force works. The human body can take a good deal of punishment and it absorbs some forces very well. This is the nature of the bodies inherent defenses for survival. The body can receive simple types of impact and that simple force is manifested by straight, non-rotating energies that hit the body flatly. 

Take the Isshinryu straight punch or any martial art straight punch for that matter. It uses forward motion to generate energy, it has no rotation and it has no other motions so it hits flat to the body. We humans can absorb a lot of that energy without any real ill effects, i.e. damage. This is why you see it used a lot in demonstrations and in tournaments. 

Since the nature of the human body allows larger absorption of such force it makes that type of punch less effective regardless of how often we employ it and we tend to employ it a lot especially with sport oriented training and practices. This may be one reason why we lean further toward more power generation efforts in lieu of allowing principles to work for us. It becomes a matter of what type of force we use as martial artists instead of how much we use. 

In order to exploit the bodies vulnerabilities regardless of the fitness and size of an adversary we need to deliver the right kind of force with the right kind of techniques to the body. It gets complicated in its simplicity. We have to use complex force, i.e. a forward motion in conjunction with other types of motion such as spiraling, scissoring, carving, vibration, and/or sheering. Each of these are principles in their own right. 

Simple force is what nature provided the body for survival/protection. In nature the forces we encountered in survival, etc. were almost always simple forces so our bodies naturally evolved to provide protection, i.e. a hard skeletal system, flexible joints through muscles, tendons, and cartilage and finally muscular padding. 

Of the five complex forces it is not surprising that the spiraling force seems to be the one the body is most prone to succumb toward injury and damage. The body is prone to spiraling impacts, i.e. martial artists will recognize the Okinawan mainstay of punches, the spiraling punch. Those who use tuite, etc. will also recognize spiraling since joint locks benefit from that force. 

Lastly, spirals are everywhere in nature. The path the Earth, Sun, Moon, etc. travel through the cosmos is a spiraling pattern. Much of nature, i.e. look at the branches and bark of trees, is about a spiraling motion that is nature and natural to all things in nature. Take a look at the various belief systems of Asia and you will find the spiral, i.e. take a close look at the two dogs found at the entrance to Asian (Shinto) shrines and you will find spiraling. 

Simple force techniques do have their benefits but to rely on them leaves to many choices out of the equation and the goal here is to use what is necessary to stop damage and leave the scene - fighting is illegal but proper use of various forces to end the fight properly and within the laws of society are usable. 

In closing I quote, "Ultimately, all simple motions can and should by empowered through the proper exercise of at least on of the complex forces. It is not how hard we hit, but how we hit hard that matters." - Steven J. Pearlmen, The Book of Martial Power.

Kan'yo [寛容] 

The characters/ideograms mean "tolerance; open-mindedness; forbearance; generosity." The first character means, "tolerant; leniency; generosity; relax; feel at home; be at ease; broadminded," the second character means, "contain; form; looks." 

Kan'uo, or tolerance. A trait indicative of a master where they are not affected by outside influences in any negative way that would hinder present moment mind. Coupled with that are the traits to be of a generous nature regardless. To be lenient, gracious, relaxed and broadminded all come to mind when you discover the talent indicative of a tolerant man. 

Sensei must display in action and deed tolerance, leniency, generosity and open-minded/broadminded traits. It becomes a trait that is part and parcel to the very essence of teaching, training and instructing. It is what makes a mentor a mentor. It is Sensei, one who comes before with the knowledge, experience and wisdom of a master.

Kao joho [顔情報]

The characters/ideograms mean "facial information; facial expression." The first character means, "face; expression," the second character means, "feelings; emotion; passion; sympathy; circumstances; facts," the third character means, "report; news; reward; retribution." 

In martial arts combative strategies and tactics it is important to recognize facial expressions or emotions; looking for fear, confusion, surprise, anger, etc., and to use them to your advantage. It is a matter of taking psychological advantage of an adversaries weaknesses and inconsistencies in order to manipulate, deceive and defeat him. 

Look at kao joho, or facial expressions/information, as one means of finding a "tell" or indicator of their actions and reactions to your tactics and strategies. Just one of many avenues to defeat an adversary or opponent.

Karada no yakusoku [体の約束]

The characters/ideograms mean "body commitment." The first character means, 'body; substance; object; reality," the third character means, "promise; approximately; shrink," the fourth character means, "bundle; sheaf; ream; tie in bundles; govern; manage; control."

Body commitment, a term I first read about in the book below, has a meaning to me outside what Mr. Christensen and Mr. - write of in the book. To me it involves a commitment of the body in support of the technique applied. It is a whole body application to that technique that promotes power enough to stop the damage. 

Sometimes training for tournament, point oriented, contests a practitioner will lack body commitment as the speed with which techniques can be applied are greater but to actually deliver force that will take a person down is another matter requiring body commitment.

Martial artists train this, mostly, but may not recognize it or actually address it directly in the teachings to train and practice it. Put in body commitment along with economic movement as well as body alignments, etc. you get some pretty good techniques that should do the job. If you get into a fight on the street do you really want the fast technique or one that commits all the fundamental principles of martial systems for a solid, power driven and devastating technique? 

Don't ever take my word for it, work it out yourself and give it a chance to vet itself in your practice and training. :-)

Karada de Oboeru [体で覚える]

The characters/ideograms mean "to master something (through personal experience)." The first character means, "body; substance; object' reality; counter for images," and the second character means, "memorize; learn; remember; awake; sober up." 

