K - Keiko-gi

Keiko-gi [稽古着]

The characters/ideograms mean "training clothes (judo, kendo, etc.); practice suit." The first character means, "think; consider," the second character means, "old," the third character means, "don; arrive; wear; counter for suits of clothing."

Keiko-gi is the practice uniform worn in karate dojo. It is worn in other martial systems as well but more think of karate when they see a keiko-go, It is more common to have the system name in lieu of the "keiko," i.e. karate-go, judo-go, aikido-gi, etc. 

The jacket is named, "uwa-gi," the pants, "zubon," the belt, "obi," the lapel of the uwa-gi is called "Eri," the end of the jacket sleeve (opening) is called the "sodeguchi," the bottom of the uwa-gi/jacket, i.e. the trim at the bottom, is called "shita." There is a specific reason why the uwa-gi crosses over the front, left over right, dealing with death and funerals in Japan. It is worth the effort to research such cultural items. 

There are many requirements as to the wearing of the keiko-gi such as where you can place patches, the color of the keiko-gi, the length of the sleeves of the jacket and the legs of the pants. Then there are requirements as to the length of the obi/belt, the knot used, and the length that hangs down from the knot. It is mostly a local dojo requirement and even in a traditional form this is not governed by culture and beliefs except most traditional or classical practitioners tend to lean heavily toward the all white cotton canvas type keiko-gi. They also limit patches to one or two, located on the breast over the heart and/or on one or the other shoulder/sleeve. 

Sue of the "My Journey to Black Belt" blog in a post dated in 2009 provided some historical information I was not aware of till this time. It is quoted, "Sensei's Kano and Funakoshi were good friends and when Funakoshi came to Japan for the second time in 1922 to demonstrate karate at Sensei Kano's Kodakan (the central dojo for judo in Japan), Kano was alarmed that Funakoshi was going to do the demonstration in shorts and t-shirt. Kano persuaded him to borrow a judo-gi so that he would look more professional in front of the dignitaries he was trying to impress. Funakoshi agreed and later took back the gi to Okinawa as a gift from Kano. The wearing of the gi then spread throughout Okinawa as well as Japan in karate dojos."

Knowing about such historical and traditional things in martial systems connects us to the who, why, who, when and where that such systems or arts were created. It also provides insight into why we practice martial systems the way we do even today, i.e. especially in regard to kata, bunkai, etc.

Keiko osame [稽古修め]

The characters/ideograms mean "last practice of year." The first character means, "think; consider," the second character means, "old," the third character means, "discipline; conduct oneself well; study; master." 

The year end practice is a time to reflect on what you have accomplished (or not), what needs to be improved, what and to who you are thankful to in your Budo training. An evening of cleaning, meditation, training, and purification, all in preparation for the coming New Year.

See also "hatsu geiko."

Keitai sokudo kyodo [形態速度強度]

The characters/ideograms mean "form; speed; strength." 

These are the three teaching of movement for martial arts. Although as one progresses they should blend or morph all three into one yet at a novice and student level the practitioner should adhere to the three separately and in order. As the practitioner progresses they will naturally find both speed and strength blending into their form.

Form is the fundamental basis of all martial systems. To properly teach it is necessary to focus exclusively on the practitioners form. Getting the movement right promotes adherence as a beginner and later as an expert as to the fundamental principles of martial systems, i.e. structure as it will apply to both speed and power, etc. 

Form is taught slowly and progressively, i.e. slowness allows the practitioner to figure out placement of the body, i.e. the feet in various stances, the hands and arms in various defensive and offensive kamae dependent on the attack, etc. They then figure out how it all works against a willing and compliant opponent until they have encoded things to the point where the opponent takes on the role of adversary, i.e. to stop the willing and compliance of learning the proper forms to pushing the envelope to learn in a more chaotic model for combat or the fight. 

Look at the above as an introduction and take this to your training facility to continue discovery of this process. 

To gain the speed you start to build up using speed in your forms, while you maintain the integrity of your form as well as continued improvement. This process may require a constant switch from slow to fast and back to slow. It is natural to lose form when moving to speed. It is difficult after a period of time working form slow to switch to a faster pace while maintaining form integrity and then add the need to continue improving both form and speed. Practitioners at this stage should be closely monitored because this is the level where one can lose both form and speed, replacing it with strength, i.e. muscling the techniques, etc. This is dangerous and causes incorrect form and application, etc.

Look at the above as an introduction and take this to your training facility to continue discovery of this process.

When you begin to require a bit more strength into the form you must remain diligent in explaining that strength does not necessarily mean muscular although that is part of the equation. Strength does come from muscles but true strength is derived from the combination of muscles, tendons, cartilage, and the unification of the entire body into movement that puts mass with strength along with alignment, posture, breathing, structure, and other fundamental principles of martial systems (principles of theory, physiokinetic's, technique and philosophy).  

True strength is learning how to use all the components of the body, mind and spirit toward the best form, speed and strength applied to martial arts. 

Look at the above as an introduction and take this to your training facility to continue discovery of this process.

This all requires progressive learning where one begins for form leaving speed and strength for later implementation in a nature path toward a more holistic blend of all three. Like many aspects of martial arts teaching, training and practice these are touching on the essence of martial systems and should naturally lead to a inquisitive mind of a practitioner to take the basics and search out the additions that will make for a solid martial artist.

Kei Togo [系統合]

The characters/ideograms mean "system integration." The first character means, "system; lineage; group; corollary; series," the second character means, "overall; relationship; ruling; governing," and the third character means, "fit; suit; join."

Kei togo means much to martial arts. It teaches us that a system is part of an entire lineage of creators whose overall relationships are governed by how each successive fit builds the system to its present state. It is the joining of the ancestral to the current or present way of things. It promotes the connectdness of the ancestral to the present moment practitioner who, hopefully, will connect that which came before to that which is representative of the present moment in the present time for the present environment, culture and belief systems. 

Systems are always comprised of many things of like kind that provide a service to the one's who utilize said system. This is no more critical than in the martial arts as practiced as budo. It is a system that creates through humans a family lineage, family line and adds to the ancestry of the entire system and promotes solidarity in techniques with a fluidity that allows the old to give birth to the new. The new inheriting the DNA of the old causing evolution to take its natural course as is necessary in nature, life and the entire universe. Otherwise we merely create a clone of that which may or may not be indicative of present moment needs. 

This is the way, the "do" of martial arts.

Keiyaku [契約]

The characters/ideograms mean "contract; compact; agreement." The first character means, "pledge; promise; vow," the second character means, "promise; approximately; shrink."

Contracts are becoming more prominent in martial arts then ever before. I remember the days when there were no contracts and there were no guarantees except you would train hard and learn a lot - over time. Today, most novices will encounter the push for one, two or three year contracts. I don't believe in the necessity of contracts.

First, when you encounter a person pushing a contract ask a this questions. 1. Will you allow me to train here for six months on  a month to month basis, without any contracts, to see if this fits my needs and goals? If the answer is no, you have to make a contract to receive the training or any other reasoning then walk away. 

Second, contracts assure steady income to the training facility. If it is part of a bigger institute you may not have the options simply because some gyms with karate or martial training must adhere to insurance and liabilities issues, walk away unless you want the full benefits of that gym to include martial arts or systems training. Buyer beware. 

Third, for most truly good instructors there is no need for contracts because they believe that their leadership and expertise will keep students actively attending (notice I didn't state enrolled). For true martial practice it is up to the individual to make a commitment to themselves, not the dojo or training facility, to take up martial arts and remain diligent with it for the duration involved - for life for me in this case. Also, if the martial instructor is this kind of guy or gal they work at other jobs for support, etc. and do martial arts as something extra and important like a hobby but not a hobby - a life style you might say.

Contracts in the case of martial arts training are simply, in my view and opinion, gimmicks to get into your wallet or purse and soak or milk you for all they can get regardless of whether you train or not or whether you get the training you should get or not. I call these MacDojo's. Money, money, money. 

I like to recommend you avoid contacts for martial arts training at all costs. I personally feel that if they require it then you are not going to get your monies worth and to get out of them if you are dissatisfied means additional court costs and personal stress for you, i.e. suing in court to get out of the contract, etc. 

