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Machi no dojo [町の道場]

The characters/ideograms mean "neighborhood dojo." The first character means, "town; village; block; street.," the third character means, "[dojo (hall used for martial arts training)]: road-way; street; district; journey; course; moral; teachings," the fourth character means, "location; place."

This phrase is used to explain some variations in martial art dojo. It is a small place that is usually tucked away on private property, nestled snugly between homes, and has a small placard, i.e. a kamban, that has the dojo name and hours of operation. It is a dojo catering to the neighborhood that is often a means of gathering to socialize with some martial arts training thrown in. They are sometimes very lax or laid back and provide an excuse to get out and gather with others in the neighborhood. Even so, some still have a nice balance of relaxed atmosphere coupled with a focused, individualized, one-on-one training.

Mae kakato geri [前蹴踵]; front heel thrust kick

The characters/ideograms mean "front heel thrust kick." The first character means, "before; in front," the second character means, "kick," the third character means, "heel."

When used in combination it tells us to kick to the front in a thrusting manner with the heel of the foot contacting the target point on the body. In my view this kick is seldom practical and sometimes difficult to implement in a street conflict but like many it is still something of value as it might translate into some combination with other techniques that result in a successful application of a holistically different technique - unique.

Makiage ru (or gu) [巻き上げる]

The characters/ideograms mean, "to roll up; to hoist; to heave up; to take away; to rip off; to blow up." The first character means, "scroll; volume; book; part; roll up; wind up; tie; coil," the third character means, "above; up."

This term is used to describe a wrist rolling exercise device. The wrist roller is a piece of wood or metal that in the center has a hole to tie a rope that will extend down a distance with a weight tied to the opposite end. Your hold both sides with your hands and roll it up, roll it down and roll it up, again and again. Hold the arms out parallel to the ground at shoulder height. Keep the elbows slightly bent. The bar should be approximately wide enough to comfortably fit the hands or held by the hands. Not to big and not so small to make it uncomfortable.

Makimono [巻き物]

The characters/ideograms mean "scroll; rolled book; makimono." The first character means, "scroll; volume; book; part; roll up; wind up; tie; coil," the second character means, "thing; object; matter."

This term is used in Koryu systems who retained certain traditional and culturally driven methods for martial arts where this particular term denotes a hand written scroll for license to teach, rank, etc. of a Koryu martial system. Modernization has relegated this tradition to the back burner for historical purposes only.

Makiwara [巻藁 ]

The three characters/ideograms mean, "straw post for training sword strikes, karate punches and arrow hits, etc. The first character means, "scroll; volume; book; part; roll up; wind up; tie; coil," and the second character means, "straw." It apparent means loosely "wind up, tie or coil rope." Apparently when both are combined it includes the post part as a part of the rope, etc.

The makiwara is also used for karate practice and training. It was considered one of the two pillars of Okinawan karate, i.e. kata and makiwara. I quote directly from the Okinawa Traditional Karate Liaison Bureau, "makiwara is the most representative tool of karate and is practiced by all serious karate practitioners. A post buried in the ground, it has traditionally two striking spots made of coiled straw bundle rope (today people also use leather cover). The upper spot is for the fists and all parts of the hands and elbows and the lower striking spot is for forging the parts of the feet." - http://okkb.org/?page_id=1274

It is a "traditional" device sometimes lumped under the heading of Hojo-undo, or supplementary exercises which is used to develop strength, stamina, muscle coordination, speed, and posture. It uses traditional devices.

It is a misunderstood device that westerners used to build calluses on the knuckles, etc. but this perception is limited. The makiwara is one of many tools used for development of the karate-ka under the heading of hojo-undo. You experience a resistance when you strike, punch, kick and so on. It also provides you a method to develop targeting, focus, kimi and target penetration to name but just a few.

There are three varieties of the makiwara, i.e. the tachi-makiwara, the ti-makiwara and the sagi-makiwara.

Tachi-makiwara [立ち巻藁]

The characters/ideograms mean "standing straw post for training sword strikes, karate punches and arrow hits." The first character means, "stand up; rise; set up; erect." The third character means, "scroll; volume; book; part; roll up; wind up; tie; coil," and the fourth character means, "straw."

The straw coil is applied to a piece of wood that is anchored to the ground and has a flexibility that allows a practitioner to experience the feeling of penetration, power, etc. of karate waza. The makiwara in this form, as well as others, is a tool for training born on the island of Okinawa, Japan. It promotes skill, coordination, and muscle and breath control techniques.

It is a misunderstood device that westerners used to build calluses on the knuckles, etc. but this perception is limited. The makiwara is one of many tools used for development of the karate-ka under the heading of hojo-undo. You experience a resistance when you strike, punch, kick and so on. It also provides you a method to develop targeting, focus, kimi and target penetration to name but just a few.

Sagi-makiwara [下がる 巻藁]

The characters/ideograms mean "hanging straw post for training sword strikes, karate punches and arrow hits." The first character means, "to hang down; to abate; to retire; to fall; to step back; below; down; descend; give; low; inferior." The third character means, "scroll; volume; book; part; roll up; wind up; tie; coil," and the fourth character means, "straw."

The sagi-makiwara is a "hanging" style of makiwara that hangs free for movement much like the heavy bag hangs and moves. It is the oldest of the Okinawan karate tools used in hojo-undo practice. It is either a large round log or a combination of three large round logs wrapped with rope and leather in the middle. It's length is about that of a large heavy bag.

It provides a unique experience for the practitioner because of its swinging capability. It has a weight that simulates a human body. It provides a means to gauge maai, etc. and build on the use of attacks and counter-attacks, etc.

It is a misunderstood device that westerners used to build calluses on the knuckles, etc. but this perception is limited. The makiwara is one of many tools used for development of the karate-ka under the heading of hojo-undo. You experience a resistance when you strike, punch, kick and so on. It also provides you a method to develop targeting, focus, kimi and target penetration to name but just a few.

Ti-makiwara [手巻藁]

The characters/ideograms mean "hand straw coil over wood for training karate punches." This is a unique Okinawan hojo-undo training device. The second character means, "scroll; volume; book; part; roll up; wind up; tie; coil," and the third character means, "straw."

The hand makiwara is a hand held version which provides human guided training where the flexibility is indicative to the actions and tactics of the uke who carries it and provides varying targets, etc. for varying applications in real time and free style. It promotes a building of the hand, fist and wrist/ankle alignments and positioning. It is often held in such a manner to allow for targeting and striking vital points of the human body so that applicable techniques can be applied as required.

It is a misunderstood device that westerners used to build calluses on the knuckles, etc. but this perception is limited. The makiwara is one of many tools used for development of the karate-ka under the heading of hojo-undo. You experience a resistance when you strike, punch, kick and so on. It also provides you a method to develop targeting, focus, kimi and target penetration to name but just a few.

Makiwara Undo [巻藁運動]

The characters/ideograms mean, "straw post for training karate punches motion; exercise." The first character means, "scroll; volume; book; part; roll up; wind up; tie; coil," the second character means, "straw," the third character means, "carry; luck; destiny; fate; lot; transport; progress; advance," the fourth character means, "move; motion; change; confusion; shift; shake."

