K - Kisoku

Kisoku [気息]

The characters/ideograms mean "breathing; breath." The first character means, "spirit; mind; air; atmosphere; mood," the second character means, "breath; respiration; son; interest (on money)."

First, lets establish some fundamentals about breathing be it for health or for martial arts. Breathing is a constant. There are no pauses, stops or interruptions. Breathing must remain fluid regardless of inhalation, exhalation and the transition between the two. If you stop breathing at any time then your not breathing correctly. 

Second, breathing is always done, in this method, from down deep in the diaphragm. Deep diaphragmatic breathing is the only true fundamental that is the cornerstone of all breathing methods. 

Third, breathing in this instance and from my knowledge, learning and understanding always inhales through the nose and exhales through the mouth. This type of breathing is always controlled as best as possible dependent on things like stress and adrenaline - naming but two. 

These are what I consider the fundamentals of breathing and the connection to health for me comes through Chi Gong and Tai Chi Chuan practices with emphasis on the Dragon's Gate methods. As for my karate, it is also the basis of how I practice, train and apply karate or any aspect of self-protection. 

The following are some additional postings I have done over the years on the art of breathing.

Breathing

This one is so important I can not emphasis it enough. I want to say emphatically that learning proper breathing is critical to life and your training.

First, your breathing connects everything within your body from circulations to organ function. The volume and rhythm of your breathing has far reaching effects. Watch your volume, duration and speed of breathing for it has effects such as digestion, circulation, nervous and excretory functions and many of the systems in your body.

Slow Breathing Effects: Slow breathing slows down your metabolism which includes the heart rate, which effects the blood circulation, and your body temperature tends to become slightly lower. It also produces a more peaceful state of mind allowing for clear thinking. It provides for better perception and allows us to connect to the Tao.

Deeper Breathing Effects: Deep and rhythmic breathing creates a better and more active metabolism, harmony between the organs and different systems of the body and it stabilizes your body temperature. You have a more stable emotional ability, greater confidence, and maintain a steady thought process.

Longer Breathing Effects: It creates better coordination. You have and maintain a peaceful feeling. You have more endurance, patience, and quietness with far less emotional excitement or instability.

What this means is one should try to make their natural breathing pattern slower, deeper, longer, and rhythmic. Your mental, physical, and spiritual development parallel your eating and breathing so making appropriate adjustments will provide a good deal of benefit both health and martial.

Consuming to much sugar, etc tends to make you breathe faster and shallower and shorter in duration. The effects are catastrophic to your health and practice. You end up with a faster metabolism resulting in such things as accelerated heart rate that goes on from there. You are more anxious, unstable, become frustrated and often develop fear. Your perception suffers, you lose confidence, lack courage, lose memory and vision is impaired (sound familiar?). You become impatient, irritable, shorter temper, have less endurance, and the list continues.

You already have started the physical fitness part to all this so I won't go into that here. You have two additional factors to incorporate into your training and that is proper diet and breathing - slow, deep, long, and rhythmic.

The benefits are endless and may bring you a longer, happier, and healthier life. It will connect you to the universe or the Tao. Study this well!

The Importance of Breathing

"Breathing is not just the physiological process of inhaling and exhaling. It is the conscious ordering of the breath so that it blends smoothly with the movement of the body and the flow of the spirit." - Onuma Hideharu with Dan and Jackie DeProspero

As my ongoing research reveals to me I am finding that the one and most important technique I can teach a karate-ka is the art of proper breathing. As I have known and continue to discover one must master the proper breathing method if they intend to survive any type of combative, life threatening, situation.

Let me begin by reminding some of you of the effects we encounter in combat.

Loss of motor skills

Auditory loss

Peripheral vision and depth perception loss

Reaction time loss

This may not be the complete list yet it will suffice so you get the picture. It has been discovered that the most important tool a combatant can learn is the ability to control the heart rate. A mind free from as much anxiety and fear will result in increased combat effectiveness. This can be accomplished in training.

Training increases confidence and will lower the effects experienced in combat provided it is the correct type of training. Supo-tsu karate does not provide this type of training. Karate-jutsu may provide it if done correctly.

When creating a combat training regimen or syllabus keep in mind that the techniques must be such that they ensure the practitioner will survive. The technique must be of the kind that requires the least amount of both physical and mental energy. The technique must be applicable in any situation and any environment. Last, the technique must require a minimum of reaction time and it must be simple and easy in its application.

If the technique does not meet these requirements then most students will not practice it. One must practice the techniques so they become natural and instinctive. The techniques must have that quality so when students practice using performance imagery it must show its real life application to be effective.

What this means in a nutshell and with out going into a lengthy discussion/explanation all this builds confidence which results in reduced heart rates which results in the retention of those skills listed at the beginning or as much as humanly possible.

Yet, this may not be enough once a person encounters a situation that is life-threatening and may result in death to one or both of the combatants.

When you encounter such situations you may notice the very first effect is sudden quick and shallow breathing. This is maybe the first symptom along with eyes widening, pulse quickening, blood pressure rising, palms sweating, and so on.

The quickest way to get a handle on those symptoms, which result in the above list, is to perform proper breathing techniques.

In a previous post I provided crises breathing techniques. It has become my primary teaching method to those who start fighting art training. Proper breathing techniques to take control of those mental, physical, and psychological manifestations that occur due to combat stress.

Make breathing your primary initial teaching technique as it will make the difference when the tread meets the road in combat. Use breathing drills to force the heart rate to slowdown. Add in performance imagery to prepare for the unknown and you have a solid initial training combination for combat.

Any time you feel any of the symptoms described previously in daily life, or in practice, remind yourself to do the crises breathing techniques to slow the heart and regulate the breathing; everything else will naturally follow.

Make proper breathing you fist lesson and continue it through out one's training, for life!

Zazen Breathing

In traditional teachings, which may encompass martial, proper breathing is essential and is taught as a fundamental factor of concentration. Air contains energy and life force from the universe which we inhale through our lungs and then permeates every cell in our bodies. It is therefore important to know how to breathe deeply. We normally breathe fifteen to twenty times a minute.

This breathing is superficial, as we use only one-sixth of our lung capacity. Deep, full breathing, however, does not take place at the level of the lungs, but rather emanates lower in the tanden, an area of the body located two inches below the navel. With practice, one can learn to slowly breathe five to six deep, calm breaths per minute. This is the deep breathing used during zazen. The exhalation should be longer than the inhalation while exerting a gentle pressure downward on the intestines, followed by an automatic breathing in.

Through the practice of zazen, this type of breathing gradually becomes a regular, basic habit, especially during sleep. Breathing in occurs automatically and unconsciously, so it is important to be cognizant that we are inhaling universal life force and energy from the air. This awareness and mindset can actually change and charge the air molecules more intensely, giving them a different quality. The life energy of the universe contained in the air is then transformed into human energy.

Breathing out deeply does not happen automatically, a conscious effort (meditation) must be made to exhale slowly and deeply. This deep breathing pushes the energy from the lungs (where it is normally expelled) down to the hara, or energy center. In Karate, we initiate kumite attacks while exhaling, thus compressing the muscles internally and thereby producing kime and kiai.

As used air is exhaled through the mouth, we also push the air-sourced energy down into the tanden where life forces originate and flow. The tan den then distributes this energy and life force to all parts of the body. It is also capable of storing up a good supply of energy (ki) from the universe and releasing it at will with instantaneous physical power (kime). The more we practice and are receptive to this concept of breathing the universal life force, the more our energy grows.

Although zazen means "no mind, no thinking, no thought," it is first necessary to concentrate and meditate (deep thought) on our breathing exercises until they become automatic. Once our deep breathing becomes automatic with no thought or intention, we are then ready to reach the level of zazen, an art in itself and a state of being that takes many years to achieve.

Zazen (or Mokuso) is a recuperative and peace-of-mind posture assumed both before and after fighting arts training or contests. Zazen is usually performed in a sitting (seiza) position while maintaining a thought-free mind, yet totally aware of external influences. The level of the mind should not be that of a waking dream. That philosophy is opposed both to Mushin (no mind, detached mind, free mind) and to Zazen in which one responds to any attack instantly and naturally. Zazen is viewed as thought without thought, thinking without thinking, (hishiryo satori) a division or higher level of thought without thinking which modern psychologists refer to as consciousness.

Zazen is not a form of meditation or mental exercise. Rather, it is the return to what is regarded as the normal human condition; a state of mind free from the pressures and demands of daily life, and any goals or desire for gain. The wish to reach any goal by performing Zazen will prevent one from achieving it.

In the seiza posture, one relaxes by breathing calmly while attempting to maintain an empty (thought free) mind. The three components of Zazen (posture, breathing and mental attitude) should be peaceful, stable and natural. The posture and breathing are easier to learn, and their physical benefits can be immediately felt. However, the proper mental attitude, which is of primary importance, is difficult to comprehend and attain. One must practice positive Ki to even attempt Zazen. The pure state of Zazen is freedom of mind or peace of mind. It is through the practice of Zazen that the Samurai arrived at the perfection of their art. This is why Zazen is called the religion of the Samurai.

Crises Breathing - more...

In my previous posting on the value of breathing in a crisis I covered how important it is to move into a deep rhythmic diaphragmatic breathing mode to calm the body and mind so you can "handle" the crises in a calmer fashion. There is only two additional additions to that technique I would add and that is the addition of a four count and that you practice it frequently to make it automatic.

The four count comes from the technique taught by Lt. Col. Dave Grossman. Simply do a four count as you breathe through the nose, hold it for a four count, breath out through the mouth for a four count, hold that for a four count and then repeat. Col. Grossman suggested you do it three times and I believe if you practice in repetitively that will be the end result or something close to it.

How would I practice this technique? First, I have practiced this type of breathing, much like most karate-ka, for years only I have not used the four count part.

I practice the breathing method as I practice. In particular I use it at the beginning and end of the kata. When I am in what I call the "yoi" position just before I take a kamae to begin I use the breathing method to focus my center, bring my heart rate down, and to create a mental focus. I can feel my shoulders settle down and the tension leave my body and mind. I now have added the four count to that process.