This term speaks to the concept, "mind over matter." You will see this practice through daikan, extreme cold training, etc. It also speaks toward the concept of shugyo or rather training and practicing to the state of complete exhaustion, day after day and year after year. Its purpose is to transcend our physical and mental limits. To achieve a mind that has no limits. It forges and tempers the spirit to such levels an observer may perceive it as magic.

Karada de Oboeru is to "learn with the body." It uses repeated physical actions or techniques that increases in levels of difficulty making them instinctive and encoding them into the neural circuitry of the brain. It is a foundation to the fundamentals of all arts and skills but most sought after in the martial arts.

Karada ishiki [身体意識]

The characters/ideograms mean "body awareness." The first character means, "somebody; person; one's station in life," the second character means, "body; substance; object; reality," the third character means, "idea; mind; heart; taste; thought; desire; care; liking," and the fourth character means, "discriminating; know; write."

Karada ishiki, or body awareness is that which tells the mind what is going on with the body by a "sixth sense," i.e. no eyes or ears involvement - mostly. You know you can't just shut senses down but you can train to place your focus on body awareness instead.

You need to practice so you can "feel" instinctively where your body is and where the  body of your attacker is in relation to the fight. You cannot depend of seeing your stance you must do it enough so that stimuli triggers an assuming of said stance while applying waza then moving on for some other action or intent. 

You must achieve instinctual feeling for all the fundamental principles of martial systems such as body alignment, posture, kamae, etc. so you will know instinctively the body in what ever state it may be  in at any given moment. If you stumble and fall, ops, your body awareness coupled with environmental awareness are gone and gravity is about to give you a hard lesson not to mention your adversary when this is taken advantage of ....

Karada de wakaru [体で分かる]

The characters/ideograms/katagana mean "seen in the body; understand by (your) body." The first character means, "body;' substance; object; reality," the third character means, "part; minute of time; segment; share; degree; one's lot; duty; understand; know;; chances." 

This phrase/terms in martial arts refer's to the need to empty the mind as in mushin but a more acceptable meaning or clearer to western thought by the phrase, "Just do it." It is a means of understanding your body, mind and spirit where you sense or see in your body certain feelings that bypass thinking and move right into doing. 

Also: Chodo sore o okonau [ちょうどそれを行う]

Karada-kitae [体鍛]

The characters/ideograms when combined in martial arts means "body forging; body discipline; body train." The first character means, "body; substance; object; reality," and the second character means, "forge; discipline; train." 

Karada-kitae (also known as "Kakie") is a common form of training used to strengthen and condition the body. It conditions the practitioner for close in fighting. The term consists of 'Karada' and 'Kitae' which means 'Body' and 'forge' which means to forge the body.

It is intended to strengthen and toughen the body which includes the feet, stomach, leg and shin, and arms. It teaches the student to maintain proper distance when engaging kumite. It also gets the student use to the idea of being unafraid of pain and being in close proximity to their opponent.

Karada-kitae teaches you how to physically handle an attack and it also prepares you mentally.

Its origin is not clear and yet it has been a part of training for over a hundred years.

There are several forms of Karada-kitae to condition specific parts of the body:

• • Ashi-kitae: the conditioning of the foot. This exercise is done by one partner while they use their instep of the foot to help condition the legs and shins of their partner.
• • Kashi-kitae: the conditioning of the leg and shin. The partner uses the foot instep to strike the thigh and shin/calf area of the others legs. The switch sides to get equal conditioning.
• • Kote-kitae: the conditioning of the arm or forearm.
• • Fukubu-kitae: the conditioning of the stomach.

Performing these four conditioning exercises condition those area's of the body providing the practitioner the benefits of body protection and preparing the mind to deal with being hit with the pain that goes along with self-defense.

Karada no Ugoki [体の動き]

The characters/ideograms mean "body movement." The first character means, "body; substance; object; reality," the third character means, "move; motion; change; confusion; shift; shake."

It is all about body movement, karada no ugoki. When I speak of body movement I speak of techniques as to bunkai of kata. The posts and conversations about bunkai come down to what the bunkai contain. Some will say it is a strike while another might say it is a manipulation of a joint and yet another will say it is a throw, grappling or judo move. 

The movement then becomes a topic of discourse. One says to the other that one or the other is the true bunkai but what really matters is the actual body movement and what that movement will support as to all the possible techniques you can associate with that movement. I am speaking of the entire body movement, the karada no ugoki. 

This is also a means to test out such bunkai. If the body movement will not adequately support that movement or technique to make it effective against the body movement of an adversary then it won't work and then must be discarded or changed to promote efficient body movement to achieve that goal, tactic and/or strategy.

This is one of those things that must be taught in practice and training along with this simple academic rendering of a term or phrase, i.e. karada no ugoki.

Karada Seishin [体精神]

The characters/ideograms mean "body-psyche." The first character means, "body; substance; object; reality," the second character means, "refined; ghost; fairy; energy; vitality; skill; purity; excellence," and the third character means, "gods; mind; soul." 

A term, new for me, that exemplifies the solidity of truth that the mind and body are one and not two separate entities and therefore to achieve progress one must take a holistic approach to the body-psyche or mind-body relations. There is and always has been a two-way communications between our psyche and our bodies. 