Karate-ka, or any martial arts using the empty hands, requires a full understanding and application of the fundamental principles of martial systems. The Okinawan karate-ka of old learned this well through their own indigenous system of "ti or te or toudi" and embraced other systems from China, Japan, etc. to achieve a full understanding of principles.

The Okinawan karate-ka, as appropriate to their times, developed many training models and systems that would teach these principles and the makiwara-undo is but one in the model or system called "hojo undo."

This device teaches us about stance, posture, body alignment and the execution of various hand techniques - to name just a few principles involved. Makiwara undo is used to teach practitioners the fundamental guidelines for using and moving around the device.

This is a complex tool requiring the guidance of one who is qualified and experienced in makiwara undo. It is not about just developing large calloused knuckles, etc. but to install a foundation of principles that will provide knowledge, experience and application of strikes, punches and even kicks.

Makoto [誠 ]

Makoto, the character/ideogram means, "truth; reality; sincerity; honesty; integrity; fidelity; that's right (used when recalling forgotten information, etc.)." Makoto is that which provides man the truth of the universe and represents the connectivity we have with nature and the universe. It is that which every practitioner wishes to achieve, i.e. to gain true sincerity in what we see, hear and do in life. To have good faith in the universe, a true heart, honesty, sincerity and so on.

Makoto is truth, faithfulness, honesty, fidelity, devotion, reality and honor. The "Sun" is the center of our universe/solar system - very yang. Man is the "sun" of the spiral of creation. There is no one posture or physical activity that, alone, is capable of sensitizing man to this flow (high-frequency vibration of infinity).

We speak of the path or the way called "Michi" in Japanese where michi is the one, immutable Law of the order of the Universe. The path along which phenomena begin, develop, end, and begin again.

Shinto has no social or ethical dogma. It relies solely on the intuition and judgement of the individual and views of society and they coalesce. Once inner mental and physical harmony is achieved within the individual, harmony on the wider social scale must naturally emerge.

Makoto is being oneself; a state of complete oneness of word and deed. A mind in the present-moment  gives rise to action in the present instant. Being-oneself is doing.

"Being-oneself; spontaneous expression of one's entire being in the light of the way. A mentality encompassing the whole of life and the activities that flow harmoniously along the path of endless growth. An instinctive attitude of humility. In administering the Law of Being. A complete oneness of word and deed. An all-embracing gratitude. Constant cheerfulness and brightness. Filial piety. A respect and gratitude not dictated by a code of rules but rather by sentiments of pure heart." - Nahum Stiskin

In other definitions they speak to truth; sincerity; honesty; faithfulness, etc. and call these and others as virtues of the samurai of feudal times in Japan. A feeling one has of absolute sincerity with a total frankness by means of a pure mind that is free from all the daily pressures and events.

This speaks to the various traits one hopes to buid in as human beings and is a set of traits that temper the ego and the self to respect the power and ability derived from martial practice and training so the individual may have the moral wisdom to "not utilize" the skills except as a last resort. This speaks toward the "yin" side of the two sided monistic dualism being the mind-body coin of life. The mind, makoto, is a means of mind training, practice and development where such things as self-reflection and self-transmutation are achieved.

Man [万]; Everything

The characters/ideograms mean "10,000; ten thousand; myriad; everything; all; various." The character is to reference the myriad things of the universe, which like everything in this article, are too numerous to retain in one mind, one body, and one person. It takes a history of documentation which at one time in martial arts was kata but in modern times consists of a myriad of electronic means which will supplement the physical teachings. This is good.

By now, as a student of the martial arts, you have come to realize that these systems are comprised of many, many, many things. These things are usually a culmination of many experiences and accumulation of knowledge. Yet, you can't know or be expected to remember "everything." This is why documenting your efforts is critical to passing on this knowledge and experience. This is why we have books, DVD's, video's, notes as well as kata to contain the more physical aspects that make up martial arts.

One of the greatest detriments to our history of the martial arts is a lack of communications in the documentation forms, other than kata. One reason why I personally tend to "write things down." The process works a twofold effort, one is to document and the other is to encode. By encode I mean the actual physical process of writing things down helps to parse the knowledge in a written form but just as important to encode the same information in the brain, your memory.

As humans we can mis-perceive things as they are communicated. This is caused by many factors, i.e. environmental and cultural influences; beliefs of both parties involved; the time and authoritative relationships of those involved and many other such things.

We have pretty much lost almost all of the Isshinryu historical heritage that could have been by a lack of documentation and transfer of valid, factual and accurate data - both physical and mental.

Also, no one person can retain accurately all there is to know about the martial arts. I can attest to this as I have written a  different topic every single day for the last three years on Isshinryu and Karate and sill cannot retain it all in my head with total recall. I still have to sometimes refer back to past postings and other reference materials to ensure accuracy and validation of what I preach, teach and communicate. Sometimes I find in my writing things or thoughts out like this post I am better able to recall and verify with other sources the exactness and accuracy of my learnings and teachings. This seem awful important.

This is merely means to support and expand on what is known and applied in teaching and practicing.

Everything is impossible without the support of other things. This is the theme of this post. It is also a plea for those who are reaching for the stars to record what they learn, know and are leaning so those of us who will follow don't have to "repeat" what has already been done, learned or known from the past.

Mae geri [前蹴]; front kick ball of foot

The characters/ideograms mean "kick front." The first character means, "before; in front," the second character means, "kick." This kick is the main kick of my application of Isshinryu and a dominant kick in karate-jutsu. In the Isshinryu I was taught we kicked to the front, or side, using the ball of the foot for the contact point to the target.

Marugoshi [丸腰]

The characters/ideograms mean "unarmed; without weapons." The first character means, "round; full (month); perfection; pills; make round; roll up; seduce; explain away," the second character means, "loins; hip; waist; low wainscoting."

You got me how these two characters combined mean unarmed or without weapons. But this term helps to describe the weaponless warrior as would have come about due to the ban on weapons for the Okinawan's as dictated first by the King of Okinawa and later by the Satsuma samurai who took control of Okinawa sometime in the 1600's.

It is another way to refer to one who has no weapons and thereby developed and used what was available to them to protect and defend against various oppressors such as the Satsuma samurai.

See also: Sude [素手]; The characters/ideograms mean "unarmed; bare hands."

Mawashi-geri (裏廻蹴 or 廻蹴 or 回し蹴り]; spin kick or roundhouse kick

All three sets of characters/ideograms could mean roundhouse or spinning kick. I will use the first set here. The characters/ideograms mean "back; reverse; inside; palm; sole; rear; lining; wrong side," the second character means, "round; game; revolve; go around; circumference," the third character means, "kick."

The roundhouse kick was not included in the traditional/classical/original teachings of Isshinryu. It became very popular in the sport tournament circuits because many of the kicks that were winning matches were roundhouse type kicks so naturally the sport versions of Isshinryu quickly added in the roundhouse kick - to win trophies therefore status and notoriety thus more enrollments, etc. For sport models this was a very good thing.