In counterpoint, there are some very good martial arts schools out there that use contracts simply because it is the current thing done in the martial arts communities. Finding out which are good and which are bogus is the trick and a very tricky thing to determine so be careful and buyer beware.

Keizu [系図]

The characters/ideograms mean, “Family tree; pedigree; genealogy.” The first character means, “lineage; system,” the second character means, “map; drawing; plan; unexpected; accidentally.” 

Sensei Michael Clarke, Shinseidokan Dojo Blog, states, “a grasp of your martial genealogy is helpful when forming an overall understanding of what and why (but not how) you are doing the things you do.”

It seems to me to be like, “if you fail to learn from your history you are destained to repeat history - over, over and over again.” Mr. Clarke makes a good point when he states that your involvement means something as to whether you should learn about keizu of your system or not. If you are a trophy hound, a rank hound or a person who likes to fight in competitions then who, what, when, where, how and why of your system means little to nothing. 

In my view to gain a full and complete understanding of the “who, what, when, where, how and why” of things provide you with insight that promotes a mind-state that discovers not only old things but the creation of new things, insights and knowledge because to feed the mind as much data as possible about these things provides the mind a pool of data that they can extract from to not only provide answers but create answers. 

Inspirations come from the exposure of the mind to many things both within your immediate influences but also from influences normally outside your normalcy. It is that “out of the box” type knowledge, experience and understanding that provides the mind so it may create the state of mind with the necessary knowledge that allows us to act accordingly. The next step is to speed up that process by training, training, and more training along with practice, practice and more practice so the lizard can go directly and act quicker than the thinking mind. 

Again, as Mr. Clarke eludes too, this also teaches the martial artists that to adhere strictly to what your Sensei teaches can become limiting, stifling, and cause stagnation. It all is about stretching, reaching and achieving individualized understanding and application of any system regardless. It is about making the system your own so that your mind and mind-state can achieve what is relevant and pertinent to you and your life. This is especially important when confronted in conflict and all conflict exposes a person to physically, mentally and morally. 

In my system Tatsuo-san, the creator and master of the Isshinryu system of Okinawa, often expressed the importance of the Westerner to learn about the culture, beliefs and history of Okinawan. I believe he asked this of his American students because in assumed that we would want to achieve a full and complete wholehearted understanding and practice of his practice of Isshinryu. 

Mr. Clarke uses the word, “Blasphemy,” in his posting and I believe that it is apropos because it is blasphemy  when one uses lineage or keizu as a means of generating money while leaving the essence of lineage knowledge out as if a unnecessary byproduct. It seems blasphemous to use such important aspects of martial arts simply as a self promotion means of achieving egoistic pride driven gains.  

Kan [勘] & Ken [見]

The first character/ideogram for ken means "perception; intuition; the sixth sense." The second character/ideogram for kan means "view (of live, etc.); outlook; see; visible; look at; opinion; idea; changes; hopes." 

These characters are used in the martial arts to describe the art of "looking" and "seeing." Looking is the art of looking into the depth and breadth of something that will illuminate like the morning sun rising at dawn that allows us to perceive the essence of things looked at. When we only see then we are subject to the inadequacies of perceptions governed by culture and ethnicity, power inferences, perceptions of the person, sensory mode input modes, perceptions of perceptions as to truth and accuracy, and both internal and external environments. 

We often "see" only the surface of things unless we "look" for the depth and breadth that lies under the surface of things often hidden from view or perceptions and often hidden behind the veils of others perceptions, understandings, etc. This make for a very convoluted chaotic encounter with others in communications and actions. 

The way of looking is addressed by Musashi Miyamoto in the Gorin no Sho, i.e. "The way of looking in the midst of combat has an influence on our state of mind. By looking in this way, we can curb our excitement and avoid losing our lucidity. This way of looking is the result of the state of mind. that state of mind brings about the way of looking, and that way of looking is conducive to the state of mind of hyoho. 

Another way to look at this once you understand and achieve a holistic view of kan and ken then you can understand the singularity of the word, character and ideogram that is Haiken:

Haiken [拝見]

The characters/ideograms mean "seeing; look at." The first character means, "worship; adore; pray to," and the second character means, "view (of live, etc.); outlook; see; visible; look at; opinion; idea; changes; hopes."

Kenka Karate [喧嘩]

The characters/ideograms mean "brawl; fight; squabble; scuffle; quarrel; empty hand." The first character means, "boisterous; noisy," the second character means, "noisy," the third character means, "empty; sky; void; vacant; vacuum," the fourth character means, "hand."

The characters and terms are used to describe "brawling karate" which is a moniker given to Motobu Choki Sensei, one of Tatsuo Shimabuku Sensei's teachers of Okinawan Ti. It might also describe some modern karate-ka who gained their experiences on the streets, in a profession that faces violence or by the life they lived in earlier years for the person.

Kenban Bushi [鍵盤武士]

The characters/ideograms mean "keyboard warrior." The first character means, "key," the second character means, "tray; shallow bowl; platter; tub; board; phonograph record," the third character means, "warrior; military; chivalry; arms," the fourth character means, "gentleman; samurai."

This term can be complementary, it can denote those experts in the disciplines as teachers using the keyboard and the internet, books, and articles to pass on their knowledge through practice, training and experience. There are many "warriors" out there who are dedicated toward passing along knowledge and experiences through the medium that is governed by the keyboard, ergo kenban bushi or keyboard warrior. 

To those who are dedicated practitioners of the martial arts who use the keyboard who have similar and growing knowledge and experiences can readily tell the difference between the false kenban bushi and the positive dedicated kenban bushi - but there is also a negative side, the yang to this yin perception. 

This term or phrase is also not meant to be complementary but rather to identify a person who tends to be like a "kuchi bushi or mouth warrior." This is someone who goes to extremes at being annoying while trying to convey knowledge and expertise as to martial arts. Like kuchi bushi it is not a kind reference but a means to separate those who are there to provide possibilities derived from both knowledge and experience from those who get a certain enjoyment from perceiving themselves as knowledgable and experienced. 

To those who are dedicated martial artists who use the keyboard for positive enlightening knowledge for senpai it becomes readily apparent over a few exchanges of keyboard strokes that the one they are trying to communicate with is a kenban bushi or keyboard warrior - sometimes referred to as forum warrior. 

Kenkyo [謙虚]

The characters/ideograms mean "humility; modesty." The first character means, "self-effacing; humble oneself; condescend; be modest," the second character means, "void; emptiness; unpreparedness; crack; fissure; untruth."

Kenkyo or humility or humbleness are a hallmark of a master of the martial arts or for life, as a buddha type person, for that matter. The ability to control or lose the monkey brain, i.e. pride, ego and pretentiousness, etc. To let go of all those traits that actually come from an emotional driven monkey brain that more often than not gets you into trouble. We can spend a lift time overcoming such influences. 

Then we have to consider what drives our ego's and pride? Is it our perceptions driving our belief systems? In part, yes, for often the thing that results in violence is a thing you often cannot take a picture of or see it or hear it or even touch it. Similar to the question is physical violence necessary when you can honestly say that the slight was not physical and cannot result in a physical damage you can actually photograph, i.e. like a cut from a knife or a bullet hole from a firearm, etc. 

A good litmus test as to whether your perceptions mean damage is can you see, hear or feel it physically, can you take a picture of it. If you cannot hold it, see it and if you cannot take a picture of it then maybe it is not all that important and you should just walk away. If you feel emotions like anger, resentment, etc. influencing you then breathe deeply and slowly and walk away.

Kempo, Kenpo [拳法]

The characters/ideograms mean "Chinese art of self-defense." The first character means, "fist," and the second character means, "method; law; rule; principle; model; system." 拳法（けんぽう） / Kenpo, Chinese martial arts

Kenpo is also used on the Ken-po goku-i or karate koan as I like to refer to it as. Kenpo in this usage means "law of the fist." It is a karate koan for Isshinryu given to the Isshinryu community by Tatsuo Shimabuku Sensei, founder/creator of Isshinryu the one heart way. 

Kenpo or Kempo is considered an Okinawan karate system, fist principle.