When we think mind we tend to consider the input and export of information as well as the emotional ebb and flow experienced within the mind. We consider this non-material or more esoteric in nature. Something that cannot be seen or grasped but exists. The mind is a central station of communications as to networks the bridge between the material body and the mind, i.e. the body leads the mind; the mind leads the body. 

It is not just a matter of mechanical hardware, relaxes and electrical energies sometimes thought of as "ki or chi," but mind that connects to physical manifestations of what is thought and experienced within the mind, i.e. fear triggers the adrenaline dump of chemicals resulting in breath changes and increase heart rate, etc. 

It is understand, at the moment of this post, that the emotions do carry information linking major systems of the body called the body-mind. Cellular signals involved in a process that translates information of the mind into physical reality. This is transformation of mind into matter and matter causing changes in the mind. 

This is what must be learned, understood and then applied in our martial practice for if we allow the mind's emotions to rule then they become "monkey brain" driving the bus scenario's but should be driven back into the cage from wince it came allowing our more logical mind to communicate with, symbiotically speaking, the lizard brain. 

Often martial training does not take into consideration the body-psyche model and therefore can be lead indiscriminately into either or the good or bad applications. It even opens the doors to good applications that go beyond what is societally acceptability resulting in physical-mental and legal damages.

Karada-teki sesshoku [身体的接触]

The characters/ideograms mean "bodily contact." The first character means, "person; somebody," the second character means, "body; object; reality; substance," the third character means, "bull's eye; mark; target; object," the fourth character means, "touch; contact; adjoin; piece together," the fifth character means, "contact; touch; feel; hit; conflict."

This term or phrase has special meaning in martial arts. It comes into play with drills where a partner participates resulting in karada-teki sesshoku or bodily contact. This bodily contact has to be monitored and controlled. A sensei must know their practitioners and they must monitor and control their levels of contact to avoid not only injuries but loss of control caused when emotions enter into the picture - which can occur when control is lost, even a little.

Bodily contact is necessary if you practice and train martial arts as budo or self-defense. It adds some realism to the practice. In a lot of reality training or reality scenario's bodily contact taking the control to its maximu without passing the "no fly zone" is critical and control once again is a combination of knowing the persons involved, knowing limitations and knowing the intricacies of such reality scenario's.

In a normal martial arts training hall it is still necessary to know these things so this must be part of all instructor/teaching credentials, i.e. knowledge, experience and proficiency, etc. 

Once you set the ground rules on karada-teki sesshoku you have to also establish a "zero-tolerance" rule so that no one will misuse and as to accidental exceptions it is your, sensei and senpai, responsibility to monitor and control these training situations. 

This bodily contact rule includes strikes and kicks but also grabs, chokes, etc. which are found in a variety of martial systems even in karate as grappling. The differences as to striking vs. grabbing, etc. also contribute to the karada-teki sesshoku rules. This also regards contact vs. force where chokes use a degree of applied force and a punch to the solar plexus regards the degree of contact that also includes the amount of force applied - considerably involved aspect of training and practice.

Note: this is so important you need to refer to the bibliography, i.e. one good source is the "Leading the Way" by Tim Brown and Rory Miller.

Note II: Be diligent in not only controlling the contacts but make sure that you have the proper credentials to teach in this manner, i.e. are you certified for first aid? Do you have a phone and contact information for emergency services? Do you have permission from parents if you train/teach young adults? Do you have insurance? ......

Karamiti [絡み手]

The characters/ideograms mean "trapping hands; entangling hands." The first character means, "entwine; coil around; get caught in," the second character means, "hand." 

Karamiti is a term used to describe "torite [捕り手] techniques." These techniques in this description are "set-up, stabilizing techniques" used in karate to be followed up with kicks. It is "like" the use of a trap or entanglement that stops the adversary for a moment so that a more powerful kick can be applied stopping the fight. It is not exclusive to kicks but many Karate systems refer to the "toe kick" when describing this method.

This is just another method of describing the various tuite type techniques that are trapping, entangling, pressure point application, etc. of various controlling techniques using joints and pressure/pain points to stop and set up an adversary.

Karate, Empty Hand [空手 · 唐手]

At first, when karate was first used, they used the characters/ideograms [唐手] that meant, “T’ang; China.” Later, per Gichin Funakoshi sensei, the characters/ideograms [空手] that meant, “Empty; sky;void; vacant; vacuum.” The character/ideogram for hand [手] was used for both. 

It appears that the two older characters were used in deference to the sources that resulted in the system/art of Ti (Tee) as pronounced in the Okinawan dialect, i.e., Hogen/Uchinaguchi, that also meant “Hand.” 

The reasons the indigenous art of Okinawan Ti used hand was not necessarily because one had to use their bare hands for defense and protection but rather the empty hand was the method to not only protect with the empty hand but the empty hand also was a prerequisite toward the training, practice and use of weaponry be it the “Stick (Bo),” “Iron Foot (Sai),” or “Spear (a blade that inserted into a stick relating it to the Bo).” 

The empty hand training therefore not only taught the practitioner to protect themselves with bare fists and feet, etc., but also provided the foundation that enhanced and promoted the training and practice of weaponry as explained in the last paragraph, i.e., the bo, etc.