Megami [女神]

Megami as it is used for the system or branch of the Shorin-ryu system means, "a woman; a female; a lady; womankind; one's mistress; one's woman." When in this combination it can mean, "女神（めがみ） / a goddess." Goddess is the most accepted meaning of western martial arts as to the style/branch of Isshinryu.

It is used to name the symbol of Isshinryu, the "Isshinryu-no-Megami." If you use the two characters to continue this explanation you find that the first character means, "woman; female," while the second means, "gods; mind; soul."

About the Isshinryu no Megami:

(Shinso, Tatsuo's second son, tells the true story: The origin of Megami: ... Shinso says his father was listening to the radio between 8 and 11 P.M. and was dozing off at his home in Kyan Village. He saw a lady riding a dragon circling him. She told him to use his own ideas about karate and that he had studied long enough to do so, and that innovation was good. Sensei kept drifting in and out of sleep, and began to think about the divine spirit and changed it to a goddess that was half dragon. According to Shinso, that is when the Megami (he literally says "Megami") was born. The Megami not only told him to create his own style but to create an image of her.)

Tatsuo Sensei created his style of Isshinryu and had a local artist create the megami picture. Tatsuo Sensei said that his vision showed the goddess in the water and that is why he called it megami.

The meaning behind the patch as it was created from the original megami art work created for Tatsuo Sensei came to mean the following:

3 Stars - The stars are in the position of one (-) in Kanji and mean one or ichi and is the "is" in Isshin-ryu. They represent heart, as shown in the heart of Scorpio, or “shin”. They also represent Shimabuku’s teachers:

Ganiku Shinko (uncle)
Chotoku Kyan - Shorin-Ryu,
Chojun Miyagi - Goju-Ryu
Choki Motobu - Shorin-ryu
Shinken Taira - Kobudo

They also represent the following triads:

Mind/Body/Spirit
Strength/Speed/Technique
Serenity/Tranquility/Humility
Shorin-Ryu (mother)/Goju-Ryu (father)/Isshin-ryu (baby)
Shorin-Ryu/Goju-Ryu/Kobudo

Night - Indicated the unknown (the stars, Tatsuo Shimabuku’s teachers light up the darkness).

Dragon's Lower Body - Karate can be as fierce as a dragon.

Goddess' Calm Face - Represents a karate-ka must remain calm in the face of danger or adversity.

Rough Seas - Represent danger which is always present.

Left Hand Open (Soft) - You are peaceful and should avoid conflict.

Right Hand Closed (Hard) - I have the ability to protect myself with force if necessary and as a last resort.

Goddess’s long ears are a sign of wisdom which is gained through the experiences of practice.

Dragon in the Sky as if ascending into heaven (Heaven) - Represented Tatsuo who created Isshinryu.

Dragon (Tatsuo means dragon man) can also be written "ryu" (way, style or mode). Another meaning or translation is "the ryu of Isshin".

Tiger within Headdress (represents Earth) - The dragon is the spirit a karate-ka obtains in practice. The dragon is male and the tiger is female. Both dragon and tiger must be in harmony with each other to become united as one mind and body. [The Great Mysteries, companion to the I Ching says, "He who effects great change is like a tiger, patterns distinctive...," "The distinctive markings of the tiger and leopard to the superior patterns of cultivation displayed by the truly noble person," and "The tiger is analogous to the superior person."]

Gold Border - Karate is golden and pure and is a discipline that must not be misused. Some believe that it represents a ring of fire from the dream Tatsuo Sensei had when he was told to go ahead and create Isshinryu.

Mae Gami is in kamae indicating that at any moment she is prepared to strike.

Meijin [名人]

The characters/ideograms mean "master; expert." The first character means, "name; noted; distinguished; reputation," the second character means, "person."

Meijin or master/expert is used often in the martial arts community here in the west. It denotes a person who has reached a level of proficiency or mastery in a system or systems of martial art. It is also a cultural belief of meijin origin that the title be bestowed upon that person as an honor but is to be used only for certain documentation and never as a titled used openly as that denotes prideful egoistic attitudes vs. a type of humbleness that best exemplifies a master.

A master of a system has various "official titles" used for signatures and official correspondence, i.e. Kensei, Kyoshi, Hanshi, Shihan, Daishi, Doshi, Renshi, and Myoshi (the ones I have heard or know of). Other titles are the ranking ones, i.e. sho-dan through Ju-dan. This prompts me to think:

Master, Grand Master, Super Grand Master .... I often wonder why we Americans, humans maybe in general, are so enamored with titles. We have things in IT like "programmer analyst," "release engineer," and "software engineer." In the many system of Asian fighting we have, "Kensei," "Kyoshi," "Hanshi," "Shihan," "Daishi," "Deshi," "Doshi," "Renshi," and "Myoshu." This is just the one's I know of.

Other semi-titles are, "Sho-dan through Ju-dan," and "Master, Grand Master," etc. Some Okinawan/Japanese oriented and others Western names and titles created/developed over the last twenty plus years.

If we cannot attain a title for what ever reasons then we tend to gravitate toward "creating titles" that suit our needs, wants and desires. Is this a good thing, does it live to the spirit of the system and do they have any true, accepted, meaning outside either the person, training facility or system associations?

Then we have to ask, does it matter either way? I have/had titles in my life and they were and are very important ..... to me. Often they were for work and were important simply because sometimes a title denotes a proficiency that meant "more money."

A company manager may make a certain level of money while a Chief Executive Officer will make a ton more .... this seems to be the way of our culture. Culturally speaking in regards to Asian systems of martial arts it began in feudal Japan where a hierarchical system with titles adopted from Chinese influences are still in use today.

This is a bit like a lineage, ancestry be it family or martial system. It has and always will matter at one level or the other. It seems a human condition and is present in cultures and belief systems. Even religious history shows titles, statuses and hierarchical rule.

Oh yea, we have titles or labels for everything so it seems it might be a natural tendency to label or give a title to all things. Even the Tao which is not explainable with words gets explained with words. The unnamable tao is till labeled the tao.

Last question, when someone utilizes a title does it say anything particular about that person? Does it matter? I use to wear a red/white paneled obi. One day I needed to leave the dojo to go down a public hall to the rest room. I took it off, folded it neatly and placed it atop my gear bag. Another practitioner asked, "Why did you take off your belt to go to the rest room?" Simple, in many eyes it might convey "master status" and that may prompt someone to test that premise, I don't wish to instigate some conflict." I wonder if someone at a function failed to use a persons title if it would instigate some conflict.

This of course brings up another troublemaker, "a person's sense of entitlement." The anathema to humbleness. Then again if everyone had knowledge of me, called me some title and caused me to be flattered - wouldn't I too allow the title to stand. How does this stand next to the Asian culture and belief regarding "humbleness?"

Meiyo [名誉]

The characters/ideograms mean "honor; credit; prestige." The first character means, "name; honor; credit; prestige," the second character means, "reputation; praise; honor; glory.