Ken-po Goku-i [拳法極意]  

The characters/ideograms mean "first law essential point or conclusion idea." The First character means, "fist," the second character means, "law; rule; method; principle; model; system," the third character means, "conclusion; end; highest rank; very; extremely; most; highly," the fourth character means, "thought; desire; care; liking; heart; mind; idea." 

When combined they refer to the ken-po goku-i or the essential points of the law of the fist. Each system, style and branch from the Okinawan systems of karate use the ken-po goku-i to teach the more esoteric or what I perceive as the culturally driven moral side of the mostly physical practice of karate-goshin-do.

Kensei [剣聖]

The characters/ideograms mean "master swordsman." The first character means, "sabre; sword; blade; clock hand," and the second character means, "holy; saint; sage; master; priest." 

This term is most often used in relation to describing the author, or sakka-bushi, of the Gorin No Sho or book of five rings by Miyamoto Musashi, the sword saint (Kensei). This is like other such titles, i.e. Kyosei, Hanshi, etc., a strictly honorary title with no relations to any ranking or grading system.

Kensetsu-tekina teiko [建設的な抵抗]

The characters/ideograms mean "constructive resistance." The first character means, "build," the second character means, "establishment; provision; prepare," the third character means, "bull's eye; mark; target; object," the fifth character means, "resist; reach; touch," the sixth character means, "confront; resist; defy; oppose." 

A necessary form of practice to learn effective techniques because without adequate resistance, a novice practitioner will not know if the technique is working. Constructive resistance provides uke-and-tori with appropriate feedback and guidance, a hallmark of the uke-tori relationship in training and practice, necessary to deal effectively with the reality of physical conflict. 

Constrictive resistance is only constructive if it creates scenarios that are close to reality, provide growth and improvement in technique and spirit. The level of resistance must be controlled by the senpai, as the more experienced, so that it is not excessive and allows the practitioner to complete a technique with progressive difficulty. If a practitioner cannot complete a technique under resistance then they never learn it. 

It is also incumbent on the role of sempai to provide negative resistance in a manner that guides the kohai to perform proper movement according the fundamental principles of martial systems, i.e. with alignment, etc. This promotes proper and effective learning of a technique of combination of techniques. 

Another aspect of this type of training is to achieve mastery over many of the fundamental principles such as economic motion, balance, rhythm, positive relaxation, etc. It is about moving from muscular power, i.e. muscling it, to these principles of martial systems that lead to master of the entire system. It is vital to any martial training, and provides those steps or levels one has to travel to reach higher levels - ultimate master.

Kenshu kan [研修勘]

The characters/ideograms mean "training intuition." The first character means, "polish; study of; sharpen," the second character means, "discipline; conduct oneself well; study; master," the third character means, "intuition; perception." 

Intuition is a natural outgrowth of both preparation and experience. When I say preparation I include training, practice and knowledge and understanding. For martial artists or just about anyone it is a matter of translating our experiences into action. To increase you intuitive abilities into decision-making skills you build up more experience and then make better use of them. It is not like turning folks into samurai warriors or even Jedi Knights, but is it more realistic. 

Our gut feelings, our hunches or our spidey senses seem to come from some mystic place, but this is because we are just not aware of the connections to the knowledge and experiences that led to these perceptions - gut feelings, hunches, spidey senses. 

When the old spidey sense kicks in and tells you to act you should consider that it comes from possibly noticed, subconscious, etc., subtle clues or what martial artists call tells without realizing it. What you have accomplished in these instances is a blending of both analysis and intuition into one solid trait that allows you to make instant action decisions in some of the most stressful situations you could encounter. Think of this, if you can do it well in high stress situations then the benefits in less stress filled moments is a definite bonus. 

Once again I would ask if this could be one of those explanations that speak to how professionals train, practice and apply their skills and if so this is how we as self-defense practitioners can achieve the right level necessary for protection without crossing over into the moral and legal limits of society. 

In many postings I have spoken of the more esoteric aspects of studies. The circle or the yin-yang. The yin-yang here is the intuition-analysis. Think about how you make decisions. Often you make them subconsciously before you even begin to think or analyze it. There is a balance here somewhere that we can exploit toward faster decisions in high stress scenario's but if you don't know of it, recognize it, and acknowledge it then you can't truly train and practice it to its potential. 

Just remember, intuitions are indicative of how well we have worked, studied, practiced, and trained. It is about how we accumulate and compile experiences, not on any type of advertised magic. It is hard work and due diligence. 

I quote, "What enables us to make good decisions is intuition, in the form of very large repertoires of patterns acquired over years and years of practice." - Gary Klien, The Power of Intuition. 

Ahhh, here lies the answer to my many questions of late. There are so many facts and combination of facts. The more complex, the faster complications build up. Just keep seeing knowledge. Just keep analyzing it holistically. Just keep using the compilation of such knowledge and experience in the proper way. Then, allow your intuitive-analytical abilities to find those actions in that particular moment. Now that I think I have found a way I need to ask myself more questions and allow for it to seep in deep down where these things are best served. 

Think of what you have heard in training as a Marine or any other professional service. "You continually challenge yourself to make tough judgements, honestly appraising those judgements to learn from the consequences, actively building up an experience base, and leaning to blend intuitions with analysis." - Gary Klien, The Power of Intuition. 

Now, doesn't this sound like a training session with an after action report analysis. Isn't this how one should always train, practice and apply themselves. 

A new beginning and a fun road ahead that passes beyond the horizons seen by the mind. 

Caveat: Don't allow the pension for gathering data and making analysis to hinder you use of intuitive-analysis in action decisions as that will add to your tendency to freeze in the moment. It is a balance as I state so go ahead and do the gathering and analysis but in the end you have to make a decision and that decision is the one that will save your bacon. When in training and practice the gathering and analysis is set aside and the goal is to act properly and effectively (no freezes, etc.). In other words, "shut up and train." :-)

Addendum dtd March 15 2013 at 13:55hrs:

I quote from Gary Klien's research on intuition, "What is it that sets off those alarms inside your head? It's your intuition, built up through repeated experiences that you have unconsciously linked together to form a pattern. A pattern is a set of cues that usually connect together so that if you see a few of the cues you can expect to find the others. When you notice a pattern you may have a sense of familiarity - yes, I have see that before! As we work in any area, we accumulate experiences and build up a reservoir of recognized patterns. The more patterns we learn, the easier it is to match a new situation to one of the patterns in our reservoir. When a new situation occurs, we recognize the situation as familiar by matching it to a pattern we have encountered in the past." 

Does this sound familiar? Is this how we accumulate strategies and tactics for the various scenario's we may encounter when confronted in a conflict? Isn't this how we accumulate experience by the frequency we encounter thing forming patterns, etc. so that we can match them as needed when needed? Isn't this a process that provides the best decisions during the more challenging, situations that are more confusing and complex, where information is scarce or inconclusive, where time is short, and the stakes are high - like in violent encounters?

It is not just repetitive practice but rather meaningful practice and training with a mind to encounter as many complex things requiring complex judgements so that when the time comes you can act using your history of patterns that provide food for intuition to do its thing.

Kenzen-ichinyo [拳禅一如]

The characters/ideograms mean "train body and spirit alike." The first character means, "fist," the second character means, "Zen; silent meditation," the third character means, "one," the fourth character means, "likeness; like; such as; as if; better; best; equal."

The training of the body and mind as a single unit, as one. This takes Shinshin-ichinyo to the training of mind-body in a holistic fashion. The body leads the mind as the mind leads the body. This is a bit hard to fathom and understand as westerners who have been trained since birth to take this in an atomistic way, i.e. break everything down into distinct separate things for analysis and we tend to forget that although this is part of it the part missing is recombining the atomistic back into the holistic, the whole "one" of the yin-yang of each system. 

The training of body-mind is often, in the west due to its societal customs and beliefs especially as to the sport mentality toward all physical disciplines, spent solely on the physical with assumptions that the mind will naturally follow without effort of training, teaching and acquisition of knowledge, etc.

Keri-age, Keage [蹴上]; snap kick; rising kick

The characters/ideograms mean "riser; rise." The first character means, "kick," the second character means, "to kick up." This gives rise to why it is considered a rising kick.