Then there  is the use of “Empty.” Yes, it was a fundamental trait of the martial arts that one must use hands with no weaponry like the bo or sai but it held other meaning as well. Skills with “Empty,” i.e., weaponless hands, are a foundation for the employment of “Forms,” i.e., forms in those days were meant to relate to weapons training and practice. Then the meaning of empty hand is to be rooted in all martial arts where the forms are emptiness, another translation and meaning behind the character/ideogram [空]; emptiness being form. The emptiness is where all martial arts begin while they assume variances in form such as weaponless form along with form that extends the hands through the arts of weaponry or what is referred to today as, “Kobudo [古武道 - 琉球古武術] or Kobudo-jutsu.”

In closing, the “Empty Hand” is the root, the foundation of all martial arts because without the empty hand weapons are empty or useless, of all martial systems/style/arts. If one takes in hand a weapon instead of the fist, it becomes the art of the type of weapon taken up by that hand. If one takes up in their empty hand the bo, then the art becomes the art of the bo, bo-jutsu. Therefore karate, empty hand, does not contain exclusively weaponless components but rather is the seed that expressed the roots, trunk, branches, leaves, etc., that is martial arts or systems, i.e. bo-jutsu, sai-jutsu, yai-jutsu, and so on. 

Empty hand is not just an empty hand but the source, the soil, that provides extensions and variations of all martial prowess from the hands, feet, body of the practitioner to those enhancements or extensions we call kobudo, weapons. Like many terms, characters and ideograms used in Asian martial arts, they don’t just have one distinct meaning but allude to many variations on meaning for the application, training and learning of martial arts. 

Note: If this is true and accurate then the lumping of all martial arts both empty handed and weapons based are truly and correctly lumped under the title of, “Karate [空手].”

Note: It was understood also that Funakoshi Sensei also focused on the empty hand in reverse, i.e., the need to carry weapons in modern times is no longer acceptable especially after WWII. Modern society does not condone the use of enhancements or weapons outside of the professions that use them for enforcement of societies rules and laws therefore, as Funakoshi Sensei meant in the early 1900’s, practitioners should focus more a kind of self-defense/protection that allows them to defend attacks, etc., without weaponry. Thus, why weapons like the bo, in early days, was taught, trained and practiced after learning empty handed methods.

Karate Danwa [空手談話]

The characters/ideograms mean "a talk; conversation." The first character means, "discuss; talk," the second character means, "tale; talk." This is the Okinawan tradition of gathering outside the dojo for a talk about karate. This informal gathering allows the Okinawan's to let down their cultural guard and talk openly about karate whereby more of the essence, history and context of karate comes forward than would normally occur in the dojo. 

It is not uncommon for alcoholic beverages to flow thus loosening reserved or introverted personalities resulting in a greater passing of more intimate knowledge of karate-do and karate-goshin-jutsu. 

In some Asian cultures speaking openly and with out reservations is not always possible unless certain conditions are present. This is one of those conditions, karate danwa or karate conversations where all parties are allowed to release themselves, under the guise of a bit too much to drink, from such cultural restrictions.

Karate [空手] Dento [伝統]

The characters/ideograms mean "tradition; convention; empty hand." The first character means, "empty," the second character means, "hand," the third character means, "transmit; go along; walk along; follow; report; communicate; legend; tradition," the fourth character means, "overall; relationship; ruling; governing." 

The characters together are used on Okinawa to mean "karate tradition." It is not clear that this also represents traditional karate as a traditional form vs. a tradition may not meet in the middle. A karate tradition could mean karate kata, i.e. kata is a tradition of karate used for teaching. A traditional karate would be all inclusive of the system, i.e. Goju-ryu is a traditional system of karate derived from the original traditional form of martial art of Okinawa referred to as "Ti or Toudi." 

In my view karate dento means a traditional or classical martial art system called karate. The definition of what constitutes a traditional form of karate is open to much debate and there have been no clear definitions provided except on an individual belief supported by a sensei of a particular system or style.

Karate gi [空手着]

The characters/ideograms mean "karate gi; karate uniform." The first character means, "empty; sky; void; vacant; vacuum," the second character means, "hand," and the third character means, "don; arrive; wear; counter for suits of clothing."

This is the white, traditionally, uniform derived from the Judo uniform and specifically modified to fit the karate systems of budo. The following are terms and phrases to describe the nomenclature of the uniform.

The tops of the karate uniform on Okinawa were often half-sleeves in order to allow for the development of sensitivity, i.e. using ukebarai training using both arms so that at the moment of contact and when evading an opponents blow, etc. Karate wear of pre-World War II were all half sleeves. In Isshinryu, Tatsuo-san per Advincula Sensei, wore only the Uwagi or karate top while continuing to wear the han-hakama or white short type hakama. Both allowed, it was believed by the practitioners of those days, better freedom for training and practice, i.e. the ability to better get tactile sensitivity when training/practicing with other karate-ka.

Eri: Lapel [襟 ] neck; collar; lapel; neckband

The character/ideogram means "lapel or collar or neckband." This is the term used to refer to the karate-gi jacket trim that is a part of the entire neck and jacket closure trim.

Sode: sleeve [袖] sleeve

The character/ideogram means "sleeve." This is the term used to describe the sleeve of the karate uniform jacket. 