Honor, in all cultures, is a driving force for that society a the honor is defined by perceptions, culture, beliefs, etc. In bushido it becomes even more important as during the feudal era of the bushido governed samurai that culture and belief system drove the entire society of Japan toward a system driven by kata - as termed shikata.

Rituals, rhythms and symbolism are part and parcel to this way of thinking, believing and acting, especially in martial systems of jutsu. Later they morphed into self-realization themes due to the changes in modernization of Japan, i.e. when the feudal era ended and the era of enlightenment began.

Honor begins with ancestry for the Japanese. It is vitally important that the proper lineage connects the individual so that they hold honor - both individual and family and tribe. Honor then extends from this foundation into the very moral and physical manifestations from the disciplines such as the tea ceremony, the flower arrangement ceremony and the practice of martial systems.

It came to the respect and esteem heaped upon those who managed to achieve honor among samurai. Honor, in general, is an abstract concept that is governed by the sociaty in question as well as the individual along with the classes of people. It is a perception of a quality of worthiness and respectability as to standing within the tribe and through self-evaluation of the individual. It is an assigned worth and stature based on harmony of action with a code of honor or a moral code of the tribe or society as a whole.

Honor is a personal bond between warriors within the martial community with strong ties, for Japan, to the Samurai era. This and other types of honor speak to relationships as to reputation of an individual; to privileges or rank or birth, and to respect that places a person socially and individually determining his or her right to precedence.

Honor is not only a matter of moral and ethical excellence, it also involves power and how that power is granted and executed. This honor as to bushido speaks of this and much more as the culture and beleif of those samurai and the society as a whole lasting through a long and arduous history.

It can be seen in this short essay that honor as perceived by the west through bushido is sometimes cut and pasted into a more acceptable form that can be absorbed by our culture and belief systems with one caveat, to remain steadfast to the fundamentals of honor - both past and present. This may also be perceived as honorable.

Menboku [面目]

The characters/ideograms mean "face; honor; reputation; prestige; dignity; credit; appearance; look." The first character means, "mask; face; features; surface," the second character means, "eye; class; look; insight; experience; care; favor."

Honor, it means many things to many people - all unique to the individual. It is just not a term, word or set of characters for the martial arts but a symbol to all individuals that sometimes actually define who and what they are and as martial artists this should be one of those hallmarks of the budo-ka.

Honor, one of high respect; esteem, a person who brings credit to something; adherence to what is right and just; a privilege; something conferred as a distinction by official aware or achievement, etc.; distinction as to proficiency; a title of respect; etc. etc. etc.

Menjo [免状]

The characters/ideograms mean "diploma; license." The first character means, "excuse; dismissal," the second character means, "status quo; conditions; circumstances; form; appearance."

This term for martial systems means a diploma or license. Used mostly in Koryu traditional Japanese martial arts or systems. This is the certificate, often in the form of a makimono/mokuroku rolled or folded document from the Ryuha or main dojo master giving you permission to teach the system or to designate your level within the teachings of the system/dojo.

Mensori [めんそーれ]

These characters are used to express a noun: welcome - Ryukyu-ben. The word mensori seems to be oriented toward the Okinawan dialect and the Japanese term used for welcome is "yokoso [ようこそ]."

Meoto Te [めおと手] or Fufu Te [夫婦手]

Both terms, i.e. characters/ideograms mean "married hands." The first set of characters mean "married couple; spouses; husband and wife; couple; pair." The second set of characters means, first character "husband; man," second character means, "lady; woman; wife; bride." The last character for both means, "hand."

This set of terms are used to describe the use of both hands as if they were husband and wife in combat, the fight. The ability to use hands together for a common goal and to use hand movements, both, freely and subconsciously according the the present moment circumstances. An example is when one uses a supporting hand, against the elbow for instance, while the other hand is grabbing and pulling.

It is important to understand that married hands are meant to work together yet still able to work independently as required in the moment. This can still be seen as meoto-te because one hand may also be used to distract the mind-body while the second hand applies a technique. It seems as if both are working independently yet they both support one another, meoto-te, to achieve a singular goal.

Michi [道 ]

Why michi is also a path of the mind, spiritual, for it symbolizes the law of the universe, both preceding and  expressing itself in all phenomena, beings and things. It is the path, the way, the road, along which phenomena begin, develop, and end and begin again. This is represented by the symbol of the logarithmic spiral.

This is the reason why no one posture or technique/activity, alone, is capable of sensitizing humans with this flow. The ebb and flow of energy that is constantly changing according the the law of the universe. Actively must have the ability to yangize or yinize according to its action and causation toward re-action. This results in manifestation of inspiration which is the foundation martial arts predicates its application on for instinctual action according the the moment.

Our mental and physical contact is of a nature that occurs in the moment and the instance of any energy or activity or action. To remain attuned to this takes change, movement and avoidance of habit.

Eveything therefore has a beginning, development, and ending where this process through repetition continues its cycles as symbolized by the rhythm, patterns and flows of the sun and moon in the heavens as experienced from our connection to the earth.

This is the whole of the way, the path we travel in our singular endeavor to master the disciplines of martial systems and that "Do or Way or Michi" is as all things a yin-yang where the physical is the yang and the spiritual as spoken to here is a yin. One cannot exist and evolve without the other as the same in life, the way and humans.

Michi or Tao [道]

The character/ideogram means "road; street; way; path; course; route; land; the way (of proper conduct, etc.); one's way; morals; teachings; dogma; way; method; means."

Martial artists often speak to following the way. What that way is I feel is unique to each individual but as to the true path one person defines this as "a compound of consciously created living patterns that are based on culture and the influence of environments and other factors and cover both the spiritual and physical aspects of life." Boye LaFayette DeMente

He goes on the expand on culture, i.e. "culture is defined as the values and rules that determine human attitudes and actions, most of which are learned, applied and transmitted unconsciously by members of individual societies."

This means a great deal to discover and describe the "path" one endures diligent and with fervor as martial arts. The true path can be encompassed in these two defining quotes by Mr. DeMente. It involves not only the culture but the ethnic groups, the power relationships of humans, the perceptions of the individual, the sensory modes of the person, the perceptions of the perceptions as to truth and accurate facts and finally to both the external and internal environments of the human or person.

Michihi [満干]

The characters/ideograms mean "ebb and flow." The first character means, "full; fullness; enough; satisfy," the second character means, "dry; parch."

Flow, in the zone, a state that many athletes assume when in competition. It applies to martial arts and can apply to self-defense. It is an optimal state in which you feel totally engaged in an activity. You are neither bored or anxious; you don't question your own inadequacy; hours will pass with out notice. You seek an activity for its own sake, not for the rewards it brings. It is usually a solitary pursuit.

It occurs in conditions in which people "become independent of the social environment to the degree that they no longer respond exclusively in terms of its rewards and punishments." It allows you to be persistent, tenacious and clear sighted. It also allows your mind to remove itself from the stress, strain and anxieties of the fight.