I also practice it just prior to kumite. It is especially good to practice before you spar with someone completely new be it a student or another karate-ka. I also practice the breathing technique while in mokuso at the beginning of class.

Of course we must also practice when appropriate so we can make use of it outside the dojo. I do that as I walk from my office to lunch or on a break. I also take a few moments every hour of the work day to get away from my desk. I take those five minutes, along with the morning and afternoon breaks, to practice breathing and karate.

If I feel anxiety or anger start to creep up on me I do the breathing. If something about my work creates the same I do the breathing.

As does Lt.Col. Grossman and others he quotes in his books it is important to practice repetitively and under stressful situations so when, hopefully never, you are confronted in a possible life and death situation on the street you can automatically start the breathing technique to remain at a level that will allow you to respond instinctively.

Thanks to Lt.Col. Grossman and friends for the education and for providing additional data to young warriors that breathing in life properly really works. If I had one thing to teach to our youth today it would be this type of breathing method so they could understand and rein in the anger and emotions that they will encounter in the stresses of life.

This posting was inspired by my reading of:

On Combat: The Psychology and Physiology of Deadly Conflict in War and in Peace by Lt. Col. Dave Grossman and Loren W. Christensen, ISBN: 978-0-9649205-2-1

Crises Breathing: More ...

This is a post with notes to remember in regards to crises breathing or combative breathing.

Crises breathing should be used before, during, and after a stressful encounter. It quickly calms and prepares you so you may function at your best.

When you first encounter some stressful situation immediately perform the four count crises breathing technique. This will help you to control your heart rate so the effects of the stress is lessened.

While you are working through the stressful situation you should remember to keep your breathing slow, steady, deep, and rhythmic. This will help you to maintain control of the heart rate even when the situation may try to induce you to forget and fall prey to its effects.

When the stressful situation is done and gone you must bring the memory back so you may understand all that transpired and this may cause the effects to rise again thus you must perform the breathing technique again. This helps you to control its post effects which can be as debilitating as the actual stressful situation you encountered. You do not want the memory to be triggered at the most inopportune time creating another post stressful situation when none actually exists.

Practice the technique at every opportunity so that it becomes a conditional reflex or instinctual. Your body will just breathe properly when stressful situations of any level arise. This works for fear and anger. You control the body and mind so you control fear and anger's effects by your breathing technique.

If you control your breathing you control your emotions and the effects they cause. Control your body; don't let your body control you.

First Line of Defense:

What is your first line of defense in a crisis? Does your first line of defense have the appropriate training and conditioning?

In any crisis situation your first line of defense can make the difference in overcoming or succumbing. This is that weapon, what ever it may be, that will be the very first thing to come to your aid in a crisis situation.

My first line of defense is breathing. I know some of you when reading the first two paragraphs started thinking about some favorite and heavily practiced technique. Stop and think about this a minute. No technique will help you survive a crisis unless it is preceded by a calm mind and lots of practice.

If the crisis were a financial issue with you and your family then keeping a level head and clear mind will assist in overcoming this crisis. This goes for just about anything. Yet, you might say, "What the h#%& does breathing have to do with it?" It has everything to do with it.

Most crisis situations create both a mental and physical reaction within a person. The mind can cause the body to lock up and a tight body with tension can cause other physical responses that cause the mind to freeze up or become fogged. The one thing that has been proven to alleviate such reactions is proper breathing methods.

Ok, so we have answered the question as to what your first line of defense is, or mine anyway, so now we go to the next level which is geared toward karate training. What is your physical first line of defense?

In my case it is my hands. Stop laughing so hard as I know that karate today translates to empty hands. I can even bring that further by saying my fore fist or tate-ken (vertical fist of Isshinryu) is my first line of defense.

Although I train to use a variety of techniques in kumite I know that, for me, if self-defense on the streets becomes a necessity then my first line of defense is my fists. This is why I train a little more developing them vs all other physical weapons of karate. The fore knuckles (seiken), the hammer fist (tettsui), the back fist (uraken), the palm heel (teisho) (yea I know that isn't exactly the fist), the knife hand (shuto), the ridge hand (haito), and the thumb area of the tate-ken. I am confident that in a combat, hand-to-hand, situation that those areas will be my first line of defense.

Proper Breathing:

"Proper breathing is of utmost importance whether one trains in fighting arts, the performing arts, or athletics. Its value can be seen most clearly in a fighting arts struggle where the ramifications of improper breathing can cost a fighter the match." - Seikichi Toguchi

I remember watching the Cirque du Soleil a few years back and noticed almost immediately that the performers breathed from the lower diaphragm area at all times. I watched it through out the performance and especially when the fighting art performers were on stage. Everyone, to the last person, did deep and steady breathing from that lower area of the body sometimes called the hara or tanden.

When practitioners first enter the dojo they sit seiza and do mokuso where they empty the mind of everything and focus on proper breathing. This helps the karate-ka to create the appropriate mind set so they may focus solely on training with out any outside distractions. It also provides time to start the training of proper breathing.

Proper breathing is a vital component of energy management. Breathing in is yin or soft which is that mode of preparation toward breathing out which is yang or hard. Techniques are executed on the yang breathe.

Another benefit of proper breathing is what I refer to as muscle and breath control. This type of breathing increases one's ability to handle pain, illness, and/or injury.

When we breathe properly in karate-do/jutsu we supplement that breathing method with ibuki, which is found in the practice of sanchin. It is a yang form of breathing, or strong, usually signified by the strong and audible breathing one does in the kata.

Proper breathing has a calming effect on the mind and body. When one controls their breathing into a long, slow, deep, diaphragmatic breathing form it has the ability to allow for reducing stress and anxiety, helps to overcome fear or to redirect the fear to a positive outlet, and is especially helpful in violent combative situations.

Proper breathing is learned quickly yet it takes a good deal of repetitive practice over many years to master it. It should be practiced in every facet of the day as well as in karate training.

Proper breathing is another form of exercise and one that should be started and learned before anything else in karate-jutsu. It should become instinctual and automatic in every thing you do. When you first feel that tension and stress your mind should instinctually cause you to start proper deep slow breathing. This is critical in every facet of training as well as life.

Proper breathing is also a critical part of kata training. You breathe out strongly when performing hard techniques while breathing in softly for the soft techniques. Breathe out and do sudden tensing for power and breathe in and relax to create your speed.

Ibuki breathing is that form that creates a quick bust of energy which is used during strikes and kicks. Nogare, or slow breathing, is done when moving from one position to another.

When performing a technique a strong exhalation adds to the power of the technique. When used with Kiai shout it can disrupt the mind of the opponent. When used properly along with tensioning of the body it can also reduce the shock to the body when struck.

I can not stress it hard enough or enough times to practitioners. Proper breathing is the soul of karate-do/jutsu. Learn it first, practice it in every facet of life, practice it more in karate training, and let it become instinctual. Let it become as normal to every day life for you as the heart beating in your chest.

Fear in Combat or Self-defense?

When confronted by attackers is it fear that keeps us from taking the appropriate actions? That sudden jump of adrenaline, the brain freeze, the shallow breathing and all else that comes to us from confrontation by a stranger who is, at least on appearance, determined to do something we don't want to happen to us a result of fear of physical harm or even death?

Some very good questions are asked in regards to the practice of karate-jutsu/do. Something we hopefully never have to deal with in our lives yet if we do, what kind of training is necessary to overcome this initial reaction thus allowing us to react in self-defense.

Another on-line karate-ka, "BBM", recommended a reading that, at first upon hearing the title, I initially felt may not really apply to street self-defense and the practice of "Te". I am about half way through the reading and find that in a sense it does provide some deep insight to the human psyche. Although it focuses on killing and combat the basic premise of the human situation is appropriate for all situations involving any form of confrontation and/or conflict.

I found this especially true since I could make the connection as a former Marine as well as a long term practitioner of "Te" or "Karate-do/jutsu". I was able to make connections to the type of training I received as a "Jarhead" as well as a "Karate-ka". I do recommend, even if never a veteran, reading this book with an open mind so one may associate it with more than just combative situations.

It turns out that, instinctively, we have something that may be ingrained by nature to not want to harm another of our human kind even when someone is trying very hard to harm us. As the book indicated in regards to combative vs enemy combative one is hard pressed to do harm to the other except in rare cases where the one is a sociopath to begin with (thank goodness that is such a small percent of all human kind) with an unnatural ease in doing another harm.

Sometimes when confronted by another we move into several modes that are natural in the effort to not do harm such as posturing, etc. The animal kingdom does this with their own species, i.e. lion against lion, and very seldom actually do harm. I wonder sometimes if this is why supo-tsu karate is far more prevalent vs the combative form of training (far more popular).

This could also explain why the UFC stuff on television is also very popular as a viewing sport. The book did mention that when the harm is not focused at the person or the person is not the one doing personal harm to another that our natural fascination to violence takes place. In combat whether one is face to face vs generally never actually seeing the enemy the stress is different and the reactions both physically and psychologically are different.

So, let us get back to training for self-defense. This would mean that one must overcome through repetitive training that natural instinct to do another, face to face, personal harm regardless of whether it is self-defense or of an offensive nature. As to the military, and from the analysis of the author, it appears that it takes repetitive and specific practice to act instinctively thus bypassing this natural phenomena.

This brings up another aspect that is of importance. One that many military leaders and politicians seem to overlook and that is the psychological effect on one who has to do harm against another, face to face, even when it is in "self-defense" and even when it is condoned by society as "self-defense". Apparently to overcome this natural tendency to not harm another of your kind results in some psychological damage and depending on circumstances can result in more personal harm than if one were physically hurt.

Even then, if physically hurt, by another in a combative environment can result in psychological damage. So what do we do to train for all this?

The answer is simple and yet very complex. We train first to avoid all conflict or as much as possible (I realize conflict comes in many forms that can occur in daily life). We train to protect ourselves, our loved ones, and our fellow citizens and an important part of that is to avoid situations that would bring us to that point. As Funukoshi Sensei said we strive to not strike first yet when no other choice is left to us we strike in defense of our lives and so on.