Zubon: pants [ズボン] trousers (Also written as 洋袴 and 段袋 during the Meiji period.) [段袋] baggy trousers (worn in the late-Edo and early-Meiji periods by samurai

The character/ideogram means "trousers." This term and word refer to the trousers, i.e. baggy trousers, worn as a part of the karate uniform. 

Shita (uwagi-ka): {uwagi-ka no soko [上着下の底] }jacket bottom trim [上着下] below; down; descend; give; low; bottom beneath; underneath.

The characters/ideograms mean "trim at bottom of the jacket but the first word "shita" does not mean this exactly. The second phrase uwagi-ka no soko does refer to the bottom of the jacket and we can assume it could me the trim at the bottom. Often karate-ka are straightening up the jacket for neatness by grabbing the bottom edge of the uwagi, jacket, and pulling down until it is once again neat and straight. 

Sodeguchi: sleeve opening of jacket [袖口] cuff; armhole

The characters/ideograms mean "cuff; armhole." This is the wide opening at the end of the uwagi sode or uniform jacket sleeve. The first character means, "sleeve; wing (building); extension; give cold shoulder," and the second character means, "mouth." 

Uwagi: jacket [上着] coat; tunic; jacket; outer garment ... first "above," second "don; arrive; wear."

The characters/ideograms mean "coat; jacket; tunic; outer garment." The first character means, "above; up," the second character means, "don; arrive; wear; counter for suits of clothing." The uwagi is the karate uniform jacket. 

Karate Goshin-do [空手 護身道 ]

The characters/ideograms mean "the way of the empty-hand human defense/self-defense." The first character means, "empty; sky; void; vacant; vacuum," the second character means, "hand." The third character means, "safeguard; protect," the fourth character means, "somebody; person; one's station in life." The fifth character means, "road; street; way; path; course; the way (of proper conduct, etc.); one's way; morals; teachings; dogma; way; method; means."

This seems according the author who has considerable experience, knowledge and proficiency in budo the proper way to address karate that can be a part of the budo concept. He goes on to state that there are three fundamental elements of practice and training and living karate goshin-do that if morphed or merged or synthesized into a symbiotic one whole achieves budo status. 

The three elements that can make karate a budo system are "waza/technique," "maai-hyoshi/interval-rhythm or tempo," and "yomi/intuitive anticipation of an adversary." Budo is what he describes as a dynamic/simultaneous synthesis of the three into the one or the wholehearted essence of budo for karate goshin-do.

There is more provided from the author on budo that warrants reading his newest book listed below.

Karate-goshin-jutsu [空手 護身術]

The last three characters/ideograms mean "art of self-defense." The first two characters/ideograms mean "karate; empty handed." When combined the entire character/ideogram set means, "empty handed are of self-defense." The first character means, "empty; sky; void; vacant; vacuum," the second character means, "hand," the third character means, "safeguard; protect," the fourth character means, "somebody; person; one's station in life," the fifth character means, "art; technique; skill; means; trick; resources; magic."

When you consider traditional or classic karate of Okinawa then this phrase relates its true core as a means of self defense using the empty hand. Although grouped with kobudo, martial arts weaponry, the art of karate as self-defense stands alone as does kobudo. Anything else can be considered out of the realm of traditional or classical and placed firmly in the sport or esoteric forms of karate practice.

Karateka [空手家]

The three characters/ideograms mean "a karate student or practitioner." The first character means, "empty; sky; void; vacant; vacuum," the second character means, "hand," and the third character means, "house; home; family; professional; expert; performer."

Karate no kata [空手の型]

The characters/ideograms mean "kata (in karate)." The first character means, "empty; sky; void; vacant; vacuum," the second character means, "hand," the fourth character means, "mould; type; model. The third character is used to connect or make clear the connection between the first two characters and the last, i.e. empty handed and kata.

Karate no Kokoro [空手の心]

The characters/ideograms mean "heart of empty hand." The first character means, "empty; sky; void; vacant; vacuum," the second character means, "hand," and the third character means, "heart; mind; spirit."

Although not a term but a phrase this one also speaks volumes to the philosophy of martial practices regardless of the system. This speaks directly to the system of "ti or te or karate" but also holds value in other martial systems. I can speak mostly to karate-jutsu-do. Note that the terms and meanings must be culturally connected to the sources, i.e. Okinawa, Japan and China, as the three sources or essences that make up the whole of karate-jutsu-do.

The practice and use of karate-jutsu without the moral compass of the "do or way" of karate allows to much space for perceptions to be corrupted making it into a brutal fighting system. This begs upon the statement from Tatsuo-san and other great karate-ka that learning about the culture and beliefs of those who created this system becomes critical "before" taking on the practical physical side of karate-jutsu-do. 

In this light maybe it is best to call the system Do-no-karate-jutsu so that the importance of the Do or Way aspects get greater attention. I believe the order is actually correct, i.e. karate-jutsu-do, because often the characters, in times past, were written from right to left putting the "do" in its prominent and warranted position. 

Westerners, naturally so, read and interpret from left to right so it does put the most important in last place and is often only contemplated in later, winter, years of life and practice/training - this must be corrected by today's practitioners.

Karate wa kunshu no bugei [空手 は 君主 の 武芸] 

The characters/ideograms mean "empty hand martial art of sovereign, ruler, monarch." The first two characters mean "empty hand," the third character us used to indicate a contrast with another option, the second two characters mean, "ruler; monarch; sovereign," the fifth character indicates a possessive, the third two characters mean, "martial arts." 