It requires reality based stress adrenaline induced training and practice to gain the experience to overcome the effects and drop into a flow or zone that allows you to act appropriately. It means maintaing a balance of body, mind and spirit so that all the effects that affect the body, i.e. adrenaline dumps, the mind, i.e. the chemicals that hinder the mind from the adrenaline dump, fear and/or anger, etc., and the spirit or that mind-set that allows us to break the freeze and make effective use of things like using the OODA faster than your adversary.

“Michi wa mugen” (道は無限) the road has no end.

The characters/ideograms mean "the endless road; road with no end." The first character means, "road-way; street; district; journey; course; moral; teachings," the third character means, "nothingness; none; ain't nothing; nil; not," the fourth character means, "limit; restrict; to best of ability."

This phrase is used to express a path with no end. The martial arts are considered a discipline or way that is never ending, i.e. that it means that learning never ceases. The way of any martial arts due to the depth and breadth of information, knowledge and applications along with the fundamental principles of martial systems consists of enough that one can never truly find all there is within the scope and context of martial arts.

Training and Practice are never a chore. It is something that excites and you look forward to it every day. You have no excuses to not train. You don't look for excuses to not train. You DO look for excuses to TRAIN. You know exactly why you train and practice and that is satisfying in and of itself. You feel a certain excitement, joy and enthusiasm about your training and practice. You get this deep sense of satisfaction before, during and after practice and training. You always sense something is yet to come and what you accomplished is good and builds toward what is coming. You realize that this is not a means to an end but rather a road that is never ending, i.e. the journey is the thing. This is michi wa mugen!

Migaku [磨く]

The character/ideogram with kana means "to polish; to shine; to refine; to improve." The character means, "grind; polish; scour; improve; brush (teeth)."

In the martial arts it has been said that one must "polish" one's skills and spirit. It is the forging of the fighting ability to the point that it results in mastery of the system. To polish or forge is to practice and train with diligence tirelessly. It is through continuous, diligent and tireless effort and will that one improves, builds and then forges/polishes their skills to the point of emptiness and void, etc.

Mikata [見方]

The characters/ideograms mean "viewpoint; point of view; way of understanding; way of appreciating; how to look at something." The first character means, "see; hopes; chances; idea; opinion; loot at; visible," the second character means, "direction; person; alternative."

This means one's perspective as possible from their perceptions, beliefs, and cultural influences. A culmination of many things in a constant state of flux and growth as each moment passes. It is about change and yet that perspective provides us information in regard to everyday situations and scenarios whether positive or negative. 

In violence perspective can mean the difference between avoidance and fighting.

Mika zuki-geri [三日月蹴]; crescent kick

The characters/ideograms mean "crescent kick." The first three are combined to mean, "new moon; crescent moon," while the last character means, "kick." The first three, i.e. the first character means, "three," the second character means, "day; sun; Japan," the third character means, "moon; month."

There seems to be an inference that the three characters refer to crescent moon as the movement of the leg and foot are crescent is symbolized by a crescent moon. My theory as to why these characters are used.

Mikudaki hocho [三日月歩調]

The characters/ideograms mean "crescent step; pace; cadence." The first three characters mean "crescent moon; new moon." The first character means, "three," the second character means, "day; sun; Japan," the third character means, "moon; month." The second two characters mean, "step; pace; cadence." The first character means, "walk; counter for steps," the second character means, "tune; tone; meter; key (music); writing style; prepare; exorcise; investigate."

In the crescent moon step, the movement shifts the body to the right or left dependent on the leg being moved. This causes a shift of the upper body in the same direction and that movement, at the minimum moves is into or very close to the 22.5 degree position. When the leg moves forward that moves the entire body forward creating a shift of body weight forward, i.e. achieving power. Then the leg moves forward and shifts down and out to complete the crescent moon step creating a drop step motion also contributing to the power of the body mass moving forward. It also shifts the body down and into the center line area of an adversary. If you shift your direction slightly at the apex of the crescent moon step you maintain your center toward their now off center centerline, i.e. area's of efficient effect if attacked, etc.

It takes the opponents center line off and away from yours while you maintain your advantage and then you can achieve maximum damage to stop the fight. This simple stepping motion helps achieve the angling to an advantageous position while moving the adversary out of its position to one of disadvantage.

"Angling, not only concerns how we orient ourselves toward our adversary but also how we orient the adversary toward us." Steven J. Pearlmen on Angling. When performing the crescent moon step in kata you can then determine how this movement creates an angle that is advantageous while allowing you to be protected from the adversaries angle as adjusted to your position.

Min Gijutsu [民技術]

The characters/ideograms mean "people skills." The first character means, "people; nation; subjects," the second character means, "skill; art; craft; ability; feat; performance; vocation; arts," the third character means, "art; technique; skill; means; trick; resources; magic."

People skills or min gijutsu are those skills used in every day life that allows people to live, socialize and work together in relative harmony. In martial systems in contributes toward the ability to communicate in the art of avoidance and the art of deescalation which is not fighting or physical techniques in self-defense.

It is how to asset yourself, listen and resolve conflicts. It is overcome barriers through communications of which "listening" is primary. One more topic of discussion, training and practice used in self-defense that can bring about avoidance and deescalation - both tend to go hand-in-hand because you can't really accomplish one without the other.

Deescalation is to avoid and avoid is to deescalate - ain't life grand :-)

Mitama Shizume (or Chinkon)

Mitama shizume [御霊 or 鎮魂]is a technique of meditation often referred to in western dojo/training halls as "mokuso [黙想]." Pronounced "moh-kso." The art of mediation consists of mind-body techniques as will be described in this article. First, mitama shizume is the term used to describe the "Shinto meditation" techniques and will readily connect to what most westerners believe is mokuso.

Since it is a physical/mental technique, i.e. body-mind connection, I will break it down into first, the physical, and second, the mental/spiritual/mind techniques.

The Physical: An appropriate posture is required. The posture is "sitting seiza" and involves body alignments; back and spine straight, head held back and upright, body relaxed, energy is focused in the hara, one concentrates one's physical weight in the hara, and one regulates and harmonized the lungs and hara functions, i.e. proper abdominal diaphragmatic breathing techniques, etc.

The Mind: one clears the mind of it's propensity to continue focus with daily sensations and accustomed thought patterns, i.e. a conscious effort to minimize excessive analysis of the world into an endless array of unrelated concepts and the voluntary focus of the many into a unitary image.

The practice of mitama shizume, or "chinkon" or "mokuso" as it is referred to in western training halls, is to reintegrate the split mental state into a dynamic harmony.

As I decipher the ideograms/characters there are a few that might apply and I get the impression it may be "mokuso" with emphasis on "mitama shizume" which means, "The quieting of the soul."

In western terms this would be a technique that one works at to quiet the mind and get the mind to remain completely and totally "present, in the moment" and only "in the moment." No distracting thoughts but total and focus on the present moment as it unfolds moment-to-moment.

I am beginning to feel that this term, "mitama shizume," is one that connects through the practices of Shintoism to the practices of martial systems where the meditative practice called, "mokuso," is to utilize "mitama shizume" to achieve the proper state of mind necessary to devote the whole mind-body to practice and training in the martial way.