Does this make sense? Does this seem plausible? Does this make a difference in your training?

This book brings up a lot of questions and this is why I felt it important to add to my recommended reading list. Col Grossman has brought out some outstanding data that I hope someone in charge of the guys currently in combative area's of the world can provide the appropriate leadership with a result that those who serve us can come home to family, friends, and neighbors.

So let us train hard to not come to harm or into harms way. Let us train to handle all the various effects of face to face confrontation in a manner that will bring no lasting harm to ourselves and to others. Let us be true karate-ka, to be beneficial to society, family, and to ourselves.

Is it fear that keeps us from taking the appropriate actions?

On Killing: The Psychological Cost of Learning to Kill in War and Society by Lt.Col. Dave Grossman

Breathing and Mokuso:

Mokuso is a meditative posture where the practitioner used proper breathing methods to calm the mind and body. This should be practiced, as a novice, in a room that is not to light (semi-dark like twilight) and it must be cool and quiet.

Proper breathing in mokuso is meant to induce complete relaxation of the body. The focus you must put to this exercise allows the mind to free itself from those outside influences that would disturb mokuso.

To do this one must completely focus on the breathing. First tho one must take the appropriate sitting position. The ideal position is for the buttocks to rest on a pillow for support while the legs are in a lotus position with the feet and calves on the floor. If one can not take a full lotus position then take a leg crossed the top foot knife edge is resting in the crook of the opposite let with the little toe up near the crevice of the knee area. The hands should be resting lightly on the knees with the palms forming over the end of the knees.

Let the shoulder relax and drop completely. Keep the back as straight as possible with the head erect as if one were being pulled up at the apex of the skull towards the sky. The chin should be slightly tucked.

The eyes are three quarters closed and the eyes themselves looking slightly upward into the eye lids.

The mouth should be slightly open to allow air to be exhaled while the nose intakes air. The tip of the tongue should be placed with the point in the slight divot of the roof of the mouth so it can regulate the exhale.

You are now ready for the breathing portion of this exercise. Concentrate on the act of breathing itself. As you breathe in and out let yourself fall into a rhythm, each breath taken consciously; at first it can be counted.

When you breathe in you must take it down deeply into the diaphragm area of the body. Let it expand while tensioning the stomach band of muscles slightly. It should fill before allowing the chest to expand to its fullest. The breath should be slow, steady and constant till the upper lung cavity is full. The in breath must be through the nose while the tongue restricts the air from entering the slightly open mouth.

Hold the breath for just a moment. Slowly breathe out with emphasis, tightening the stomach band of muscles as you do so and out through the mouth letting the tongue regulate the air as it move out. Start by reducing the air in the lungs first and the diaphragm area at the very last till the very pit of the stomach about three inches below the navel is squeezed by the stomach band muscles last.

This outward breathe has a detaching effect. As the air is exhaled with slow, steady, and deliberate control you feel your shoulders drop even more with out losing the straight back, neck, and head position. You feel the muscles of your entire body relax as if they were made of a gaseous material.

As you focus on the breathing exercise you will notice that the outside world will disappear, then the world inside of you will wake up. This eliminates external stimuli. Don't be disturbed if anything comes up in your mind as you do this. Accept it with detachment and no emotion. Be a spectator and simply let it come in and leave while you focus on the breathing in and out.

The idea is to be within yourself, be in the exact moment that you are in at that moment of the breathe you are focused on. Nothing that happens that second before that exact moment matters while nothing that will come in the next moment matters, only that exact moment as you travel the path of mokuso. This is the first step to mokuso, or meditative practice. Once you master this in the cool and quiet room with no disturbances then you may be ready to actually practice it sitting seiza in the dojo before practice begins and after practice ends.

When in the dojo you will attempt to practice mokuso in seiza and find it very uncomfortable and difficult yet if you are practicing as I suggest above then as you follow the path of the empty hand you will find mokuso in the dojo getting easier and easier.

Practice, practice, practice!

Benefits of Breathing:

                                                                                    

1. Improvement in the quality of the blood due to its increased oxygenation in the lungs. This aids in the elimination of toxins from the system.

2. Increase in the digestion and assimilation of food. The digestive organ, such as the stomach, receives more oxygen, and hence operates more efficiently. The digestion is further enhanced by the fact that the food is oxygenated more.

3. Improvement in the health of the nervous system, including the brain, spinal cord, nerve centers and nerves. This is due again to the increased oxygenation and hence nourishment of the nervous system. This improves the health of the whole body, since the nervous system communicates to all parts of the body.

4. Rejuvenation of the glands, especially the pituitary and pineal glands. The brain has a special affinity for oxygen, requiring three times more oxygen than does the rest of the body. This has far-reaching effects on our well being.

5. Rejuvenation of the skin. The skin becomes smoother and a reduction of facial wrinkles occurs.

6. The movements of the diaphragm during the deep breathing exercise massage the abdominal organs - the stomach, small intestine, liver and pancreas. The upper movement of the diaphragm also massages the heart. This stimulates the blood circulation in these organs.

7. The lungs become healthy and powerful, a good insurance against respiratory problems.

8. Deep, slow, yoga breathing reduces the work load for the heart. The result is a more efficient, stronger heart that operates better and lasts longer. It also means reduced blood pressure and less heart disease.

The yoga breathing exercises reduce the work load on the heart in two ways. Firstly, deep breathing leads to more efficient lungs, which means more oxygen is brought into contact with blood sent to the lungs by the heart. So, the heart doesn't have to work as hard to deliver oxygen to the tissues. Secondly, deep breathing leads to a greater pressure differential in the lungs, which leads to an increase in the circulation, thus resting the heart a little.

9. Deep, slow breathing assists in weight control. If you are overweight, the extra oxygen burns up the excess fat more efficiently. If you are underweight, the extra oxygen feeds the starving tissues and glands. In other words, yoga tends to produce the ideal weight for you.

10. Relaxation of the mind and body. Slow, deep, rhythmic breathing causes a reflex stimulation of the parasympathetic nervous system, which results in a reduction in the heart rate and relaxation of the muscles. These two factors cause a reflex relaxation of the mind, since the mind and body are very interdependent. In addition, oxygenation of the brain tends to normalize brain function, reducing excessive anxiety levels.

The breathing exercises cause an increase in the elasticity of the lungs and rib cage. This creates an increased breathing capacity all day, not just during the actual exercise period. This means all the above benefits also occur all day.

Number ten is very important to the fighting artist in self-defense. When confronted by an adversary the body will immediately start to exhibit symptoms of panic in a faster pulse and shallow quick breathes. The hands will start to get cold, the shoulder muscles will start to tense up, and you may feel heart palpitations.

When confronted with such situations immediately start to perform deep breathing techniques to slow your breathing and to supply adequate amount of oxygen to your system. This results in the reflex to the body systems to reduce heart rate and relax the muscles. Additional reflex relaxation are of the mind. 

Additional oxygen tends to normalize brain function and reduces anxiety levels.

Couple this with proper training through years of practice will result in a calm mind, relaxed body, and your systems will function as necessary so your cleared mind though Zanshin and Mushin will allow for proper reaction in self-defense situations. With out a proper breathing method the body would lock up, the muscles would become sluggish, and the mind will shut down resulting in delayed reactions allowing for the attacker to overcome and defeat you.

The karateka should coordinate breathing with their techniques. Breathing enhances the karateka's ability to relax and concentrate maximum power in their techniques. The karateka should not breathe in a uniform manner; breathing should change with the situation. Proper inhaling fills the lungs completely. Proper exhaling leaves the lungs about 40 percent full -- exhaling completely makes the body limp, leaving the karateka vulnerable to even a weak attack.

The central principle of breathing is of internal cleansing, getting rid of that which is old, worn out, and stale, and exchanging it for what is new, fresh, and energized. During inhalation we are bringing in fresh oxygen, nutrients, and vital energy. During exhalation we are expelling carbon dioxide and other toxins and poisons that we produce or collect in our daily lives.

Proper breathing starts with inhaling through the nose and exhaling through the mouth. Why do we breathe in and out in this manner? Research has found that the paranasal sinuses, those cavities in the frontal section of the skull that are connected to the nasal passage, produce nitric oxide (NO) which in turn becomes part of the gas intake in nasally derived air.

What does this mean? Well, for health advocates this is important since NO acts to help sterilize the sinuses as well as the nasal air passageways. Thus, NO is part of the body’s immune defense system. Just as important, however, especially for athletes such as fighting artists, NO when taken in with the breath helps relax and open the air passages that branch out like an upside down tree. Thus, more air can get to all parts of the lung (the bronchial tree) so more oxygen can to be absorbed in the alveoli.

Maintain proper breathing techniques when practicing fighting arts to avoid injury—breathing out during the contraction portion of any stretching movement, and breathing in during the extension portion of any stretching movement.

"Breath" or "Qi" is an integral part of sequence practice. By breathing deeply to the lower abdomen we can change our stamina and delay or avoid the onset of breathlessness. This is often phrased as "sink the chi to the Dan Tian." As an example, let your breath "come up" (fill your lungs) when you are rising from a lower posture to a higher one. From a higher posture to a lower one, "sink the breath" (let out air, keep the pelvis tucked). When generating explosive force, focus the breath by explosively exhaling (keep at least 40% in reserve) and allowing the contracting muscles to add to your other focused strength. "Strength" in fighting arts is different from the strength in weight lifting.

Karate is a rigorous activity. Students of karate must do constant exercises and stretching routines to limber up and strengthen the muscles of the body. Deep-breathing exercises are also useful because exhalation and sudden shouts accompany the directed blows, particularly the final or so-called killing blows. Such breathing and cries help the rhythm of the karate attack, focus more force in each blow or block, and psychologically invigorate a person while disconcerting the opponent.

Kitae [鍛え]; Kitaeru [鍛える]; Kitaeageru [鍛え上げる]

Kitae [鍛え]

The character/ideogram means "forging; tempering; drilling; training; disciplining." The individual character means, "forge; discipline; train."