Ketsudan-ryoku [決断力]

The characters/ideograms mean "judgement; decisiveness." The first character means, "decide; fix; agree upon; appoint," the second character means, "severance; decline; refuse; apologize; warn; dismiss; prohibit; decision; judgement; cutting," the third character means, "power; strength; strong; strain; bear up; exert."

Judgement, the crucial element in the snap judgement made during the stress of a crises such as a violent attack or some sort of high-stress event, etc. Even you judgement before encountering such an event is critical to avoidance of violence, conflict, etc. What makes for good judgement?

Preparation is what makes for good judgement along with experience. It comes from a long time spent under a rigorous course of education along with experience. It is what you learn, do and train for that matters when the rubber hits the road in a conflict or even that is high-stress and often dangerous. 

Judgement as developed and trained and experienced comes down to training our mind and bodies to make split-second decisions without being subjected to our stereotypes and prejudices, even those we may not believe. 

It is the experience that results in using our behavior and our training to interpret and decode what lies behind our snap judgements and first impressions whereby the results are dictated.

Ki [気]

The character/ideogram means "spirit; mind; heart; nature; disposition; motivation; intention; mood; feelings; atmosphere; essence." 

This is a term used in Japan that westerners misinterpret due to the limits of words in English as "energy." It is a bit more involved than this and is a more mystical part of martial arts training.

“Ki (Ki [気])” is actually manifestation of fundamental principles of martial systems. I wonder if you would provide your definition of Ki in this instance because ki is a concept and not some physical manifestation of something. It is not something that you use but something that arises from application of principles. The more principles involved and adequately applied the greater the ki.

Ki is not what most think it is and is often associated, as I perceive here in this post, with things that are not actually Ki but principles. When the arm-conditioning is mentioned that is a manifestation of your ability to use principles superior to the other even tho bigger and stronger. Often with large and strong men they rely heavily on that strength and size to carry the day and if they ever truly began to understand and apply principles over muscling it then they would be formidable for sure. 

The “Ki” concept is more esoteric in nature, say a symbolic term used to describe a physical and mental manifestation of optimal efficiency in the human body and mind resulting in not only great physical and mental proficiency and ability but also health and well being beyond what we normally experience. The following are contributory toward Ki manifestation and are a result of many healthful and fitness oriented endeavors. There is optimal fuel for the body. There is optimal breathing to bring air into the body. There are nutrients that feed the blood that circulates through out the body feeding the muscles, tendons, cartilage’s, organs and so on creating free flowing energy producing blood and other chemical flows natural to the body yet often obstructed and stunted by our lack of activities and nutrient consumption causing a loss of Ki. 

Add in the physiokinetics sub-principles that are conducive to Ki flow, i.e., breathing properly, assuming optimal posture and body alignment, our bodies structure also set to optimal form, the ability to assume positive relaxation and centeredness, our body-mind connectivity, the application and use of wave energy, centripetal and centrifugal forces, the sequential locking and unlocking of our bodies, mind and spirit, and our ability to manage the adrenal flood all humans experience at one level or another. 

All the above promote the best circulation of blood, etc. along with maximizing nutritional flow throughout all cells in the body. It is the optimization of our inherent “Yin-n-Yang” so that we achieve balance and balance allows such things to flow generously, i.e., the manifestation and use and application of Ki. 

The tool you reference is actually a result of applying all the principles holistically, universally and wholeheartedly so that the body, mind and spirit can utilize all the energy and fuels and so on to feed our bodies, mind and spirit to the utmost of human potential.

Kiai [気合]

The characters/ideograms mean, “Scream; yell; fighting spirit.” The first character means, “spirit; mind; air; atmosphere; mood,” the second character means, “fit; join.”

Used in martial arts as a means to bring about a meeting of both the internal and external energies generated through the proper application of fundamental principles of martial systems thus creating an instantaneous power transfer from the weapon, i.e. hand, foot, etc., into a target. Often assumed to be a shout or war cry but the cry is just a external manifestation that assists the practitioner with an audible cue that all the proper principles are finally applied in that one instance. 

It is used at certain points within kata practice but tends to be arbitrary since kata is about learning bunkai that will be assimilated or not assimilated as necessary to each individual and not actually a fighting scenario that is pre-ordained with specifics especially since a true combative situation is more fluid and chaotic with no set tactics, etc. 

Kiai is more of a method to create what some call an application of chinkuchi, i.e., an Okinawan dialect term about applying principles of power in karate. In the yin-yang concept as derived from ancient studies by Okinawan practitioners whereby the yin or internal along with yang or external energies are combined, coalesced and projected through principles into a power applied technique. This is something that should be applied with every technique applied regardless of any arbitrary rule that kiai must be placed at any specific point in kata, drills or kumite. 

Kiai is done without sound and it is also done with sound. In ancient times, much like the Marine’s OhRahhh shout is about instilling a fighting spirit while sending a clear signal to an adversary that a force of nature is coming and it cannot be stopped. There are times when the cry is necessary for psychological reasons and there are times when kiai is applied with no sound, but a strong exhale. 

In kiai, as with many aspects of a martial art, breathing (a fundamental principle) is critical to achieve true kiai as it is with the concept of chinkuchi. Kiai is not just a shout or war cry but a system that assists a practitioner to achieve great power, etc., in martial training. 

“No kiai (shout). Chibana Sensei explained that in the old days, karate training was done in secret, so silence was necessary. He continued that “ki" means spiritual or internal energy and "ai" means to meet. Kiai, then is the precise moment (meeting) when the internal and external energy is brought together. Kiai is synonymous with kime. Kiai can be done with no sound, but with a strong exhale. Kiai and kime then is the instant when the neurological and physical response become one.” ~ Nakata, Pat Sensei

Kibaru [気張る] 

The characters/ideograms mean "to strain or exert oneself; to go all out." The first character means, "spirit; mind; air; atmosphere; mood," the second character means, "lengthen; counter for bows and stringed instruments; stretch; spread; put up (tent)."

We tend to just go with the flow in most karate schools. It may have been lost in translation when Americans migrated karate, and other martial arts, to the United States in those early years. Kibaru or to exert oneself, to go all out seems to be lost and that tends to differentiate a bu-dojo from the every day schools that are the majority in the West.

We tend to do what is required and fail to realize true martial arts requires a certain commitment to stretching oneself beyond mere requirements. Just doing the minimum is not karate or any other martial system but rather an easy way to fool oneself into believing what they are doing is a martial system. It is not, it is a sport or a club or a group effort for fun and relaxation.

I am not saying a martial artists cannot experience fun or relaxation practicing a true martial art but it must entail other traits such as a commitment, dedication and drive to reach beyond the moon; to seek for the stars and beyond; to stretch, exert and lengthen oneself to higher levels. Or, so I believe.

Kidoairaku [喜怒哀楽]

The characters/ideograms mean, “Human emotions (joy, anger, pathos, humor, etc.).” The first character means, “rejoice; take pleasure in,” the second character means, “angry; be offended,” the third character means, “pathetic; grief; sorrow; pathos; pity; sympathize,” the fourth character means, “music; comfort; ease.” 

“Emotions by their very nature are not reasonable things.” ~ Kvothe

When I think of conflict I then relate that conflict to one of its major, if not primary, causes - emotions. Emotions are tied to the symbolic “monkey brain” of our three parts of the brain, i.e., the human brain, the monkey brain and the lizard brain. I see the human brain similar to the logical mind depicted in the Star Trek series character, Spock. I think the series writer had it right, the ability to control the monkey brain, the emotional side of the human condition, is directly related to conflict. 

Human emotions, to my perception, are that corner stone that supports and drives the monkey brain that leads us into conflict. Conflict then leads to violence and that is a lack of control over our human emotions. 

Emotions are necessary to survival. I believe historically and genetically we depended on our emotions to survive the predatory life lived when humans resided in caves and hunted the prairies for food, etc. In those less complex times we learned quickly how to handle the emotional drives that meant survival. Today, it is a bit different.

Today, our emotions are both beneficial and detrimental to the human condition. Love, happiness and joy are all beneficial to health, both mental and physical. Anger and fear are detrimental in a way because we don’t really need them to survive in modern times. When we are subjected to anger or fear those emotions often mean losing control of the human brain so the monkey brain can drive the car. 