Mizu [水]

The character/ideogram means, "water; fluid; liquid; flood; floodwaters."

"Good is like water, the mind shall be as water - water benefits everything, yet does not compete. Because it does not compete, ti does not suffer from accusations. It settles where ordinary peopled to want to be. So it is close to the Way. The noncompetitive nature of water is evident in the ease with which it fits into a container of any shape. Water is content to settle down at the lowest place; hence 'It settles where ordinary people do not want to be.'" - Lao Tzu

Water does not compete with rock, soil or mountains high but seeks its own level and naturally flows in and around all obstacles toward that place. When it encounters any obstacle or obstruction it simply seeks a path to reach the level, its natural state. It reflects and allows one to see within yet can displace rock with its steady flow.

Allowing the mind to be as water is the essence of the martial mind-state. It is not competitive but fluid allowing everything to flow from presence to past while maintaining the present moment. To train the mind to reach the state of water requires a balance of skill and knowledge. It is this presence of mind that results in a mental and physical state that is in the moment of positive relaxation allowing for speed and skill to reach its balanced state of perfection.

It is this symbolic literary skill acquired through study and learning that allows us to seek the lowest level of water where it remains calm, steady and serene like an empty mind of no mind. It is this level of readiness, ability and wholehearted present moment that allows a mastery of martial skills that need not be utilized as the projection of aura becomes the master's skill in combat.

In life, this skill keeps violence in abeyance.

Mizu Gami [水神] vs. Megami [女神]

The two characters/ideograms mean "water god" and the first character means, "water," and the second character means, "gods; mind; soul; deity; divinity; spirit; kami." Megami means [女神] "goddess," with the first character meaning "woman; female," and the second character meaning, "gods; mind; soul."

In another translation the first characters, i.e. 水神 mean "god of water." The second set of characters, i.e. 女神 goddess. Megami or Mizugami, that is the question. The first when appended to Isshinryu, i.e. Isshinryu-no-megami, means, "Goddess of Isshinryu!" The second is mizu-gami which means "water goddess."

I think you can readily see that when interpreted properly the correct application is apparent. At least it is to me and when I did the research I found that the data backed it up, a lot.

My perspective is this, either one is good as they both serve a purpose (hmmmm, where have I read/heard this one before!). This is good but from my perspective and now knowing the mistakes made at its inception understand that the correct patch to wear when "directly representing Tatsuo's spirit of karate-do, i.e. Isshinryu, is the Isshinryu-no-megami."

The Isshinryu no Megami is symbolic, i.e. Symbolism: a system of symbols and symbolic representations; the practice of investing things with symbolic meaning; symbolize - typify: express indirectly by an image, form, or model; be a symbol ...

Mokei [模型]

The characters/ideograms mean, “Model; dummy; Marquette; template; routine.” The first character means, “Imitation; copy; mock,” the second character means, “mould; type; model.”

The military commanders, circa 1322 to 1429, utilized a special kind of drill with the Bo by means of which this fighting method spread among the people, and this allow for a limited reconstruction of the possible training methods of the time. Mokei, that is,  a model, a template, or a routine. Although we do not know for sure how it actually was put into practice, it is safe to assume that any army would drill its soldiers and auxiliary forces. So the above mentioned method may have been a sort of original kata exercising model.

Other characters/ideograms used also provide terms such as “Bo Kata” or “Bo Gata.”

Mokuroku [目録]

The characters/ideograms mean "catalog; inventory; index; list; certificate indicating an impending gift; catalog of techniques known by a student in martial arts at a certain level/grade/ranking." The first character means, "eye; class; look; insight; experience; care; favor," the second character means, "record."

This term is used in Koryu systems who retained certain traditional and culturally driven methods for martial arts where this particular term denotes a certificate with rank/grade and those techniques learned to attain said rank/grade for a Koryu martial system. Modernization has relegated this tradition to the back burner for historical purposes only.

Mokuroku

shoden mokuroku [入伝目録]

The characters/ideograms combined mean "entry level methods or first level of techniques taught in classical martial arts," and "catalogue; inventory; index; list; certificate indicating an impending gift." The first character means, "first time; beginning," the second character means, "transmit; go along; walk along; follow; legend; tradition," the third character means, "eye; class; look; insight; experience; care; favor," and the fourth character means, "record."

Chuuden mokuroku [中伝目録]

The characters/ideograms mean "middle level techniques."

Okuden mokuroku [奥伝目録]

The characters/ideograms mean "secret techniques or upper level techniques."

These terms are associated to the shu-ha-ri concept in that they speak to the levels one must pass through and beyond to achieve mastery of the martial arts. The shoden is the "entry level methods" which I equate to the fundamentals and basics, i.e. the fundamental principles of martial systems as well as the basic waza or techniques.

The chuden is the "middle level of techniques" which encompass those bunkai that are fundamental to the system, style or branch as a whole. These fundamental bunkai are practiced over time in a repetitive manner that encode the mind so that the mind can achieve a form of enlightenment where the more supplemental bunkai can be discovered on an unique individual basis.

The okuden are the "secret techniques" which in my view are not actually secret but rather the interpretation of supplemental or variant techniques that are discovered through long diligent continuous practice of the chuden techniques which in turn are the fundamental bunkai or meaning behind the techniques of the basics and the kata. The okuden or upper level techniques are not taught but rather discovered and are the result of practice, training and experience.

In my view all three involve a philosophical aspect that comes in a dualistic antagonistic fashion of the physical studies as well as the mental studies which include the martial art koan or in my case the karate koan of Shimabuku Tatsuo Sensei - the Ken-po Goku-i.

Note: I found it difficult to find the characters/ideograms associated with this definition so take this with a grain of salt and if you have others that would more accurately represent the definitions please let me know in a comment or send me an email directly.

The mokuroku (catalogue - syllabus) is separated into five progressively higher levels of teaching. These include:

shoden 入伝 (entry scroll/ transmission), 
chuden 中伝 (middle scroll/ transmission), 
joden (high scroll/ transmission), 
okuden 奥伝 (hidden scroll/ transmission), 
kuden 口伝 (oral transmission of the secrets).

Mokugeki [目撃], muki [向き], Kimeru [決める ] and waza [業]

These terms/characters/ideograms all together give us the OODA loop, i.e. "observation," "Orientation," "Decision," and "Action or to act." The first set of characters mean, "to observe; to witness; eye-witness," the second set of characters mean, "direction; orientation; aspect; situation; exposure; suitability; tendency," the third set of characters means, "to decide; to choose; to determine; to make up one's mind; to resolve; to set one's heart on; to settle; to arrange; to set; to appoint; to fix," the fourth character means, "deed; act; work; performance."

Take note that although waza in most circles is understood as techniques in this particular case the character drives the meaning in "to act or action." The OODA loop is covered in a variety of excellent books, dojo and seminars so I won't give much here but I can say that mastering the OODA loop in your strategies and tactics through training and practice give the individual a decided advantage of an adversary - read the books to include the one below.