Kitaeru [鍛える]

The character/ideogram means "to forge; to temper; to drill; to train; to discipline." The individual character means, "forge; discipline; train."

Kitaeageru [鍛え上げる]

The characters/ideograms mean "to temper thoroughly; to train well." the first character means, "forging; tempering; drilling; training; disciplining." the second character means, "above; up." 

These terms/characters/ideograms are all used in the martial arts, with emphasis in traditional Okinawan karate, karada kitae or body conditioning. It is the forging of body parts to endure the rigors of fighting. Okinawans refer to this system as "kitae gata [鍛え方]" which literally means "conditioning method." This method restructures the bone mass of the body parts conditioned along with forging stronger and more durable muscle, tendons and ligament structure and load capability (see "wolff's law). 

There are a variety of conditioning such as forearm, i.e. kote-kitae, the conditioning of the foot, i.e. ashi-kitae, the conditioning of the leg and shin, i.e. kashi-kitae, and the conditioning of the stomach, i.e. fukubu-kitae.

The system as explained in modern terms is a form of bone, sinew, etc. adaptation to stress by mechanical means if introducing artificial stress. It is theorized that the bone structure and its symbiotic relation to muscle, tendons, and ligaments, etc. adapt to the loading conditions ergo why it is believed that weight bearing exercise, machines and free weight training, increase bone mass and density. The principle applies to the use of kitae or karada kitae. As we load up more force the bone becomes stronger and the underlying bone density increases making the bones stronger. 

When the muscles, tendons and ligaments are subjected to the same forces that you would encounter in a fight or hand-to-hand combat scenario it allows the body to endure greater stress along with the pain that results as well as train the mind to perceive the same pain, etc. and basically ignore it and continue acting in accordance with the physical conflict.

Kiritsu [起立]

The characters/ideograms mean "standing up." The first character means, "rouse; wake up; get up," the second character means, "stand up; rise; set up; erect." 

This is a command used to have martial arts practitioners stand up. Usually, due to western and military influences, they stand up, put feet together at a forty-five degree angle and keep arms by the sides.

Kitae gata [鍛え方]

The characters/ideograms mean "conditioning method." The first character means, "forge; discipline; train," the last character means, "direction; person; alternative." 

This is a general term used in martial arts to describe the many different types of conditioning methods to develop the body and mind not only when striking but when being struck, kicked, etc. There are conditioning methods for the arms, legs, chest, hara, elbows, etc.

A core or the essence of this art form is a mix of positive muscle relaxation and proper breathing. All fall under the fundamental principles of martial systems. It is a means of loading external pressures, force from strikes and kicks, to increase bone density, enhance mind against pain distractions, the strength of the muscles, tendons and cartilage, and to test and perfect the body alignment and body structure to maximize power and force. 

It is a method or system that builds body ability to receive, accept and deal with the various pressures, forces and mental/psychological effects combat or defense can encounter in a violent attack. It is an adaptation of the body, i.e. bones, muscles, tendons, cartilage, and most of all the mental faculties necessary for the mechanical stresses encountered in violent situations.

Kitai [期待]

The characters/ideograms mean "expectation; anticipation; hope" with emphasis on expectation for this definition. The first character means, "period; time; date; term," and the second character means, "wait; depend on." 

In martial arts or any defense/protection system expectations has a critical meaning when applying said system. Rory Miller in a post on the No Nonsense Self-Defense web site states, "If the fight you are in does not look, feel or sound like the fight you have trained for, you will freeze."

The post goes on to state, my perception in words, that for martial arts, this is the critical part, who are led to believe that their training prepares them for the fight, reality, then they are in for a big surprise. 

Do you actually address "kitai or expectations" in your training regimen? After all, many times I hear and was actually taught in the beginning of my martial arts career, your training is said to provide self-defense strategies and tactics but do they really provide this for you? All these and other questions must be addressed and answered before taking the plunge. The system you practice may be cool and have a lot of complex and fun bunkai, techniques, or kata but if they truly do not address the issues explained in a terse format by Mr. Miller and his friends/associates then you may find out the hard way - that ain't cool.

Kitoku (kidoku) [奇特]

The characters/ideograms mean "extraordinary; praiseworthy; commendable; benevolent." The first character means, "strange; strangeness; curiosity," and the second character means, "special." 

In this characterization, martial, this means extraordinary or "high level of ability." Originally the word was kidoku but today the term is kitoku, it speaks to the level or master of a martial system such as karate, aikido, kendo, etc.

Kiza [危座]

The characters/ideograms mean "sitting up straight." The first character means, "dangerous; fear; uneasy," the second character means, "squat; seat; cushion; gathering; sit." 

Seiza is a proper sitting or correct sitting form in Japan. It is about quiet sitting. Kiza is another form of proper sitting where the difference is merely a change from where one rests the buttocks on the heels while the feet are stretched out so the top of the feet are stretched out on the floor but kiza the person is seated similar to seiza except the heels with the balls of the feet touching the floor and toes flexed forward. 

It is then very simple to change from kiza to seiza by simply lowering the tops of the feet to the floor to achieve seiza. In iaido, practitioners will stand to draw their swords and cut after moving from seiza to kiza, so they don't inadvertently sprain the instep when quickly going from seiza to standing. 

The formal kata to sit seiza involves a transition through kiza to reach the final formal sitting position. Shikata, a form for reishiki or formal etiquette, has specific forms to sit and stand according to cultural position within the Japanese society. 

See also Agura, Seiza, Anza and Shikko

Ko seido no jiki [高精度の時期]

The phrase/characters/ideograms mean "precision timing." The first character means, "tall; high; expensive," the second character means, "refined; ghost; fairy; energy; vitality; excellence; purity; skill," the third character means, "degrees; occurrence; time; counter for occurrences," the fourth kana character means "no" which is a type of connector that pulls the first three characters to the last two creating a meaning for the culture, moment and in this case discipline," the fifth character means, "time; hour," the sixth character means, "period; time; date; term."

Precision timing is one of those critical mental aspects that is symbiotic to the physical actions one takes in a combative situation - the fight or the defense. As Loren W. Christensen and Wim DeMeere will speak to eloquently and in great detail timing is "the skill and art of choosing the precise moment to hit, grab, back off, or say the right thing to bring the threat of a fight, or a fight in progress, to a conclusion in your favor." 

As the book they published will show timing is far beyond just the mental-physical manifestation of perfection in technique to end the damage but also the timing of the mind that allows one to gain the advantage in any situation should it be the perception of danger, the environment, etc. and the timing of appropriate actions to avoid all the way through the path that hopefully does not end in the physical altercations that are so detrimental to your health, safety and well-being both psychological/physical and economical.

Ko seido no jiki, a good phrase to use as a lead-in into the training, practice and discussion of precision timing.

Koan [公案]

The characters/ideograms mean "Zen question for meditation (e.g. the sound of one hand clapping); koan." The first character means, "public; prince; official; governmental," the second character means, "plan; suggestion; draft; ponder; fear; proposition; idea; expectation; bill; worry." 

A koan is a Zen saying, simply a mental process whereby one meditates on the koan to achieve enlightenment. The koan is often fully comprehensible to a layman as would be the response derived from a literal understanding but the underlying meaning is often nondescript and produces meaning to the individual who meditates on the koan. 

It causes one to reach an epiphany of sorts, a fresh spontaneity or intuitive recognition of a broader meaning. The ken-po goku-i is an eight line koan for karate goshin-do where the study by the individual brings about a more intuitive understanding of its symbolism toward a greater understanding of its intent. The intent with the gokui is to be enlightened toward the study, practice and training of karate goshin-do.

The gokui, the karate koan, is a dialog that tests the progress of the practitioner of the art in question. In the case of Isshinryu it tests the progress in the study and practice of the sub-style, an Okinawan system of empty hand called "Ti or Te" and a branch of the style Shorin-ryu.

Kobudo [古武道] 

The Okinawan system of weaponry. A distinctly separate system of martial art that is often incorporated under the heading of "karate." A karate system and a weaponry system is accurate, i.e. Karate-Kobudo system. 

The three characters mean "ancient Japanese martial arts," with the first character meaning, "old," the second character meaning, "warrior; military; chivalry; arms," and the third character meaning, "road-way; street; district; journey; course; moral; teachings." In another definition it is said to mean, "old martial way of Okinawa" which does not fit well with the character translation.

It refers to the classical/traditional ancient weaponry of the Okinawan peoples. It is a common belief they all came from farming implements/tools but in some cases weaponry were stuff under that heading and is from a lack of understanding and knowledge regarding all Okinawan weaponry or Kobudo. The more common weaponry are the "bo," the "sai," the "tonfa/tuifa," the "kama," "eku," and the "tekko.

Kodansha [高段者]

The characters/ideograms mean "highly ranked someone/person." The first characters means, "tall; high; expensive," the second character means, "grade; steps; stairs," the third character means, "someone; person." It is worth noting that the fist two characters are adjoined to specifically mean "highly ranked." 

This is a term used within martial systems to honor a practitioner who has reached the most senior levels within their respective system of practice, training and applications. It is seldom used outright and is provided here simply to inspire and teach about the various cultural teachings we can benefit from for the martial systems we practice.

Kōdo gijutsu [高度な技術]

These characters combined are not defined in the sources used but in a nutshell and in this martial environment it means "advanced technique." The first character/ideogram means, "tall; high; expensive," the second character means, "degrees; occurrence; time; counter for occurrences," the third character is a kana character for emphasis purposes, the fourth character means, "skill; art; craft; ability; feat; performance; vocation; arts," and the fifth character means, "art; technique; skill; means; trick; resources; magic.

The martial arts in western culture refers to advanced technique but it comes to mind that the meaning of "advanced" may not be accurate. All to often advanced is attributed toward a complex technique. This complexity may seem fitting for advanced practitioners but misses the mark. It is also used to justify certain gains from training facilities which is not necessary to divulge in this post.