Yes, anger and fear (more fear than anger by my reckoning) are necessary in some instances for survival but mostly they get us into social situations that can and often result in conflict resulting in physical violence. I feel that the more complex our societies become the more our monkey brains resort to conflict and violence due to frustrations, stresses and interactions with more humans outside our close family like societal tribal needs. 

When you are confronted by so many cultures with just as many belief systems along with huge variances in communications you get frustration that begets fear and anger that begets conflict that begets violence - physical and psychological. 

The trick is training so we recognize the emotional monkey brain so that we can put that bugger back in its cage and then allow our Spock like logical human brain to take the lead (you can never truly rid yourself of the monkey but you can affect its control over you, your actions and your emotions).

As I quoted, human emotions by their VERY NATURE are NOT reasonable things. This is true and an important part of martial arts training is learning to take control of the monkey and act like a human.

Kihaku [気迫 ]

The characters/ideograms mean "spirit; soul; drive; vigor; vigour." The first character means, "spirit; mind; air; atmosphere; mood," and the second character means, "urge; force; imminent; spur on." 

Kihaku is used in martial systems by inferring "spirit." This spirit is not the typical western meaning but holds many meanings toward the practice of martial systems. It speaks to our very souls. The very deepest part of each of us that drives us to do things we do in life. It is a posture of the mind that affects our moods or more specifically our emotional context be in anger or joy, frustration or serenity, etc. 

We practice with spirit is often a display, both outwardly and inwardly, by the vigor or effort we promote of ourselves in practice and training. It is also the core to our kata practice and is alluded to as a part of the ten points of kata by Kensho Sensei.  It is the energy and liveliness by which we pursue the way of the empty hand or any martial system.

Kihon [基本的]

Kihon means "basic's or fundamentals." In western cultures "basics" has an incomplete meaning unless it is stressed from the beginning that basics are actually fundamentals of the system, that which sets a foundation for the practitioner. The three characters mean, "fundamental; standard; basic."

The first character means, "fundamentals; radical (chem); counter for machines; foundation," while the second character means, "book; present; main; origin; true; real; counter for long cylindrical things," and the final character means, "bull's eye; mark; target; object; adjective ending." 

It is imperative I relay that this particular post answer is a set of direct quotes from Marc MacYoung's book on Effective Offense. See the Bibliography and notes as you read. I have found this book to be most informative. It has focused a spot light on issues often not taught or lost in training and practice.

"A basic is an introduction. A fundamental is a foundation. A fundamental is a premise, idea, or fact that an entire system arises from and is based on. A fundamental determines the shape of  what arises from it, much as a foundation of a house dictates its layout. A basic is how you introduce people you are teaching to the system. It is a beginning concept, often simplified to assist learning. If a fundamental is the foundation, a basic is the front door to enter the system." - Marc MacYoung - Secrets of Effective Offense - Chapter Eight: Blocking and Deflecting - page 124.

You practice basics so you can ingrain fundamentals. The novice, beginner, works on the gross movement; advanced practitioners focus on different aspects, making little tweaks and adjustments. Basics can be learned in five minutes, but fundamentals can take years to fully understand. - Marc MacYoung - Secrets of Effective Offense - Chapter Eight: Blocking and Deflecting - page 124 and 125.

In training facilities that make no distinction between these two terms, people rush past the basics hoping to get to the "good stuff." When told they need to pay attention to the "basics," they dismiss the idea as too rudimentary, not realizing the difference between a fundamental and a basic. - Marc MacYoung - Secrets of Effective Offense - Chapter Eight: Blocking and Deflecting - page 125.

In doing so, they ignore the fundamentals and do not ingrain them into their consciousness and reactions. Then they wonder whey what they are trying to do falls apart in a fight. - Marc MacYoung - Secrets of Effective Offense - Chapter Eight: Blocking and Deflecting - page 125.

Kihonteki [基本的]

The characters/ideograms mean "fundamental; standard; basic." The first character means, "fundamentals; foundation," the second character means, "book; present; main; origin; true; real," the third character means, "bull's eye; mark; target; object."

Fundamentals or "basics" in Isshinryu are the upper and lower exercises which are comprised of some exercises and both hand and foot techniques. Basics is the word provided by Americans and in my opinion are negative in their connotations. Giving folks the impression once you learn them well enough to move on to kumite and kata you can forget them completely (unless you plan on becoming a teacher, etc.).

Tatsuo didn't create the basics of Isshinryu. One of his most senior practitioners put them together and it was taught to students, both Okinawan and American.

"A basic is an introduction. A fundamental is a foundation. A fundamental is a premise, idea, or fact that an entire system arises from and is based on. A fundamental determines the shape of  what arises from it, much as a foundation of a house dictates its layout. A basic is how you introduce people you are teaching to the system. It is a beginning concept, often simplified to assist learning. If a fundamental is the foundation, a basic is the front door to enter the system." - Marc MacYoung - Secrets of Effective Offense - Chapter Eight: Blocking and Deflecting - page 124.

You practice basics so you can ingrain fundamentals. The novice, beginner, works on the gross movement; advanced practitioners focus on different aspects, making little tweaks and adjustments. Basics can be learned in five minutes, but fundamentals can take years to fully understand.

Kihon [基本], often the term used for basics, actually mean "foundation; basis; standard." The upper/lower exercises or basics of Isshinryu are actually only a small part of the kihon, i.e. the foundation or essence of the system. Kihon should encompass the fundamental principles of all martial arts, etc.

Kihon Genzoku [基本原則]

The characters/ideograms mean "fundamental principle; basic principle; general principle." The first character means, "fundamentals; foundation," the second character means, "book; present; main; origin; true; real," the third character means, "meadow; original; primitive; field; plain; prairie; tundra; wilderness," and the last character means, "rule; follow; based on; model after." 

When you also use the characters/ideograms "武士系" you get the fundamental principles of "warrior systems [Bushi-kei]". The fundamental principles of martial systems or the BOMP, Book of Martial Power, by Steven J. Pearlman. This is not to be misconstrued to be the "basics" of a system or style but the underlying principles often referred to as body mechanics, i.e. posture, alignment, power, etc.

The very foundation to any system that would promote or present themselves as a fighting system for self-defense. You cannot achieve power and ability for violence without first setting a foundation with these principles. This has to take precedence over tournaments, sport, etc. It is the knowledge that must be applied and encoded to make your system or any martial system "work."

Don't take my word for it, ask the professionals who know.

Kiken kanri [危険管理]

The characters/ideograms mean "risk management." The first character means, "dangerous; fear; uneasy," the second character means, "precipitous; inaccessible place; impregnable position; steep place; sharp eyes," the third character means, "pipe; tube; wind instrument; drunken talk; control; jurisdiction," the fourth character means, "logic; arrangement; reason; justice; truth."

In martial systems it is a process by which budo-ka identify, asses and prioritize risks. This allows them to determine the probability and/or impact of events or to maximize the realization of opportunities. It is to put events into categories such as no-risk, low-risk, moderate-risk and high-risk behavior. This is a self-assessment toward avoidance of conflicts and violence. 

It is about how you parse your training by the risks and probabilities and frequency of which you will encounter and deal with those risks. You train for the high-risk on frequent exposure levels so you maximize the effectiveness of your defenses. 

To assess risks you identify and characterize threats; assess your vulnerability to specific threats; determine the risk; identify ways to reduce and/or avoid those risks; then prioritize your risk reduction based on a strategy. The idea is to focus efforts on strategies and tactics that will handle the greatest risks while leaving lesser risks to other means of avoidance, etc. In martial systems those risks that result in severe damage or even potential death have your highest priority with emphasis on whether that risk is frequent enough or even if it is exposed to you. 

Read more here: http://chirontraining.blogspot.com/2013/07/multi-dimension.html

Kiken [危険] Kanri [管理]

Kiken characters/ideograms mean "danger; peril; hazard; dangerous; hazardous." Kanri characters/ideograms mean "control; management." The first character means, "dangerous; fear; uneasy," the second character means, "precipitous; inaccessible place; impregnable position; steep place; sharp eyes," the third character means, "pipe; tube; wind instrument; drunken talk; control; jurisdiction," the fourth character means, "logic; arrangement; reason; justice; truth." 