Mokuso [黙想] with Mitama Shizume [御霊]

Pronounced (moh-kso) and means generally "meditation." It is generally thought that the term is for meditation as practiced in a traditional Japanese martial art. It is performed before the training begins to "clear the mind." It is also associated with Zen and Zen concept of "mushin." The traditional means of sitting mokuso is through the seiza sitting posture. More on that for the second half of this post of the two terms, mokuso and mitama shuzume, which I believe provides the core techniques of the system called mokuso.

The two characters/ideograms mean, "meditation; silent contemplation while the first character means, "silence; become silent; stop speaking," and the second character means, "concept; think; idea; thought."

Mitama shizume means generally "the quieting of the soul." Mitama shizume [御霊 or 鎮魂]is a technique of meditation often referred to in western dojo/training halls as "mokuso [黙想]." The art of mediation consists of mind-body techniques as will be described in this article. First, mitama shizume is the term used to describe the "Shinto meditation" techniques and will readily connect to what most westerners believe is mokuso.

The two characters mean, "spirit of a deceased person." Sounds a bit off when you contemplate the definition provided, "The quieting of the soul," but it becomes a bit more clear when you see the first character means, "honorable; manipulate; govern," and the second character means, "spirits; soul." The less dramatic meaning might be actually, "to manipulate or govern the spirit or soul."

A second set of characters are provided for mitama shizume, i.e. [御魂] where both means, "basically the same as the previous paragraph."

Mitama shizume involves a physical/mental technique, i.e. body-mind connection, I will break it down into first, the physical, and second, the mental/spiritual/mind techniques.

The Physical: An appropriate posture is required. The posture is "sitting seiza" and involves body alignments; back and spine straight, head held back and upright, body relaxed, energy is focused in the hara, one concentrates one's physical weight in the hara, and one regulates and harmonized the lungs and hara functions, i.e. proper abdominal diaphragmatic breathing techniques, etc.

The Mind: one clears the mind of it's propensity to continue focus with daily sensations and accustomed thought patterns, i.e. a conscious effort to minimize excessive analysis of the world into an endless array of unrelated concepts and the voluntary focus of the many into a unitary image.

The practice of mitama shizume, or "chinkon" or "mokuso" as it is referred to in western training halls, is to reintegrate the split mental state into a dynamic harmony.

As I decipher the ideograms/characters there are a few that might apply and I get the impression it may be "mokuso" with emphasis on "mitama shizume" which means, "The quieting of the soul."

In western terms this would be a technique that one works at to quiet the mind and get the mind to remain completely and totally "present, in the moment" and only "in the moment." No distracting thoughts but total and focus on the present moment as it unfolds moment-to-moment.

I am beginning to feel that this term, "mitama shizume," is one that connects through the practices of Shintoism to the practices of martial systems where the meditative practice called, "mokuso," is to utilize "mitama shizume" to achieve the proper state of mind necessary to devote the whole mind-body to practice and training in the martial way.

Mokuteki [目的]

The characters/ideograms mean "intent; intention; objective; aim; goal; purpose." The first character means, "eye; class; look; insight; experience; care; favor," the second character means, "bull's eye; mark; target; object."

The main gist of this post is "intent or intention." It is a matter of the mind-set in which your mind resides when you take on a discipline. This once again breaks down into whether your intent is budo, sport or reality violent fighting for self-defense.

Intent also speaks to the intent you have behind a particular technique you may apply in any given situation or attack.

Intent tells you whether your goals or objectives are realistic for what you mind may perceive especially as a novice who often either relies on or has to rely on the perceived expertise of who is conducting the training and practice. It is not easy to discover whether your intent matches with what your actually training in and for.

Some of it transfers over to other disciplines or intentions but a lot does not and Mokuteki is a matter of "knowing" you intent, objective or goals when entering into the world of martial arts.

Mon [紋]

The character/ideogram means, "(family) crest; coat of arms."  The mon are Japanese symbols used to decorate and identify individuals as a particular family member. This is similar to the coat of arms in European traditions. Crests are another means to describe this symbol.

Wikipedia states: "Mon may have originated as fabric patterns to be used on clothes in order to distinguish individuals or signify membership in a specific clan or organization. By the twelfth century, sources give a clear indication that heraldry had been implemented as a distinguishing feature, especially for use in battle. It is seen on flags, tents, and equipment."

Mondai kenshutsu [問題検出]

The characters/ideograms mean "problem detection." The first character means, "question; ask; problem," the second character means, "topic; subject," the third character means, "examination; investigate," the fourth character means, "exit; leave; go out; come out; put out; protrude."

Problem detection is an awareness that allows a person to detect when various changes in their environment, the patterns or cues, the trigger a gut feeling, the spidey sense or your intuitions saying danger is ahead. This is the model that leads to avoidance, i.e. one detects a problem and one avoids it by taking a different route or just turning and walking away.

How does one achieve a level of awareness or problem detection that is adequate to avoid, etc.? Experience!

The ability to detect and act is driven by several factors. This speaks to the OODA loop. A person must have a certain awareness along with appropriate experience levels to detect all kinds of information. It becomes more difficult as the level of speed rises in the OODA loop, i.e. you observe your surroundings, you detect something that causes your butterflies to twitter in you gut and then it is a matter of making a decision and acting appropriately. If the information is gradual, if the cues are very subtle, and if you don't notice if soon enough then you don't act quickly enough or with appropriate actions.

You have to have an ability to put the pieces, the cues, together to see the patterns of problems or in this case as a martial artist bent on self-preservation, danger together rapidly to detect a problem and the decide and act accordingly.

Lets add another layer, when more than one thing goes wrong at the same time. You might hit on the first one and miss any successive cues. If there is excessive noise you may have a harder time detecting it. If you are not effectively collecting data, awareness, because you have those ear buds with loud music, dual distractions, then you miss those cues and fall into harms way.

You don't have to be full on ready for battle awareness but it would be wise to determine the environment you travel in outside your own home as to its possible dangers and adjust levels of awareness to detect cues and make adjustments as you go from full safe zone to possible danger of violence zones.

Learn to recognize situations as normal and as not normal. Recognize anomalies, cues, as typical or not typical and then make appropriate adjustments. This is a step to speeding up the OODA loop that allows for avoidance or actions necessary to remain safe and secure.

All this and much more come from oodles and oodles of experience in those area's appropriate to real life situations and scenarios that expose you to violence and conflict.

Monogoshi [物腰]

The characters/ideograms mean "demeanor; bearing." The first character means, "thing; object; matter," the second character means, "loins; hips; waist; low wainscoting."

First, isn't it interesting that the characters/ideograms by themselves don't actually mean bearing or demeanor, only when combined. When I speak of monogoshi or bearing/demeanor in martial arts or in any discipline I am referring to a type of presence one projects. In martial arts it is a bearing that says your not a victim yet not an aggressor looking for trouble. It is that middle road that speaks the unspoken of confident, capable and one to avoid conflict.