We westerners tend to think that advanced means as the word is defined in the west as some thing which is ahead in development in comparison to some thing that is not, that it is complex or intricate or sophisticated but this is not as accurate as it seems or as accepted.

The quality of a technique as it is practiced is actually the meaning I use for an advanced stage of practice. I tend to remove this label from the system practiced and refer to advanced as those techniques that has achieved a level of proficiency in application ahead in development than the technique was at its first practice by novice practitioners. There is nothing magical about the technique and it tends to remain simpler than those used that are complex, intricate or sophisticated in some training halls. 

I would use as an example the proficiency one has in applying a technique holistically and instinctually along with greater use of fundamental principles of martial systems as applied in the moment and according to the technique to act moment. A simplistic example but hopefully conveys a meaning that is not written in stone and allows free-association of techniques, kamae and principles as needed.

Kōgeki-teki [攻撃的]

The characters/ideograms mean "offensive; aggressive." The first character means, "aggression; attack," the second character means, "beat; attack; defeat; conquer," the third character means, "bull's eye; mark; target; object."

Kōgeki-teki kamae is an aggressive stance or posture taken when applying a technique. Sometimes martial arts teach about kamae but leave out the differences of an aggressive and non-aggressive kamae. 

It is assumed that the kamae or stance assumed is proper and complete for the technique, tactic, and strategy but there are other kamae one can assume to prevent projection of dominance or aggression. These types of kamae are meant to provide a defensive posture so the art of avoidance and deescalation can be used to prevent physical altercations. 

Hi, kogeki-teki kamae [非攻撃的] provide us that strategy so that we may avoid or deescalate a situation over going to battle.

Kohai [交配]

The characters/ideograms mean "Hybridization; mating; crossbreeding; cross-fertilization." The first character means, "mingle; mixing; association; coming & going," the second character means, "distribute; spouse; exile; rationing."

Hybridization or kohai, different characters here, speaks to a statement that was written by Stephen J. Pearlman in his book on martial power. He states, "Hybridization of martial arts started around the mid-1980's which is what we see a lot of today, neither popular nor common. We would believe the rhetoric and we would end up teaching it."

He goes on to speak toward the underlying connections which I have now termed "principles of martial systems." I go further in this term to speak towards a previously written post on how the brain goes on autopilot sometimes and how we can use that to practice a more eclectic form of kata. 

This process is the hybridization in a spontaneous and random model the many kata we learn, train in and practice. It is a hybrid kata that changes every time you practice it but remember that it has to be either a two person practice form or a singular self-practice encompassing all the requisite visualizations and mental focus necessary to make it work in reality based fighting, combat and/or violent conflicts.

Koji [好餌]

The characters/ideograms mean "bait; decoy; lure." The first character means, "fond; pleasing; like something," the second character means, "food; bait; prey; tempting profit." 

The particular term regards something within the art of verbal self-defense. Those words, body language, and tone/intonations, etc. that exacerbate communications often leading to conflicts. Some times it involves how we communicate with a angry person who may, could and would inflict bodily harm on you if you dealt with his issues in a bad way, i.e. you told him you would "light up his ass if his alligator mouth didn't clamp shut." 

Communications in both verbal and physical form require bait (the part of communications intended to cause the hearer pain and get their attention), bait being a form of communications that is intended to be inflammatory in nature leaving the actual hidden reality presuppositions. It gives you the meaning of the speaker's intent and context but the bait tends to send your monkey brain into overdrive. The open and obvious attack is what you need to ignore, the bait, and drive toward the true context in the conflict. 

This is the way to achieve avoidance, of damage and physical violence, of conflict. This speaks to the social type of violence as the anti-social, psycho, violent predatory attack is a different animal altogether with different skills, i.e. for instance avoiding any environmental conditions that would open you to such an attack, etc.

Kojiki [古事記]

The characters/ideograms mean "records of ancient matters (Japan's oldest historical record)." The first character means, "old," the second character means, "matter; thing; fact;' business; reason; possibly," and the third character means, "scribe; account; narrative."

Kojin-tekina rigai kankei [個人的な利害関係]

The gathering of characters/ideograms have no exact meaning in my sources but to my view they mean "personal interests." The first character means, "individual," the second character means, "person," and the third character means, "bull's eye; mark; target; object," the fourth character means, "profit; advantage; benefit," the fifth character means, "harm; injury," the sixth character means, "connection; barrier; gateway; involve; concerning," and the final character means, "person in charge; connection; duty; concern oneself." 

How does the qualify for a martial art term or better yet in this case "phrase?" Anyone involved in any discipline with a governing body will find that this is of concern and warrants conveyance to your dojo-mates. It concerns money, yours. It concerns power, that which is what governs what you do as a member. It concerns ego, where ego and pride can divert good intentions to immoral or amoral environment. 

It involves persona interests, yours and theirs and whose will prevail circling back to money, power, ego and protection. Who's protection? It may have been yours at the start of those good intentions but in the end it will serve only the advantaged, those in power. Do you allow this? Do you go your own way? Do you discount the benefits over the disadvantages? Your questions and more are only answerable to and by you, the individual practitioner.

Take another look at the various words defining each character and find that many apply to this instance and usage for the martial arts, yes?

Kojo-ryu [湖城流]

The characters/ideograms are used to name a not so well known karate form of Okinawa. The first character means, "lake," the second character means, "castle," the third character means, "current; a sink; flow; forfeit." 

It is a rare older family system or style of Okinawan "Ti" or karate. It is believed to be different as to the more conventional karate practiced on Okinawa but the differences mentiioned only relate to the more modern and incomplete versions because it is felt that Okinawa Ti did include both throwing and locking techniques where the proponents of this system or style "Kojo-ryu" say that the kumite inclusion of throws and locking techniques makes it unique on Okinawa. 

Its rarely is actually based upon its lack of popularity and participants. Like Isshinryu's unique aspects, i.e. bone and muscle blocks, vertical fist, etc., its uniqueness is not necessarily indigenous only to this system or style but is derived from its inclusion of the throwing and locking techniques vs. the more modern and limited teachings of karate as of the late 1800's to early 1900's implementation of watered down versions pushed to the school systems, etc.

Kikojin-do [個々人道  ] Kikojin-budo [個々人武道]

The characters/ideograms mean "an individual; individual people." The first character means, "individual," the second character means, "person." The third character means, "road; way; Taoism; Buddhist Teachings; street; path; course; the way (of proper conduct, etc.); one's way; morals."

The second reference has an additional character added before the last character to form the word, "budo." The characters/ideograms mean "military arts; Bushido." The first character means, "warrior; military; chivalry; arms," and the second character means, "road; way; Taoism; Buddhist Teachings; street; path; course; the way (of proper conduct, etc.); one's way; morals."

This particular word/characters/ideograms in martial arts refers to the individual path one follows in life as well as in budo or in my case karate-jutsu-do. Although we all begin on the same plane when we join a dojo we do diverge onto separate paths of budo. One path is not superior or inferior to the other, it is merely a different path - an individual path. 

It is important practitioners don't get caught up in the muddy waters of competitive paths as that stunts and stagnates progress for both individuals. Recognize and support the individual path, the kikojin-do or kikojin-budo.

Kokoro no jotai [心の状態]

The characters/ideograms mean "mind state." The first character means, "mind; heart; spirit," the third character means, "status quo; conditions; circumstances; form; appearance," the fourth character means, "attitude; condition; figure; appearance; voice (of verbs)."

Mind state or state of mind in martial arts. Your mind is your greatest friend in the fight and it is the greatest of enemies in the fight. Your mind set speaks to your mind state or state of mind. Switching into the proper mind-state in a conflict is the hardest part of martial arts training when geared toward self-defense. 

Your mind-state must be trained such that when the aftermath of the physical reaches the legal levels you can articulate things properly to provide the absolute best side of a self-defense defense. (Train your mind-state to deal with the physical and chemical. Don't neglect the mind-sate necessary to articulate your defense as to the law.)

Mind-state is another way to express zanshin or the mind of no mind. It is a present moment mind that reaches into the subconscious to bring out trained responses/actions. It, like punching and kicking, requires the proper way of training and practice. If the mind is allowed to wonder willy nilly then expect to succumb to the ego and pride of the monkey. 

It ain't rocket science yet it should be viewed through conscious thought, training and practice. The unknown (lack of knowledge) can also be a roadblock to action. It is the fuel of the freeze.

Kokoro o hiraku [心を開く]

The characters/ideograms mean "open mind." The first character means, "heart; mind; spirit," the third character means, "open; unfold; unseal." 

Kokoro o hiraku, or open-mind speaks to the requirement to remain open-minded to all possibilities regardless. A simple concept that few, if any, humans can actually say they are unreservedly open minded. I can say some will have a certain degree of open-mindedness but cannot name one individual that is totally and completely open minded. It is humanly impossible so the model needs clarification as to perfection. Once must attempt to reach perfection in kokoro o hiraku in the hopes that they will achieve a level of open mindedness that will allow them to master their lives and in martial arts to master their system or practice.

Kokoro [心]

The character/ideogram means "heart; mind; spirit." This came up when a fellow karate-ka and blogger said that they perceived heart as different from spirit while my view is heart, mind and spirit are the same yet not the same.

The spirit can reside in different locations depending on who is defining it according to their perceptions, culture and membership as to an ethnic group along with both internal and external environments, etc. The Japanese tend to believe that the spirit is a part of the hara. 

Westerners tend to think of things like emotions and feelings along with the spirit as originating or residing in the heart but I suspect that this is not necessarily the actual location of the human heart but merely a symbol or metaphor to speak of the matters of heart. After all we sometimes say the will of a person is from the heart or "the person has heart." There are all sorts of connections we can make depending on context.

As for martial arts the heart can be referenced and explained by the ken-po goku-i. Reading about the gokui can give some light to this view. He has heart can mean a person has the will, fortitude and courage in their practice and training which can translate into life be it for living or surviving an attack. He has a lot of spirit can mean exactly the same thing and therefore can be considered from the heart or from his/her innate spirit. 