What this term is used for is "danger management" which is essential if you practice, train or teach martial arts for protection or self-defense. A professional, lets call him Marc MacYoung, wrote that often self-defense is so intent on getting to the fun stuff, i.e. winning a fight or learning new ways to damage another human being in the name of self-defense, but should spend at least equal time learning kiken kanri or danger management. He suggests that self defense training should be balanced, i.e. one part kiken kanri and one part the physical stuff. The first part MUST be mastered knowledge wise first before the physical stuff. 

The kiken kanri stuff: avoidance, violence dynamics such as de-escalation and deterrence, decision making such as do you have to engage in the activity that may lead to violence, etc. Note that this is just a smidgeon of what is necessary before you take on the physical stuff in martial arts classes or in self-defense training. 

Then another aspect that is often never covered or attended is appropriate training in subjects such as "Armed Citizen's Rules of Engagement," "Self Defense Law <fill in your state, county and city here>," "How to talk to Law Enforcement," etc. There are so many sources that it is imperative a person considering the need for self-defense must balance out the typical physical training with the kiken kanri or danger management training necessary to handle what happens after the physical part is over. 

Knowing these things during training can solidify it in your mind so you will act appropriately in any situation whether it is deescalating a potentially dangerous conflict away from the fight to actually maintaining the proper level of force should the need arise.

Kiken kenshutsu [危険検出]

The characters/ideograms mean "danger detection." The first character means, "dangerous; fear; uneasy," the second character means, "precipitous; inaccessible place; impregnable position; steep place; sharp eyes," the third character means, "examination; investigate," the fourth character means, "exit; leave; go out; come out; put out; protrude."

When a person first notices cues and patterns usually raised when some perception of danger arises at a subconscious intuitive level and it tends to go against some expectation the person has triggered their danger detection. The key here is to avoid dismissal. Your tendency to worry about it is a good one. Even if you are in an environment that is perceived as safe and secure there is almost always a good reason this set of cues and patterns set off your danger detection trigger device. You need to listen to it and not discard it because it doesn't fit some preconceived notion of it can't be true or it can't happen to me. 

What you see is that some situation you are in or moving into has changed, it is different to your perceptions and this is the primary goal of kiken kenshutsu or danger detection. This is another way to look at awareness at any or all its levels. You don't want to allow it to simply fade away due to some initial interpretation but consider what the cues and patterns are trying to tell you and then act accordingly.

Kiken Sakugen [危険削減]

The characters/ideograms mean "risk reduction." The first two characters/ideograms mean "danger; peril; hazard; dangerous; hazardous." The second two characters mean "cut; reduction; curtailment." The first character means, "dangerous; fear; uneasy," the second character means, "precipitous; inaccessible place; impregnable position; steep place; share eyes," the third character means, "plane; sharpen; whittle; pare," the fourth character means, "dwindle; decrease; reduce; curtail; get hungry."

We perform risk reduction by our self-analysis of behavior thus removing such behavior that exposes us to dangerous situations and environments so we may avoid over the need for the application of self-defense.

Kikgu undo [器具運動]

The characters/ideograms mean "exercise equipment (part of auxiliary exercises or hojo undo [補助運動])." The first character means, "utensil; vessel; receptacle; implement; instrument; ability; container; tool; set," the second character means, "tool; utensil; means; possess; ingredients; counter for armor, suits, sets of furniture," the third character means, "carry; luck; destiny; fate; lot; transport; progress; advance," the fourth character means, "move; motion; change; confusion; shift; shake."

The equipment, classic or traditional, that the Okinawan's use for health, strengthening and fitness geared toward the enhancement of karate practice and training. The entire system is referred to as hojo-undo where kikgu undo is the actual equipment, i.e. ishi-sashi, chi-ishi, nigiri-game, tetsu-geta, maki-stick, makiwara, chni-shi, tan, sage-makiwara, makiage kigu wrist roller, yari bako, etc.

Kiko [気功]

The characters/ideograms mean "breathing exercise; breath control; spirit cultivation; chi kung; qigong." The first character means, "spirit; mind; air; atmosphere; mood," the second character means, "achievement; merits; success; honor; credit."

Kiko is the Japanese term used fundamentally representative of the Chinese Qigong. This term in Japanese martial arts is the art of developing "ki." There are some differences between the Chinese concept of "qi" to the Japanese concept of "ki." 

In Japanese cultural beliefs, ki is an energy that permeates all things in the universe to include such things as organic life, stones, wind, rain, the sea, the mountains, etc. Ki is also thought of as an extension to primitive animist thinking.

To answer a question about the practice of the art of kiko one should delve deeper into the concept of "ki." Ki is felt though the focus on the body, it is felt by the body and the mind needs training to focus on ki by means of the body. One must develop the ability to consciously be attentive to the sensations of ki that is to become one with your surroundings through the dissipation/removal of the sensations of your own existence which is felt when focused on sensations within and around the body. 

Ki is that which is heard through bodily sensations by perceptions of our environment and how we are living within that environment. It is a matter of the sensations, impressions and perceptions that are somewhat mystical, strange, vague, and intangible by western thoughts. It is a level of insight that human's, especially westerners, have repressed in modern times. 

It is the sharpening of our senses, i.e. touch, sight, hearing, smell, which played a role in survival in ancient times now repressed by modern progress. 

Another concept of kiko, breath control. Life is ki, ki is of the breathe. The breathing we do contributes to ki and to our energy levels. Ki, breath control, kiko all are the same yet different for they promote things like health, well-being, calm, serenity and effectiveness in waza. The breath control in martial arts is the interweaving of breathe, breathe control, with muscles, tendons, ligaments, internal organs and external myriad things. 

We have heard often how we practice "muscle & breathe control." Seldom has the training addressed directly the art of breathing with control. Kiko is the martial concept and symbolism by ideograms that teach about the spectrum of breath control. The two words are inadequate to explain the depth and breadth of the importance of utilizing the art of kiko or in this instance, breathe control.

Kiko is spirit where spirit is boosted by ki, breathe control or muscle and breathe control. All of these and many things are the essence of kiko and by its energies in "ki."

Proper breathing control methods cleanse our minds of distractions and result in release of positive chemicals to counter act negative chemicals and emotions alleviating the mind so it can assume a mind of no-mind, present moment mind. 

Kiko, ki, breathing systems all cultivate a mind-body of a warrior with zanshin, mushin, etc. that epitomizes the master of the martial arts. Only by this method of kiko can one achieve a where perceptions are not deceived by the senses as influenced by the monkey brain and the adrenaline dump caused by emotions, chemicals, etc. 

Ki, kiko, is to achieve equilibrium within so that it can be achieved without and brings about harmony and serenity - a state of enlightenment. To master ki is to master kiko and reach the level of "furen shuten," where our bodies and mind become symbiotic with ki to the highest level possible in life. This is the point in which a master of kiko, ki and marital arts controls ki instinctually and naturally. 

It should be stated that kiko is an effort to reestablish our human condition where the qualities, perceptions, sensitivities and other mental/physical faculties are returned from being lost due to the course of civilization's development in the industrial and now internet ages. It is a method by which kiko gives us access to the primitive instincts/qualities that we need in survival and interconnectedness of all things in the universe.

Kiko helps the westerner understand how mere words reduce the depth and breadth one can perceive from images (ideograms), sounds, and movements which when coupled with words increases their depth beyond the words themselves.

Kime [決め]

The characters/ideograms are used to mean "focus." The first character means, "fix; agree upon; appoint; decide." It is a noun form of the term "kimeru [決める]." This term, character/ideogram means to "clinch (a vistory); to decide; to resolve; to persist in doing; to go through with; to carry out successfully and to immobilize with a double are lock (in sumo, judo, etc.)."

In karate it means power or focus, the more common being focus. It is often described as the instantaneous tensing at the correct moment in applying a technique. 

In the fundamental principles of martial systems it comes to mean "total focus." It is about "focusing on a single point" as described above as that instantaneous tensing moment in a technique. When a karate-ka learns about kime they are taught to associate it with "mushin" where the mind is connected by its mind-state of being uncluttered, unfettered, and unfocused except for remaining responsive, alert, and aware of self and the environment, etc. It is about a focus on the present moment with no disruptions of the past or about anything possible for the future - only the exact moment. 