The first character means, "empty; sky; void; vacant; vacuum," the second character means, "hand," the fourth character means, "mister; you; ruler; male name suffix," the fifth character means, "lord; chief; master; main thing; principal." the seventh character means, "warrior; military; chivalry; arms," the eight character means, "technique; art; craft; performance; acting; trick; stunt."

This phrase is used in Okinawa karate to explain possible origins of karate, i.e. Ti or Toudi may have been exclusive to the ruling classes. Since martial systems to be classic and wholehearted require the concept of bunbu-ryou-dou, i.e. the physical and academic model, the only ones who could attain such an education were the Okinawan Royals. Since the martial arts were considered in this fashion whereby intelligence was to be attained then it is my theory that since only those who could afford or be allowed to seek out such academia, i.e. a path toward intelligence, then karate was studied by the Okinawan rulers and their employees, etc. 

This would explain why it was limited until a time when passing the karate or martial arts off to those outside of the royal folks was initiated to provide protection against occupiers, i.e. the Japanese who conquered Okinawa in the 1600's where the banning of weapons occurred. It may have also been a result of earlier restrictions on weapons by the Okinawan rulers before the Satsuma clan came to rule Japan for the Shogun and Japanese Emperor. 

It may also add to the promotion of education to the physical since the general populace started to learn an educational model of karate when it was added to the schools of Okinawa, i.e. karate became a military way that filled the requirements of the Japanese in support of a budo mind-set and the coming wars.

Kashi-kitae [下肢鍛え]

The characters/ideograms mean "conditioning of leg and shin." The first character means, "below; down; descend; give; low; inferior," the second character means, "limb; arms and legs," the third character means, "forge; discipline; train."

The partner uses the foot instep to strike the thigh and shin/calf area of the others legs. The switch sides to get equal conditioning.

Kaso Dojo [仮想道場]

The characters/ideograms mean "virtual training hall." The first two characters mean "imagination; supposition; virtual; potential (enemy)." The first character means, "sham; temporary; interim; assumed (name); informal," the second character means, "concept; think; idea; thought." The second two characters mean "dojo (hall used for martial arts training)." The first character means, "road-way; street; district; journey; course; moral; teachings," the second character means, "location; place." 

Kaso dojo or the virtual dojo is a modern concept where one learns a martial art vis electronic means, i.e. the Internet and a personal computer along with other materials such as books, video's, youtube clips, emails, etc. 

In my humble opinion, although the idea and concept is modern and follows the path of many educational institutes including Universities this is not possible with a mostly physical endeavor like karate, etc. where one must rely on their system, style or art for self-defense. It is also not conducive to the sport oriented martial arts either. Would you go into the cage with only virtual learning in your pocket? 

There are far to many aspects and contexts within martial systems that require a hands-on approach. Many things are learned through touch, tactile sensitivities, and can not be learned any other way. 

Virtual learning on an academic model, i.e. history and information about the more esoteric teachings, can be learned this way but karate, aikido, kendo, judo, etc. cannot be properly taught and learned via this method. As to usefulness as a resource to martial artists it, like books, videos and other articles, etc., it can be invaluable to the professional for references, etc. 

Even a very experienced martial artists can not adequately learn the nuances of a system that is outside their core system of practice and training. It also requires one of greater experience in a core system before they can benefit from this type of training and even then must attend, in person for hands on adjustments, a dojo proper and a sensei proper. 

I humbly submit that this type of training without many caveats is just another McDojo effort to get your money. I regret having to say this as there are some excellent practitioners who have jumped on this wagon to ride the gravy train to more income. 

I believe many of those who use this venue to teach will argue the point vehemently but I have yet to run into anyone who has trained as a novice by this method to have actually learned a martial art - just some dancing around type stuff with no substance. Yet, I will admit that for someone with exceptional talent is MIGHT be possible but my doubts are still present and screaming to me, "No way!"

Kata [型]

The character/ideogram means "pattern; style; kata (standard form of a movement, posture, etc. in martial arts); model; form; mold; template." Kata are the foundation to the art of karate-goshin-jutsu-do. It is a blueprint of both historical and current fighting techniques for the empty hand. It is a complex issue and topic that spans at least thirty separate broad issues to describe their importance as a tool to teach, practice and train karate.

It is the mold, the template, that creates an individual karate-ka. The patterns, rhythms and cadences teach many things along with some of the most important fundamental principles of martial systems, i.e. posture, alignment, power generation, etc. Often ignored by modernist practitioners it is now coming back into vogue, so to speak, since the current research and practice is giving greater weight to its practice for combative sporting arts while those in budo have always known and accepted kata for what the are. 

Kata: why they work; keiko kata; kaho kata; stages of kata; jiyu-kumite kata; uke and tori in kata; kata pattern practice; honto kata; embusen/enbusen in kata; kata chakugan; kata ritual and symbolism; three phases of kata practice; kata and shu-ha-ri, etc.

See also "Shikata."

Kata Kieko [型稽古]

The characters/ideograms mean "kata practice; practice; training; study; old." The first character means, "mould; type; model," the second character means, "think; consider," the third character means, "old." 

There are some points and factors in performing traditional/classic kata, which are important to your practice. The points are as follows:

1. Kata has to be performed according to the patterns created by the original master. The number of the movements are not to be altered, personal interpretation cannot be imposed, and the form and order of movements are not to be changed. 