The western English can be a "label" which can constrict the mind into a singular path or "rut." A good reason to study the historical beginnings of the system you practice as that cultural belief system and all in encompasses can lead you out of the rut and into the true path of the way down the road to enlightenment (puns or metaphors intended).

Then if you are of the Isshinryu lineage you think of one heart, whole heart, wholehearted, etc. Another way to consider the meaning of heart, mind and spirit or kokoro.

Kokoro no Kokoro e [心の心へ]

The single character/ideogram means "heart; mind; spirit." The other are kana characters used to emphasize the reference of heart as follows:

In the book the term is "i shin den shin" which means "from mind to mind" which comes from Zen and is used in popular language to mean nonverbal communications. It is used to assist in understanding the "Yomi" principle of karate goshin-do (budo concepts)

Kokorogamae [心構え]

The characters/ideograms mean "preparedness; readiness." The first character means, "heart; mind; spirit," and the second character means, "posture; build." It means in martial arts to be ready, to be prepared in heart, mind and spirit by our posture to confront and handle any situation both mental and physical. 

To achieve proficiency in martial systems one is required to intergrate both the mind and body into one whole system. It is done through meditation and the physical endeavors taught in martial systems. It is the doing over the thinking. In the mind the thinking and the doing are as one. It is often understood and proper attitude or intuition manifested physically. 

It is right attitude. It is understanding that the many different skills of martial systems requires different attitudes, physical and mental. Sensei must impart to the practitioners those attitudes. 

"It is said that a master swordsman could instantly judge the skill of an opponent by his attitude - before the opponent made the first move." - Boye LaFayette DeMente 

Traits to consider in this are, "syntonic listening, humbleness, politeness, being observant, being cooperative, diligence and determination, but not being overly or openly aggressive.

Kokorozashi [志]

The character means "will; intention; motive." In some Asian contexts it actually refers to "ambition." Ambition as in a compulsive attitude to first become educated, i.e. knowledgable about a subject or discipline, and then to gain mastery in that chosen discipline. The character is built on the upper part references "scholar" and the bottom part "heart." This gives to the strongest of meaning toward the importance of gaining correct knowledge or scholarly knowledge then put yourself "wholeheartedly" into learning the discipline. 

To simply attend training sessions and to simply learn only what is transferred or conveyed by sight, sound and tactile teachings is not enough to truly and wholeheartedly learn and master a discipline. There is a reasoning behind earning an academic degree or certification before venturing into the working world to perform some task, or discipline. 

In the martial arts it is critical to gain the knowledge up front so when you take it and apply it in the dojo with the physical component added it gives the brain or mind something in reference to guide the mind.

Learning the physical components is not all that difficult but actually "applying them or making them work" is a profound educational experience and the only way to apply correct martial practices in live life. 

Then we can address the second wholehearted meaning to this word and character/ideogram and that is "will and intention." How we project ourselves can project self-discipline, self-control and proficiency in many aspects of ability both esoteric and physically. Will and intention when projected through both actions and deeds and displayed through body language and voice intonation, etc. can exude a persona that is mastery of life as well as a discipline. 

Our will to reach greater goals and new heights professionally and more importantly personally is a part of this teaching. Simply teaching the physical can achieve only limited results. To gain greater ones takes more will, more ambition and more diligence than simply doing the physical stuff.

Kokyu Chikara [呼吸力]

The characters/ideograms mean, "breath power." The first character means, "call; call out to; invite," the second character means, "suck; imbibe; inhale; sip," and the third character means, "power; strength; strong; strain; bear up; exert." 

Chinkuchi, muscle and breath control, kokyu chikara, a basic element of training in the art of the empty hand as well as any other form of combative/fighting art training. This is something you will find occurs in the training of many sporting forms as well be it wrestling, basketball, or running.
                 
It is a form of practice and training that involves the coordination of the physical with proper breathing techniques. How you breathe when muscles are either flexing or relaxing makes a difference. This is especially true when exerting the contraction of muscles against something like punching or pushing up weights on a bench and so on.

When breathing to coordinate the contraction of muscles in order to maximize your power and strength allows for the most efficient use of your body in what ever endeavor it may be which is karate or combative arts in our case.

Kokyu Chikara or "breath power" is a Japanese term used to explain the extraordinary strength attained by their fighting artist. In Okinawa the term is "chinkuchi". Most Americans call it "muscle and breathe control".

Kokyu chikara works with haragei. One should relax and breath deeply into the abdomen and not just the chest. The use of the diaphragm to pull the air down into and fill the lungs is the best method. The last thing to occur is the expansion of the chest and the first thing to contract is the chest when expelling air. Abdominal deep slow diaphragmatic breathing is also a health exercise which results in relaxation of the body and mind.

The action of contraction toward breathing deep into the hara fills the lower portion of the lungs and cause the abdominal muscles to move into action. All karate practitioners must learn to move, breath, and act from that point referred to as the "itten" or center point of the body.

Delivery of waza should be coordinated with the expelling of air or exhalation. The two most important concepts a practitioner should learn for combat is to never empty the lungs completely and to never puff or snort their breathing.

In Okinawa kata, the hard style type such as Sanchin, they practice a hard focused loud breathing to exercise and teach muscle and breath control for power. In kumite you keep your breathing silent so as to not telegraph when you are in yin and yang. Yin is breathing in and Yang is breathing out. Yin is soft while Yang is hard.

Kokyu chikara is one of many facets of practice (Kimi, Kiai, Shibumi, etc) that when combined round out the practitioner in the art or style they practice. Guess where this is combined to teach a practitioner properly, where else but in kata practice!

Kokyu-ryoku [呼吸力]

The characters/ideograms mean "breathing force; abdominal breath power; breath power." The first character means, "call; call out to; invite," the second character means, "suck; imbibe; inhale; sip," the third character means, "power; strength; strong; strain; bear up; exert." 

This term is derived from Kokyurikigaku [呼吸力学] meaning, "mechanics of respiration." The first character means, "call; call out to; invite," the second character means, "suck; imbibe; inhale; sip," the third character means, "power; strength; strong; strain; bear up; exert," the fourth character means, "study; learning; science. 

As martial artists working diligently toward mastery of the underlying fundamental principles of martial systems we learn proper breathing techniques. As novices, and until we get proficiency in those breathing methods, we tend toward muscular strength to get things done. This is considered normal but where the rubber meets the road is the knowledge that this is a transitory stage toward proper application of principles and therefore techniques, etc. 

In order to transcend the need for muscular strength in applying martial technique we have to learn and apply kokyu-ryoku. To achieve proficiency in kokyu-ryoku you use that initial muscular strength to develop "abdominal breath/breathing power." Kokyu-ryoku is the key to achieving many other principles that promote use of breath to achieve or rather provide the foundation on which many principles work. Your application of principles and techniques then begin to become "effortless." 

If I had to choose a fundamental principle that applies to all the fundamental principles of martial systems it would be breathing or kokyu-ryoku. The practice of this is all part and parcel to the understanding of kokyurikigaku or mechanics of respiration. 

Highlights: 

- a direct result of physical training.

- stronger than muscular strength.

- the path to effortless techniques (i.e. adhering to fundamental principles of martial systems/effectiveness)

- leads to the power inherent in "ki."

Konjo [根性]

The characters/ideograms mean, "will-power; guts; temper; nature; spirit." The first  character means, "root;radical; head (pimple)," the second character means, "sex; gender; nature." 

Will power, the difference between success and failure especially when it comes to self-defense. It is that mental mind-state the is indomitable. The first one's will power to succumb is the one to fail. In the fight, self-defense, it means damage and possible death vs. reduction of damage and safety/security from the adversary(ies). 

Having a strong body is only a small part of self-defense. This is when the deescalation fails and the fight is on, you use your bodies physical capabilities to met out the mind-state that demolishes the mind-state, will power, of an adversary so they stop. You have to overcome the adversaries will power so that your determination is stronger than his. It is not about causing damage until the adversaries body stops working but to stop the mind, the will power, the mind-state. 

Will power, that mind-state one achieves, in any discipline/endeavor is what makes for success over failure. Sometimes when a martial artists refers to the mind, body and spirit - that spirit is will power, a mind-state of indomitability that lengthens your line beyond your adversary. It is that can-do and will-do without regard to obstacles that makes for the will power necessary to be successful in self-defense.

Korai Michi [古来路]

The characters/ideograms mean "from time immemorial; ancient; time-honored." The first character means, "old," the second character means, "come; due; next; cause; become." The third character means, "path; route; road; distance."

This new martial term means "ancient pathway." The below picture first viewed on the Cook Dings Kitchen blog written and posted by Rick inspired me toward the symbolism I detected within the photo. I will try to convey all or some of those symbolic meanings I perceive within this korai michi photo.

It is representative of the yin-yang concept as seen by the stones along this ancient pathway. The stones themselves are yang while the space between the stones in the yin. It reminds me of the garden pathways leading to the ancient tea ceremony where each stone is representative of some action to be taken by the follower of the path. It direction and placement often causes pauses and positions that best display the garden itself and the garden displays represent some symbolic or natural view of the larger nature around us in this world.

The raised stones and the void between are meant to symbolize that one must not stray from the path chosen. The path itself that lays under one's feet as they travel the korai michi provide lessons to learn along the way, they provide a means to step in correct ways, and it helps the follower of korai michi to determine by the placement, shape, and void between how to approach, step onto and then set kamae before immediately stepping past it and on to the next lesson. Any fault in the step or kamae will cause instability and often a fall like a great weight to another stone giving unexpected lessons before, during and after the loss of balance and weight falling.

The long grass waving on each side of the path are similar to the rough seas that are both yin-yang where the turbulence of the air moving the grass is yang and the underlying roots that grasp the earth are yang but the flexibility of the grass that bends to the will of the winds is yin. The winds flowing like a cool breeze barely ruffling the grass is yin while great gusts that bend the grass almost to the earth are yang. This represents the yin-yang of life's encounters from moment to moment where the will of the wind is indeterminable until experienced in the present moment and speaks to the korai michi follower the chaos of each moment and its ability to teach us about the unknown of each next moment.