To achieve this level of kime and mushin the karate-ka must have applied all the fundamental principles equally except for the principles necessary to achieve success such as those physiokinetic and technique principles that bring about that instantaneous tensing or chinkuchi, at the moment of technique application.

Kimi [気味]

In most martial systems kimi means "focus." What becomes an issue of concern is when westerners start to define this martial term using their personal western English word to define it as a visual thing when it is a bit more. One might think it is that focus given in a strike, for instance, where one focuses attention and power to a specific spot on the opponent, i.e. such as the solar plexus. 

Kimi or "focus" can be many more things. Focus on the mental training in conjunction with the physical. Focus on breathing through the hara. Focus on the fundamental principles of martial systems in application to the physical through the mental. Focus on your environment and those who are present and in close enough proximity to become a possible threat. The word "kimi or focus" can be much more ....

The two characters/ideograms mean, "sensation; feeling; tendency; propensity," and the first character means, "spirit; mind; air; atmosphere; mood," and the second character means, "flavor; taste." The following comes a bit closer to the basic understanding of the kimi in karate. 

全力を注ぐ（ぜんりょくをそそぐ） / focus one's efforts, concentrate one's energies

It can apply to most of what I elude to in meaning because to focus one's efforts or to concentrate one's energies in those area's is a fundamental meaning of using focus in your training and practice. 

When further research is done it may be the type of ideogram and word that is unique when used for martial systems since most of the definitions I find for the Japanese word "kimi" mean, "sensation; feeling; you; buddy; pal; egg yolk; millet; proso millet, yolk of an egg; yellow of an egg."

Kimi is an integral part of the art of budo in karate goshin-do. In this form kimi is the ability achieved to maximize effectiveness of the physical aspects of karate goshin-do. The is expressed by the term "kimi." 

Kimi in this instance is the ultimate decisiveness. Kimi has a yin-yang dualistic monism aspect of the perfection of the original form as the system dictates by tradition and the application of the proper level of force that reaches the absolute limits of the technique applied.

Physical performance key elements for budo void, pause or interval's that become manifest within single harmonious movement.  This pause is the demonstration of apparent relationship of a symbiotic nature of the person and with the technique created - a unification of mind and body, mind-body

Force, the second element of the yin-yang concept, is unique to budo. It plays the important role of making the individual technique in its technical movement effective when applied in combat. It is the maximal point or culmination of the body, physical form, executed with appropriate maximum force that reaches limits beyond the norm.

It is this dualistic monism of yin-yang or kimi expressed in karate goshin-do that brings the level of performance and application that is master or proficiency beyond the limits of the age of the mind-body. 

It takes us beyond our natural threshold to seemingly mystic levels but is actually the expressions of kimi in budo or karate goshin-do.

Kenji Tokitsu Sensei states in his book, "Kime entails having our strength heightened to its maximum level, to be realized by going beyond this threshold at certain selected moments during the execution of a technique."

This is the path, the gate, that when opened with maai-hyoshi and yomi brings about the essence of budo that would make karate - karate goshin-do a budo.

In closing another quote from Kenji Tokitsu Sensei, "Personal evolution in relation to the formal techniques cannot be envisaged until after the practitioner has reached the point of being able to apply force in kimi by means of a technique that has acquired its correct form." The highest level of kimi: form and force!

Kinko [均衡]

The characters/ideograms mean "balance; equilibrium." The first character means, "level; average," the second character means, "equilibrium; measuring rod; scale."

This term is a small stretch in that I intend it to mean balance as in finding centeredness (Chūshin-sei [中心性]) that promotes a spontaneous response. Balance is not just this centeredness but a centeredness of the mind and spirit as well. Finding life balance is the true secret and absolute essence of the fighting arts we call martial arts, i.e. the martial systems that have achieved an balance in mind, body and spirit. 

A balance that fits the laws and patterns and rhythms of nature, the way it moves, and the knowledge that one cannot force any laws of nature and must follow them with patience, diligence and humbleness. It is the coordination of our own concept of nature, what is to be done and the disciplined action that we learn - within the confines of the forms, rhythms and patterns of nature. 

The Chinese refer to it as wu-wei, the balance between doing and not doing that yields the perfect art.

Kinkotsu [筋骨] (Chinkuchi [チンクチ])

The characters/ideograms mean, “Muscles (sinews) and bones; structure.” The first character means, “Muscle; sinew; tendon; fiber; plot; plan; descent,” the second character means, “skeleton; bone; remains; frame.”

The term, “kinkotsu-ryuryu [筋骨隆々],” means, “muscular; strong-muscled.” The first character means, “Muscle; sinew; tendon; fiber; plot; plan; descent,” the second character means, “skeleton; bone; remains; frame.” the third character means, “hump; high; noble; prosperity.” 

Both theres terms are related to the Okinawan term, in Uchinaguchi or hogen dialect, “Chinkuchi [チンクチ].” Mr. Ryan Parker provided the following definition that relates better to the simple definition of bones, sinews, tendons, etc. Even the definition in its simplest form does not relate exactly to the definitions found by my research, i.e. tendons, muscles and bones.” Structure is somewhat limited as a variety of fundamental principles of martial system apply to the concept of chinkuchi or kinkotsu. Still the way Mr. Parker describes is really a good way to explain this concept to a student, i.e. “It refers to the last instant before contact is made when the skeletal structure becomes correctly aligned, all the agonistic muscles are very suddenly and sharply contracted, and the muscles which stabilize the relevant joints are engaged to an appropriate degree. It differs from kime in that it doesn't involve all muscles equally and depends on structural alignment and stability from connective tissues.”

When you look to the fundamental principles you also find the following related or inter-connected to this more terse definition especially since they describe the totality of the actions required to achieve chinkuchi. 

When you refer to the primary principle of theory you can see that “control” is one because it is control of the body, mind and spirit with emphasis on the physiokinetic and technique principles that result in its proper application. Then (these should be self-explanatory) there is the efficiency sub-principle, power paradox, simplicity, natural action to start. 

When you look to the primary main principle of physiokinetics you then get the following sub-principles that are necessary, at the least, to achieve true chinkuchi, i.e. breathing, posture, centerline, spinal alignment, axis, structure, heaviness/relaxation, wave energy, convergence, centeredness, body-mind, centripetal and centrifugal forces, sequential locking and relaxation, and rooting. This is not to say the other sub-principles are not important as it is well known to achieve a total proficiency of chinkuchi it takes a inter-connectedness and wholehearted application of all principles but these stand out when it comes to the chinkuchi concept.

Also, taking a look at the main principle of technique we can see how economical motion, active movement, positioning, angling, complex foces, live and dead energy, speed, timing, rhythm, balance, natural and unnatural motion as well as extension and penetration also contribute to that which is called chinkuchi. 

As to philosophy and its sub-principles there are several that speak out louder when studying the practice of chinkuchi (come on folks, you don’t think I am going to provide all the answers. Even so, these are not compete either and should prompt further research and study).

As can be readily perceived the fundamental principles play an important role in explaining the concept beyond the limited definitions provided by the Japanese terms and characters/ideogram provided. This is another reason why it is important to find a sensei who can understand all the concepts, principles and applications that contribute to one another as an inter-connected wholehearted whole that are martial arts.

Kinkotsu ki [筋骨気]

The characters/ideograms mean "muscle; sinew; bone; power; control; tendon; vein; artery; fiber; reason; logic; lineage; aptitude; source, etc." The first character means, "muscle; sinew; tendon; fiber; plot; plan; descent," the second character means, "skeleton; bone; remains; frame; outline; core; backbone; spirit; fortitude," the third character means, "spirit; mind; air; atmosphere; mood; heart; nature; disposition; motivation; intention; feelings; essence." 

This set of characters and term are, in theory, the Japanese equivalent of the Hogen dialect of Okinawa chin-ku-chi. The shinjinbukan tells us that chinkuchi is "Original word from Uchināguchi (Okinawan dialect); Chinkuchi is the exact point in which a joint can resist a force in two opposite directions (pulling and pushing). This is a unique aspect of the body mechanics that facilitates stability and leverage without wasting muscular force. This concept is unique to Ti, the ancient Okinawan Martial Art." 