2. The movements have to be made exactly on the Embusen line of kata. In some styles (i.e. Shotokan), kata finishes on the same spot it started. However, some katas are not finished on the start spot, although the distance between start and finish spot might be slight (i.e. a step towards right or left or back).

3. The meaning (bunkai) of each movement has to be understood and the movement itself has to be made correctly. The real application of each part of kata has to be practiced with partner, drills, with seriousness and intent (bunkai).

4. The speed, rhythm, cadence of each kata has to be exact. Some are quick and some are slow (even some movements in one kata are slow) and require concentration (kime; focus).

5. The techniques have to be made rhythmically. They are all connected with one another. Usually, the end of one technique is the beginning of the next technique. The techniques should be studied separately and in combinations. 

6. While kata is performed rhythmically, there are some major points that give kata a uniqueness. These points that give kata dignity are as follows:

* Correct use of power, which means correct use of power in certain aspects of each movement.

* Smoothness/fluidity in movement related to speed (slow, quick).

* Flexibility of body related to contraction and expansion of muscles (muscle and breathe control) in accordance with the movement. This involves sanchin and chinkuchi.

A number of things can be said about kata. Below you will find some points that help to better learn and perform kata:

* Do not try to do all the movements quickly. It has to be noted that each movement requires its own speed and position.

* Lower the hips and have pressure on Hara as every move comes from the tanden; move from the tanden. 

* Keep your body upright all the time. Posture, alignment, and body mechanics are very important.

* Move your whole body as a unit; think of movement as a chain of events with perfect connection and coordination.

* Be fully aware of the connection between kata and practice and kumite.

* Practice over and over.

kata-tsu [型通]

The characters/ideograms mean "formal; proper; prescribed." The first character means, "mold; type; model," the second character means, "traffic; pass through; avenue; commute; notes, documents, etc."

A thing or system that is homogenized, reduced to its fundamental basic form, and then quickly distributed. Produced in accordance with a slavishly followed rule or style; predictable; a system that has taken a traditional form of Asian martial practice and redacted it to fit a mold or model which in the case of the west is both sport and commercialistic disciplines. 

Not a negative for this is a good thing but in relation to certain aspects of what the martial arts were created to accomplish it should be distinguished to make sure misconceptions and misperceptions don't set the wrong mind-set. It is a method to ensure that one has the proper attitude while maintaining the core ability to make it work in a tough situation. It can be done!

 an

The characters/ideograms mean "to drop one's shoulders." The first character means, "shoulder," the second character means, "fall; drop; come down; village; hamlet."

How often have we heard in martial arts circles "to drop our shoulders" to achieve certain goals. The first that comes to mind is heaviness, i.e. actually to achieve positive relaxation and thereby relieve the body tension that is indicative of stress that blocks energy and efficiency. Dropping the shoulders promotes positive relaxation and that achieves many of the fundamental principles of martial arts, i.e. promotes speed, power, etc. when applying the physiokinetic aspects of the principles. 

PRINCIPLES OF PHYSIOKINETIC

Breathing, Posture, Triangle Guard, Centerline, Primary Gate, Spinal Alignment, Axis, Minor Axis, Structure, Heaviness, Relaxation, Wave Energy, Convergence, Centeredness, Triangulation Point, The Dynamic Sphere, Body-Mind, Void, Centripetal Force, Centrifugal Force, Sequential Locking & Sequential Relaxation, Peripheral Vision, Tactile Sensitivity, Rooting.

Dropping the shoulders helps us achieve proper structure, body and spinal alignment, centeredness and others mentioned above. Meanwhile it also triggers a part of the mind to create a free mind-state or what some refer to as the void. It actually allows the brain to release chemicals that help to counter those chemicals dumped in a high stress emotional situation. When you add in breathing, etc. you get a whole body experience that allows us to live up to adherance of principles in conflict.

Katei [仮定]

The characters/ideograms mean "assumption; supposition; hypothesis." The first character means, "sham; temporary; interim; assumed (name); informal," and the second character means, "determine; fix; establish; decide." 

I have added this term to the dictionary simply because it should be an esoteric term for spiritual development in the martial arts. We assume way to much from those who wear the "kuro-obi." We assume to much from those whose title is "sensei." We just assume to much and through the ken-po goku-i we can seek knowledge of the cultural and ethnic beliefs and customs of those who come before us and determine the truth of what they intended.

We can couple that into our understanding thus strengthening and building a firmer, solid and lasting foundation for our practice and training.

Kazari [飾り]

The character/ideogram means "decoration." The first character means, "embellish; adorn; ornament; decorate." The second is kana used for emphasis. 

Embellishment seems a norm and it is no less so in the world of martial arts, i.e. both Asian and Western. Humans tend to adjust things to fit their perceptions and beliefs. This is why it is so important to discover the culture, belief and perceptions of those who created the system currently practiced. It requires an open-mind approach where nothing is right, nothing is wrong, everything is just different. 

The words and phrases can be either positive or negative and the suppositions can mislead both the speaker and the listener. One reason why "communications" in martial systems flies in the face of what is traditional according to the culture and belief of "Japanese systems." This holds true due to the great influences from both Japan and China to the Okinawan culture and belief systems. 