The rough setting of the stones along the entire korai michi symbolize the practice of martial systems in that each determines a new lesson on stance, direction, body positioning, technique applications, type of technique, body alignment, principle applications, etc. Each is unique and requires applying something unique and different as determined by the step, the stone, the space or void between the stone, the stability of the stone when weight is applied, balance and equilibrium - to name but a few. 

The fact that the stone korai michi was built by human's upon the earth under the heavens above through effort, diligence and discipline symbolizes that a martial artists must apply effort, diligence and discipline toward building a martial path to follow. It is a rocky road we follow requiring focus and determination to build, follow and leave behind for others. 

The change or transition displayed by the darkness entering under the moons glow from the light provided by the sun or the sun setting its light below the horizon allowing the glow of the moon for night to enlighten the korai michi, the path of martial systems, so we may see, hear, and feel our efforts and results as we walk the korai michi along the martial systems path, road or way.

The lone staff is symbolic that one must discard things that are used to support the martial artists so they must stand alone, walk the path alone and unaided to achieve mastery of their system, style or branch/art. Its placement at the first of the path is symbolic that all who first step upon the rocky path of martial systems must adhere to the basics but soon must allow the steps taken to become balanced and unaided by the basics so that one can travel the remaining path with assurance, dependability and determination. 

The symbolism of the korai michi bending around the earth gives credence to the fact that the path is symbolically entering into a void or the unseen, the unexpected and the unknown. It also symbolizes that no matter how far we travel on the korai michi we can never know what lies ahead and reminds us that we must remain open-minded to possibilities. It reminds us that no matter how much we learn along the path that nothing is set, everything is open to change and that we must remain flexible to self-reflect to self-transmutate according to each new stone encountered.

The korai michi also reminds me of the Shinto Shrines. The shrines are built within any environment but the environment of the shrine proper remains in a natural state as the korai michi here is resident within nature by the grasses growing out of the earth's soil under the natural heavens or skies above it. The korai michi, like the shinto shrine, is constructed from natural materials and does not obstruct the natural surroundings of the settings within it resides. It is utter simplicity like the Shinto Shrines. It contains not man made materials, all materials are found naturally occurring on the earth. It holds true to the Shinto concept of simplicity in materials and construction. No nails or other materials are used to combine the stones, each stone fits snugly to the next, a part of Shinto naturalness. As can be seen it also holds true to Shintoism that also drives the martial arts.

The stone path gives us the impression that it emerges from within the earth naturally pushing aside the grasses to make way for the path of human's. It also speaks to the ken-po goku-i as the stones represent heaven, earth, sun, moon, hard and soft, balance, direction changes to reach, step on and pass stones of various unique shapes, sizes and stabilities, opportunity, and the need to see the path, to hear the path and to feel the path beneath our feet up into the body-mind. 

It remains open to clear view and acoustic vibrations while giving a feel for the roughness of the stone, the varying stones and the void or spaces between the stone. Symbolic of the very essence of life and the practice of any art discipline including martial arts. 

The stars of the heavens are alluded to and known to exist regardless of the night/day sky be it open and lit or closed in darkness with only the glow of the moon directly or indirectly shining from the heavens as indicated in this photo. 

It is symbolic of how we work diligently to walk the true path so that the enlightening light of the sun can shine through guiding us to mastery. It is stone so it has a hard permanence that symbolizes how one should view and practice martial arts for life. 

Although inadequate, this post attempts to convey the importance of the path and the importance of symbolism as a means to open our eyes, ears and allow us to feel, both tactually and spiritually, the path or the way or the korai michi of martial systems.

Korei-ka [高齢化]

The characters/ideograms mean "aging." The first character means, "tall; high; expensive," the second character means, "age," the third character means, "change; take the form of; influence; enchant; delude."

Korei-ka, or aging, is as important to martial artists as any other aspect of martial training. It is an imperative that we cannot dismiss, ignore or avoid. It will effect us all and more so in martial arts than in other endeavors simply because in the budo form the importance of its end use is a matter of life and death. 

We change, we experience those changes and some are not for the betterment of our physical capabilities. Our bodies change and our minds change. They all change gradually, with stealth and determination outside our influences except on a fundamental level. Our adjustments must be recognized and accepted if we are to change with our age and remain viable martial artists. 

Here we run into the importance of the ken-po goku-i, the I Ching and Yin-yang/In-Yo principles which are expressions of the nature of the Universe, i.e. the constant flux of the spiral that takes us from the light into the darkness. 

As one martial artist expressed we tend to use strength as our dominant force in martial arts but when strength starts to wane we then rely on our speed but that too will diminish so what is left. Our minds, our craftiness along side our experiences, knowledge and efficiency. Notice I said efficiency in lieu of proficiency for efficient use of our resources becomes dominant over proficiency for that is also diminished with korei-ka, aging. 

This may be another reason why the korei-ka of Asia are honored and venerated among their offspring. It is recognition of one's life achievements that have created a honorable, humble and masterly means of transmitting the full spectrum of life and the marital arts, i.e. the "ri" of the shu-ha-ri that is core to learning, practicing and teaching martial arts. 

The recent article of the 100+ year old judo-ka who still sits and observes while passing on her wisdom and occasionally rises up from her seat to get on the floor and teach - differently from the early years but still teaching. This seems to be the epitome of shu-ha-ri in martial systems. 

When we "all" reach our winter years; we who have accepted the inevitability of korei-ka still find honor and purpose by what wisdom we can pass down to our descendants - that is honor, that is honorable and that is enlightenment.

Koryu [古流]

The characters/ideograms mean "old school (of art); old style; old manners." The first character means, "old," the second character means, "current; a sink; flow; forfeit." 

Koryu relates to the ancient traditional or classical martial arts. The old/classic dojo is to study the arts of classic combat, including the use of weaponry and was a primary goal of samurai training. It is an old tradition that is carried on in its original form, i.e. as close to the original as humanly possible.

The use of the term "koryu." Can it be used to symbolize the art of karate from Okinawa? Can the current systems and styles be classified under this term? Is the referenced traditional system of karate called "Ti" or "Toudi" of old Okinawan be classified as a koryu of Okinawa? Is this term exclusive to the ancient arts of Japanese martial systems? 

First, the term koryu as to the sources I use for terms, characters and ideograms says that it means "old school; old style; old manners." If I were to go with this stand alone definition per those sources then I would say that as long as one used the term in conjunction with the words "Okinawa or Old Okinawan or Ancient Okinawa" then it would apply especially since Okinawa was and is a territory of Japan. 

I am not saying that everyone could or should use the term. I am saying "it could be applied just like the terms traditional and classical." It seems logical and yet I suspect that those who actually practice and teach Japanese Koryu systems would disagree. 

I would also provide for consideration the following from the site "koryu.com" as to what koryu literally means, i.e. "Koryu literally means "old flow" and is used in Japanese to refer to old styles, schools, or traditions (not necessarily only in the martial arts)."

If I used this exclusively toward my theory of Okinawan martial systems then I would say that they are considered "Okinawan Koryu." What I noticed on the koryu.com site is the inclusion of the word "bujutsu" as in "koryu bujutsu." This is how that particular site classifies "Japanese Classical Martial Arts."

The site does postulate that koryu bujutsu are those arts that actually came into existence when actually used on the battlefield. When they speak of classical traditions the tell us that they were developed by and for bushi, the warriors of Japan. They also have a "sort of lineage" that runs back through each head master to the founder of the system or tradition. Apparently it is important to establish the "stream" of the tradition, a single flow from one head master through its practitioners and to the next generation. In addition the waza or techniques of a koryu system must keep its battlefield essence, context or characteristics and that the design of the original remain intact for battlefield use. 

Then the question remains, if this is a true definition, meaning and context of koryu the does the Okinawan system actually meet those standards to be considered a koryu system, i.e. traditional/classical combative systems? 

Or are we to assume that since Okinawans seldom fought on the battlefield, i.e. I am not sure we can count the battles fought on ships transporting goods from various Asian countries through and to Okinawa while fighting off pirates, etc. Even the so called battles against the incursion of the Japanese in the early 1600's. 

Then there is the social structure that seems to be part and parcel to koryu systems. The site states, "In the true traditions, culture and technique are part of a cohesive whole that includes the head master, traditional licenses, and a unique code of behavior." Do Okinawan traditions of Ti or Toudi have these three traditions? 

I can only speak from my limited perspective, knowledge and understanding. Okinawan karate as it stand today in the West would not meet these and other standards, none of them regardless of what is professed by the leaders of those systems. On Okinawa there are a few Ti traditions that could possibly meet these standards so I would possibly assume they could be considered Okinawan Koryu. 

Finally for this exercise we come to the student-teacher relationship that seems to be unique to the Japanese Koryu systems. You need to have had direct contact, through your sensei possibly, with the head master or other fully licensed instructor. The social structure of student and teacher is considered the core of the systems social structure and technical transmission. The practitioners are actually taught on an individual basis geared toward that unique individual so the training and teaching will thus be different as from practitioner to practitioner. There are no "dan" or "dan'i" systems and when a practitioner is ready the license is grated by that systems head master.

In this part I feel none of the Okinawan systems including the Ti or Toudi systems are to be considered "koryu or Okinawan Koryu." None of the Okinawan martial systems have a licensing system, they all use a dan-i or dan grade system. That system of dan grades is not all encompassing of any system or style but from dojo to dojo and sensei to sensei is more of a personal system of grading. 

Then in most if not all systems I perceive work on a class structure of many practitioners working together similar to school systems where the individualized teachings may be there in a more simplistic form and the class teaching environment dominates so this would exclude those systems form Okinawa Koryu type status. It is just the loss of the stream or connection to the original founders that seems to be missing. There are claims of those who trained with said founders but without the stream of licenses, students and teachers all the way back to the founder it is just a personal unsubstantiated claim. Okinawan's, especially due to WWII, lost any and all of their historical documents, what there was of it in the first place, due to the devastation of the war on Okinawa. 