The term was used by some pioneers who trained long enough with Tatsuo Shimabuku sensei at the honbu dojo, circa 1950's and 1960's, to mean, "'Chin' ([筋 or 筋肉] muscle); 'ku' (bone [骨]); 'chi' ([気] power and control). Chinkuchi (Chinkuchi-nai [he doesn't have chinkuchi]!) is a composite of bone, sinew, and chi for an energy that is manifested through body mechanics."

Kinmu [勤務]

The character/ideogram means "service; duty; work." The first character means, "diligence; serve; become employed," the second character means, "task; duties." 

Service or kinmu in martial arts is a purpose that transcends all other considerations, i.e. there is no greater purpose than service to others as quoted from the peaceful warrior. This is not a service as would be interpreted  in a business sense, i.e. I provide a service and you provide renumeration in the form of money, but rather a consideration of a student to a teacher or a seito to a sensei and in reciprocity sensei to a seito. 

You hear of these types of service relationships in terms like tori-to-uke and senpai-to-kohai, etc. where one mutually agrees with the other to provide a service that results in the greatest opportunity for one another to learn, grow and prosper as martial artists. 

There is no greater kinmu in the martial arts. This translates to the type of service one human provides to another, to the group (dojo) and to society.

Kino-tekina Fudo [機能的な不動]

The characters/ideograms mean "functional fixedness." The first character means, "mechanism; opportunity; occasion; machine; airplane," the second character means, "ability; talent; skill; capacity," the third character means, "bull's eye; mark; target; object," the fifth character means, "negative; non-; bad; ugly; clumsy," the sixth character means, "move; motion; change; confusion; shift; shake."

When one is seemingly hell-bent on remaining with a more traditional form of martial art this can sometimes be attributed to a decision-making, belief, and behavioral bias called functional fixedness, i.e. a bias that limits a person to using an object only in the way it is traditionally used. In a complete and wholehearted martial practice it results in a stunted version where progress halts after learning the basic foundation of the system or style, etc.

In a shu-ha-ri model that keeps one rooted in the "shu" stages while the conscious effort to release oneself from the tradition to achieve both the "ha" and "ri" levels is absolute. This can be said of the model shin-gi-tai as well. 

There is a benefit initially remaining in a traditional mode of practice but to remain there simply because it honors, in our minds and perceptions, the creator turns out to be a self-limiting form rather the a wholehearted one.

Kinsetsu [近接]

The characters/ideograms mean, “Proximity; neighboring; adjacent; adjoin.” The first character means, “near; early; akin; tantamount,” the second character means, “touch; contact; adjoin; piece together.” 

Karate is meant to be applied close up and personal. The distance is not like in sport where two opponents stand two legs length apart, sizing one another up and then closing rapidly with some flurry of techniques or combinations. The distance one must achieve and adhere to in order to fight and be successful is often no further apart than the length of the forearm and often times much closer. 

In order to train for close proximity to another, stranger, adversary, opponent, etc., person you have to move in quickly and without hesitation so that your hands, elbows, etc., can apply technique properly and within the confines of the fundamental principles of martial arts. Humans have a natural instinct of staying a distance away from one another - mostly. 

Karada-kitae, with the often used Kote-kitae or arm forging, is a means to accomplish three goals, i.e., first, to strengthen and forge the arm to resist pain and apply proper techniques, second, is provides a means to gauge proper distancing and third, it teaches a practitioner to handle pain. 

This is a means to train the body and the mind to overcome instinctual resistance to approaching and maintaining close proximity to another person especially in a fight or violent attack, etc.

Kin'yoku shugi [禁欲主義]

The characters/ideograms mean "stoicism; asceticism." The first character means, "prohibition; ban; forbid," the second character means, "longing; covetousness; greed; passion; desire; craving," the third character means, "lord; chief; master; main thing; principal," the fourth character means, "righteousness; justice; morality; honor; loyalty; meaning."

Emotions and the development of stoicism is hand in hand with bushido and martial arts. It is also a part of the culture in Asian parts of the world where a strict adherence to shikata as a form that connects to such beliefs as shintoism, buddhism, confucianism, etc. It is what drives them to achieve higher levels of efficiency, proficiency and what some believe is an innate ability to perceive what others want, need and require of them. It is a most difficult cultural belief system to explain to the western mind but it opens the door to understanding what, when, where, how and why the martial arts are practiced as they are traditionally in those countries, cultures and systems.

Stoicism or Kin'yoku shugi are also found in every country of the world with and without certain similarities. Stoicism is also tied to the male species as a means of not expressing certain emotions in the effort to train the mind not to react to those same emotions except in a control method to make said emotions work in the favor especially in combat or conflicts, etc. 

It is about the context, past and present, of the military culture, like feudal era samurai of Japan, and belief systems that promote a stoic discipline that was necessary for military goals which was paramount to samurai. It denotes traits like "honor," "discipline," and "control of emotions." It is something that is not readily discussed in training and practice but goes a long way toward teaching methods that could promote avoidance, evasion and deescalation - important strategies and tactics to conquer conflict before it becomes violence.

Kioku-hō [記憶法]

The characters/ideograms mean "mnemonic." The first character means, "scribe; account; narrative," the second character means, "recollection; think; remember," the third character means, "method; law; rule; principle; model; system."

Kioku-ho or mnemonic is a theory as to the ability to use this system to enhance encoding into memory through repetitive practice those naturally associated techniques necessary for varying situations requiring physical actions in defense of self or others.

Kioku-jutsu [記憶術]

The characters/ideograms mean "mnemonics; art of memorizing; mnemonic device." The first character means, "scribe; account; narrative," the second character means, "recollection; think; remember," the third character means, "art; technique; sill; means; trick; resources; magic."

Kioku jutsu or mnemonics are another means of teaching or encoding into a practitioner/students mind something. Using this along with various visual, auditory and kinetic methods helps an instructor to achieve more success in student retention. Each person has particular learning modes that are superior to the others. We all learn using all of them but when pressures rise and stress is introduced as it can be in martial arts training the discovery and use of the person's dominant learning mode will enhance the learning process. Kioku jutsu or mnemonics is one of those tools that supplements the visual, auditory and kinetic learning process.

Kiokujutsu [記憶術]

The characters/ideograms mean "mnemonics; art of memorizing; mnemonic device." The first character means, "scribe; account; narrative," the second character means, "recollection; think; remember," the third character means, "art; technique; skill; means; trick; resources; magic." 

Kiokujutsu is another form of teaching where a part of that teaching is in the micro-form of "kata." Kata are the epitome of martial art teachings as they are the most ancient forms of mnemonic or "art of memorizing." 

It becomes obvious to present day practitioners when they begin to understand that many of the arts historical information was NOT put down on paper or any other form of knowledge transmission except in kata form. It is a catalog of techniques on the surface yet it contains a much deeper and wider meaning when fundamental principles of martial systems are transmitted properly through kata and kata practices.

Kiotsuke [気を付け]

The character/ideograms mean "(stand to) attention! The first character means, "spirit; mind; air; atmosphere; mood," and the third character means, "to be careful; to pay attention; to take care." The others are kana. 

Used in karate dojo, and other marital systems as well, to bring the attention back from paired and/or individual practice to a dojo group practice.

It is used to make sure the spirit, mind, atmosphere and mood of the dojo is serious and focused on current events as they unfold. It is a means to imply that all thoughts and considerations and distractions of the outside world are left outside.

Kiritsu [規律]

The characters/ideograms mean "discipline; order; rules; law; regulations; observance." The first character means, "standard; measure," the second character means, "rhythm; law; regulation; gauge; control."

You would think this martial term would be a no-brainer but often I have witnessed a lack of discipline in the training hall and the reasons I would consider the cause is remuneration, contracts and the overriding need for instant gratification. Budo, classic, tradition or modern, all take a lot of discipline - internal and external. 

Kiritsu or discipline is another of those concepts assumed to be understood but it takes a lot of work to instill the intestinal fortitude that drives true discipline beyond boredom, monotony and low esteem. Sensei, instructors and teachers all need to make teaching about discipline a part of the program with emphasis on what it takes to achieve a goal of strong self-discipline. 

Sensei must know what it takes to instill it and to nurture it into a martial concept of the highest order. Budo requires no less of all who take up the sword.