This is how we get things like the "death touch," "secret oaths," and "miraculous claims" of practitioners. We embellish and as the story is passed from person to person the embellishment, i.e. Kazari, grows by leaps and bounds. It can make things difficult when researching culture and belief systems due to embellishments to include the old adage, "The victor writes the history books."

Example: I read a variety of essays on karate only to find "kill" used excessively throughout many of the postings. "kill with a single blow" is one such statement that uses the word "kill" kind of indiscriminately. I would tend to consider the word, "disabling," or "damaging." It comes down to communication and the goal of said words, deeds, actions and postings. 

Other Quotes:

"Karate is a lethal weapon. It gives you the power to kill people with your bare hands."

"I wear the black belt. It means I have a special responsibility, because I carry life and death in my hands." [life and death allude to killing]

" ... to kill rather than die; and to die rather than dishonor my belt"

"This is my oath, sworn on my sacred honor, and only death will break it." [alludes to killing self over some non-entity symbolic words, etc]

Kazure  [崩れ]

The character/ideogram mean "crumbling; collapse; ruin." The character means, "crumble; die; demolish; level." 

This term, character, and ideogram combination, i.e. the character plus the kana tell martial artists the story of taking apart the kata as a learning tool. I have related this process to the shu-ha-ri concept. The Classic Budoka blogger provides us another more traditional meaning behind kazure or taking apart the kata. He explains it as follows:

“shin,” following the kata as precisely as possible, attempting to mimic some model of behavior and movement. This is reminiscent of the current wester model where practitioners remain, often to their detriment over time, true to the original form without allowing for change. This keeps a practitioner in what I term the novice levels or the "shu" of the shu-ha-ri model.; 

“gyo,” loosening up and rounding out the movements a bit in terms of varying the timing, attack points, etc., but still making the movements quite familiar to anyone familiar with the forms. I often attribute this phase as the "ha" of shu-ha-ri and it means stripping the kata out of its patterns and rhythms to find the more atomistic aspects that then can be reconstructed into a different and holistic form. This allows us to dig into the depth and breadth of kata at the lowest levels and dominators to achieve the next level that makes the kata our own for our times and circumstances, etc.; and 

“so,” interpreting the kata in a highly individualistic manner, rendering it almost incomprehensible to a layperson who doesn’t have the necessary background to understand what’s going on. This is taking it to the highest level and can be viewed as a personal, individual and realistic use of the kata techniques, principles and tactics/strategies as they work for an individual making them unique. This is the "ri" stage or phase of the shu-ha-ri as I use it to explain this practice of kata. 

This brings up another aspect using the term: Kaisho [楷書]

Keikai [警戒]

The characters/ideograms mean "vigilance; precaution; watch; lookout; alertness; to be cautious; to guard (against)." The first character means, "admonish; commandment," the second character means, "commandment."

Keikai or vigilance is not often given as a means of protection and avoidance. We speak of awareness but often the levels indicated in training can be over taxing, exhausting and debilitating over time. We must, as a model of self-protection and self-defense, develop layers that will provide us protection or become a hardened target. 

Vigilance is taking knowledge such as this and using it to remain forewarned therefor forearmed, hard target. Understanding the levels of vigilance that will allow you to avoid and evade will keep you at the 99% level of never encountering a violent conflict, attack or situation. Setting various levels accordingly will keep you from becoming or being overcome by too much awareness, i.e. remaining at a high level of readiness. Look at it like a military situation where when on patrol your vigilance and awareness are at their peak but when in the rear with the gear your vigilance and awareness are at a minimal level.

Keiken-sha [ 経験者]

The characters/ideograms mean "experienced person; person who has had a particular experience." The first character means, "sutra; longitude; pass thru; expire; warp," the second character means, "verification; effect; testing," the third character means, "someone; person."

Keiken-sha or experienced person denotes one who has attained experience in some particular experience. This experience can be in your job or it can be in something you study. 

In the martial arts or in any professional work it means attaining a level of experiences that allows you to trust your first intuitive option in a volatile situation. This accumulation of experience allow a person to trust their experiences so that the first option that arises to a given moments scenario means they can quickly identify an acceptable option. 

Gaining the right kind of experience is important and that experience allows a human to build an internalized set of patterns. The patterns are such they don't adhere to rigidity but rather allow the lizard brain to bring out the most acceptable options for the scenario at that moment. This is an important part of any discipline in life but remains critical to those who work in fields that are dangerous and deal with potential violence. The stakes are much higher in those situations but remember that it also works well in other less dangerous disciplines such as your work. 

Most successes are a solid use of intuitive-analysis with a large dose of experiences, keiken-sha.

Keiko [稽古]

The characters/ideograms mean "training; practice; study." The first character means, "think; consider," the second character means, "old." A training partner is a keiko-dai [稽古台]:

The characters/ideograms mean "training partner; training hall (esp. one made of wooden planks and used for dancing practice)." The first character means, "think; consider," the second character means, "old," the third character means, "pedestal; a stand; counter for machines and vehicles."

Keiko is to practice, train and study. In order to do that one must be able to think about past practices and training sessions, think about the current state of your practice and training, have an open mind toward change and acceptance, and finally an ability to think about the future of your training, practice and studies. 

The hardest part about training in martial arts is getting off the couch, to train, to practice and to do it diligently and consistently. No excuses, just do it as the old Nike add says, "Just do it!"