My personal conclusion after this short, terse, discussion or posting tells me that no one who practices an Okinawan martial system can make use of the term koryu even with the designation of Okinawan. The necessary criteria can not be met. We will have to remain with the some what convoluted and disjointed term of modern, traditional and classical martial systems. 

Truly, the definition that is given at the koryu.com site by those best known as Western Koryu practitioners, teachers and knowledgable of koryu is the one that defines it completely and wholeheartedly. Even tho the definitions provided by translation sources provide the more terse definitions that would lead some to think it applies to Okinawan karate or martial systems, it does not appy as the additional accepted definitions that go back to the origins are the true meaning of koryu. 

Please take a moment to visit the koryu site, i.e. "A Koryu Primer" by Diane Skoss, and get the full picture. The definitions provided are pretty exacting and other sources I have researched support this one fully and completely.

Kosatsu shuho [絞殺手法]

The characters/ideograms mean "strangulation methods." The first character means, "strangle; constrict; wring," the second character means, "kill; murder; butcher; slice off; split; diminish; reduce; spoil," the third character means, "hand," the fourth character means, "method; law; rule; principle; model; system."

Shime waza [締め技] term/character/ideogram means "judo choking (strangling) techniques; technique; art." The kosatsu shuho or shime are strangulation methods or techniques used in martial arts to subdue adversary through a means that brings about unconsciousness.

Kosen kisoku [交戦規則]

The characters/ideograms mean "rules of engagement." The first character means, "mingle; mixing; association; coming & going," the second character means, "war; battle; match," the third character means, "standard; measure," the fourth character means, "rule; follow; based on; model after."

What are your rules of engagement. Do they adequately provide defense within the social and legal standards, rules and laws? Are they appropriate to the situation and the degree of force necessary to stop the damage and escape and evade to a safe zone? Does your rules of engagement encompass such things as evasion, escape, avoidance and deescalation, etc.?

Rules of engagement are those rules or directives or laws that drive how one defines the circumstances, conditions, degree, and manner in which force, or actions which might be construed as excessive or deadly, may be applied regarding the use of martial arts in self-defense. These are the limits as to the use of force and the application/deployment of certain specific capabilities. 

They are the rules that will allow you to determine what measures are acceptable morally, civilly and legally when engaging in the use of all aspects of self-defense with more emphasis on the physical aspects, i.e. the use of force to disengage and seek safety. 

Kosen kisoku or rules of engagement are more often used for professionals such as military, police or other policing agencies, i.e. prison/jail officers, etc. It is used here to help explain to martial artists who train and practice to use their skills for self-protection so they may remain within the societies rules of engagement for self-defense.

Koshi kaiten [腰回転] vs. Gamaku [hara: 腹]

The characters/ideograms don't provide one definition but in this instance it refers to a term not found in Japanese translations, i.e. "gamaku." Gamaku has meaning in relation to "chinkuchi" as its weight to balance out the usage for both in karate. The Koshi kaiten also means to revolve/rotate the waist/hips to apply chinkuchi in tandem to apply the fundamental principles of martial systems, i.e. power, etc. 

The character for koshi means, "back; lower back; waist; hips; lumbar region." Gamaku is an Okinawan term, Uchinaguchi or hogan dialect, that refers to the musculature the surrounds the waist and connects the torso to the pelvis. Koshi is as can be determined by the meaning, Japanese term, the lower back as it connects to the waist, hips and the lumbar region. The koshi is a smaller part of the entire region so you can surmise that the koshi is the main controller of how power is generated in karate techniques.

The first character means, "loins; hips; waist," the second character means, "round; revolve; game," and the third character means, "revolve; turn around; change." 

The last two characters when used alone mean "rotation (around something); revolution; turning." This indicates a turning action of the waist and hips to supplement the application of chinkuchi to generate and apply power to techniques in karate applications. The first character for koshi mean "back; lower back; waist; hips; lumbar region and resilience; spring. I have the theory that gamaku is just what I thought an Okinawan term/dialect for either koshi or the more formally termed "hara." The kanji can be used then for koshi kaiten or in Okinawan, "gamaku." 

The waist, hips lower back, etc. are used as a means to enhance or supplement the application of chinkuchi or more adequately and completely the fundamental principles of martial system that include various aspects of what is called "body mechanics" to apply power to techniques. The connections are important as the connecting musculature  provides coordination between the upper and lower body allow supplemental application of speed/power.

Even referring to gamaku as the sides vs. koshi as the lower back is a more limited explanation of gamaku. Actually, gamaku is a method in utilizing the hara in martial arts. Every action taken is believed to originate at the hara and that generates a certain amount of power, i.e. it contributes one aspect of the principle that generates power in martial arts. 

When you visualize gamaku or that midsection grouping or band of muscles connecting the entire body you will also envision how that is a part of the fundamental principles of martial system specifically those found in the principle category titled "physiokinetic." 

To fully utilize the system of gamaku you need to master proper breathing, posture, spinal alignment, structure, relaxation, wave energy, centeredness, body-mind, centripetal and centrifugal force; sequential locking and relaxation, and rooting. This does not mean that the other principles in physiokinetics is not utilized but these are kind of primary. This also requires in a lesser degree all the other principles, i.e. theory, technique and philosophy that feed the mind-state, etc. 

All this while under the stress of the attack, the physical stresses from the chemical dump and the fluidity of the current moment, etc. Like the term "chinkuchi" it is another historical model and theory that helps describe, from a time when such descriptions lacked modern science and medicine, how things work in martial systems. Like chinkuchi and other terms it actually describes for us how we can incorporate fundamental principles of martial systems properly and completely in our practice, training and application in self-defense, defense and combatives - as appropriate to the situation. 

You might hypothesize that gamaku is an Okinawan term to mean "hara." Hara being the abdomen, belly, stomach along with one's mind, intentions or true motives. When you speak of the hara it should include the band of muscles that connect the belly, the hips and sides, the back and lower back, etc. 

When you make it work it should result in leaning slightly forward and nearly aligning your back angle with your rear leg angle, it forces a student to rotate hips with side muscles as when striking with either fist. Differences will occur depending on the technique and whether it is an arm and hand technique vs. a leg technique. 

You might explain it as follows, i.e. "There is a very slight lean forward which helps minimize the lumbar and thoracic curves and also facilitates efficient transfer of energy through the gamaku area. This shifts the weight and center of gravity (tanden) slightly forward increasing the power of the blow."

"proper alignment of the spine relative to the hip girdle there appears to be a 'lean'"

"As far as koshi and gamaku in karate you move with your hara. Movement with hara requires development of gamaku through movement of the koshi. Once the gamaku is developed sufficiently movement is accomplished using gamaku and any movement of the koshi is a byproduct of using gamaku."

As with principles we can look at gamaku as one of three sub-principles that work the koshi, gamaku and hara into one wholehearted model used to connect how all the principles are aligned for maximizing application of martial arts

Kosoku [高速] Koshi [腰] no kaiten [の回転] Kosoku koshi no kaiten [高速腰の回転]

The first characters/ideograms mean "high speed; high gear." The first character means, "tall; high; expensive," the second character means, "quick; fast." The second character/ideogram means "back; lower back; waist; hips; lumbar region; body; resilience; sprint; loins; hips; waist; low wainscoting." The third set of characters/ideograms mean "rotation (usually around something); revolution; turning." The first character means, "round; game; revolve; counter for occurrences," the second character means, "revolve; turn around; change." 

The entire set of characters/ideograms mean "fast hip rotation." Fast hip rotation or any hip rotation is a matter of contention in the west, i.e. one party or dojo advocates using it and another might say it is wasted motion. In fact, my facts that is, both are actually correct. If the hip rotation is over accentuated then it can be wasted motion and if not used at all it is a loss of speed and power. 

Reading the book by Loren Christensen Sensei on speed the hip rotation is but one aspect of developing speed but an important one just the same as well as gaining extra distance, a smidgeon of it, that can make the difference in a fight or competition. One of the many parts that make up martial arts or any other combative/fighting systems.

Kosoku [拘束]

The characters/ideograms mean "restraint; restriction; binding; constraint." The first character means, "arrest; seize; concerned; adhere to; despite," and the second character means, "bundle; sheaf; ream; tie in bundles; govern; manage; control." 

This regards teaching practitioners the intention-restraint-action model. 

"Restraint offers a space between intention and action and the opportunity to protect others from actions or reactions that should exist only in your imagination." - Stephanie Dworick

Restraint is that trait in the fighting arts most never really address in the training hall. The quote expresses eloquently how it does fit in the dojo and into daily living. Intention-restraint-action are three very important traits we should develop or hone to a fine edge in practice and training.

As expressed in other postings there are specific stages that occur in anything that happens in life and is of great importance when dealing in conflicts such as fighting. When action is taken it occurs in a specified manner dependent strictly on others intention and that restraint used in that moment before action is taken.

Staying in the moment is what we strive to achieve in regards to zanshin and mushin. The reason in this instance is if there are specific intentions we encounter that cause us to re-ACT then we should take that exact moment and apply restraint. This moment of pause will allow the mind to achieve a level that could very well change the outcome the original intention could/would/may cause.

We control everything with the mind. Our bodies and all that it connects with in the universe is closely behind what ever our minds do. Train the mind and the body follows includes everything that is affected by our thoughts and actions.

Restraint is that which is crucial to achieving harmony in life. Take for instance an email that is sent with a rhythm that causes an instant reaction of anger. If one trained properly then the mind would stop, remain in the moment, and allow that moment to see beyond reACTion so we may achieve a harmonious moment where we can refuse to take it personally and then take appropriate action that will diffuse the situation and allow both parties to come away with positive feelings and results.

Let restraint be a part of your training and practice. Let it be the catalyst to remain in that moment and allow the moment to achieve harmony.

Intent in Karate-do: I strive to achieve peace and tranquility in life.

Restraint in Karate-do: When confronted with negativity I strive to reach a resolution that results in peace and tranquility; totally positive outcome.

Action in Karate-do: When on the receiving end of any type of action I strive to reach an end that results in peace and tranquility.