Sometimes it is that demeanor that others can not put a name too but they find it enjoyable and safe to be around and with. It is that which some folks find alluring and magnetic so they say the person has a magnetic personality. It is something that makes us want to see a movie star in a movie, etc. Take that to the martial arts and you find someone who inspires others as well as exude a sense of confidence, capability and one to avoid conflict with but rather have as a partner, friend and backup.

outward behavior; bearing; conduct; deportment; manner, etc.

Mu-dan [無段]

The characters/ideograms mean "none grade." The first character means, "nothingness; none; ain't; nothing; nil; not," the second character means, "grade; steps; stairs."

Mu-dan does not appear in any relevant sources as a term that actually has a meaning within a martial system. It is suspected that this was derived by western practitioners to indicate a level reached by the master of a system where they are perceived as persons beyond ranking. Since there are no sources that can properly validate this term it remains suspect. 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.

Muga-mushin [無我無心]

The first two characters/ideograms mean, "no self; selflessness; self-effacement; anatman (no-self, the Buddhist concept that in nothing does there exist an inherent self, soul, or ego)." The second two characters/ideograms mean, "free from obstructive thoughts; innocence." The four characters/ideograms means, "mind devoid of obstructive thought." The first character means, "nothingness; none; ain't; nothing; nil; not," the second character means, "ego; I; selfish; our; oneself," the third character means, "nothingness; none; ain't; nothing; nil; not," the fourth character means, "heart; mind; spirit."

Muga mushin is the state that the warrior seeks when the mind and body are free to work together wholeheartedly as one, a holistic state of mind often referred to in modern times as a "present moment mind." This is believed in martial circles as a state that exists when training is complete, whole, and one enters into a void.

Mui [無為]

The characters/ideograms mean "idleness; inactivity." The first character means, "nothingness; none; ain't; nothing; nil; not," the second character means, "do; change; make; benefit; welfare; be of use; reach to; try; practice; cost; serve as; good; advantage; as a result of."

Mui is the Japanese term used for the characters in traditional Chinese to mean "wu wei." A culmination of knowledge that is represented by an ability to move through the world and human society in  a manner that is completely spontaneous and yet still fully in harmony with the normative order of the natural and human worlds - The Dao or "Way." This state of perfection is what will be referred to as "wu-wei [無為]. - Edward Slingerland, Effortless Action

It is often described as an ideal of perfected action. To act without effort, to act spontaneously in perfect harmony with nature allowing one to develop an almost indescribable efficaciousness in moving. A state of mind of a person in action.

A spiritual state that occurs at the very moment of action leaving the mind free of distracting and inappropriate thought - to act in a state of non-thought driving the action - an act of non-action. A spontaneous action flowing from the individual as if there is no effort while fitting perfectly with the situation resulting in the need for action with absolute results.

Muishiki kogai [無意識口外]

Although the combination of characters/ideograms has no specific meaning this particular phrase is used to denote "tells." Tells being what a person tells us in an unconscious manner that betrays the physical actions one intends to take, i.e. a strike or kick, etc.

The first character/ideogram means, "nothingness, none; nothing; nil; not," the second character means, "idea; mind; heart; taste; thought; desire; care; liking," the third character means, "discriminating; know," and the fourth character means, "mouth."

What are tells and do we actually "teach" them in martial systems. Often the individual is left to their own to discover or learn instinctually a tell that would allow them to create spontaneously a response to the action. Often, the effort to gain a quick entry to another's defenses a practitioner simply finds what works the most for them and then uses it exclusively which is fine for sports or tournaments, etc. Is this actually beneficial in reality violent encounters?

How would one teach another "tells" or "Muishiki kogai?" By experience in reality based training scenario's is one way but I would not see it as the primary way. The first and primary way is by both knowledge and practice, i.e. gain the knowledge and proficiency in fundamental principals of martial systems then apply them in practice, reality based practice. If one truly knows, understands and applies all the principles we often call incorrectly "body mechanics" we should then be able to "see" the tells often given when applying the principles to techniques.

Where it becomes most difficult is when one achieves a high level of proficiency that the economic motions for power, etc. can actually hide those tells from anyone other than another of high proficiency. It can seem like magic once a person gets to some level of expertise.

Muishiki Kogai or teach the tells should be a part of training and practice. But is it?

Mukao (Mugao) [無顔]

The characters/ideograms mean "no-face." The first character means, "none; nothing; nothingness; not; ain't," the second character means, "face; expression."

Look to this term to be used on conjunction with mushin for martial systems with emphasis on the koryu systems of Japan, i.e. the ancient traditional budo oriented martial systems. It can be beneficial to the other more modernized martial systems as well.

No-face or mukao/mugao involves certain body or physical manifestations that lead to tension and as martial artists know tension burns fuel and energy as well as slows the body down when speed and fluidity are most critical. It is not a matter of having a face that is merely blank but goes deeper that your external appearances. It combines spirit, internal and external expressions that are positively relaxed and fluid, etc. It is connecting a relaxed physical with a relaxed internal spiritual posture. It is an external manifestation of the internal state of your spirit, mind and body.

If you feel your shoulders hunching up and holding tension; if your feeling your teeth clench; if you feel your face scrunching up in a grimace; if you feel your eyes glaring then your mind, spirit and body are also tensioning, clenching and scrunching. What this does is deplete your ability to apply your entire system toward avoidance and defense, etc.

In order to focus, concentrate and apply yourself toward the job at hand you must apply mukao and mushin that are also an intricate part of learning a budo oriented martial system. Mukao and mushin is about expressing a confident, dedicated and focused posture, expression and attitude that is neither aggressive or non-aggressive.

This is an important part of the fundamental principles of martial systems, the fundamentals of martial arts and the basics that give support to the foundation of marital systems fundamentals.

Mukyoku [無極] (mu ki; [無気])

The characters/ideograms mean "limitless; apolar; limitlessness of taiji (tai chi chuan)." The first character means, "nothingness; none; nothing; nil; not; zero," and the second character means, "poles; settlement; conclusion; end; highest rank; electric poles; very; extremely; most; highly." This is the Japanese definition of the Chinese characters/ideograms above.

The Chinese word for these characters/ideograms is "wu chi." It is that state of "nothingness" that was separated into antagonist dualistic symbolism of Tai Chi as shown in the symbol for yin-yang or "form". Tai Chi is "one." The tai chi contains the antagonist dualistic monism or fractal dichotomy of yin and yang.

"Yang is time, Yin is space. Yang is characterized by the circle. Yin by the right angle. Symbolically Yang is a straight line, Yin is a broken line." and "Martial arts originated in China and then spread to all of the other Eastern countries such as Japan and Korea. Martial arts such as Kung Fu, Tai Kwon Do, Karate, Judo, etc. apply the creative flow to the field of self defense."

Trigrams offer both consciousness and physical references, i.e. the trigram Kun, the Receptive, is characterized by the "pull back" movement. When in martial practice it is often beneficial to pay attention to the energy and the movements. The yin-yang as the trigrams would indicate in their positions of yin-n-yang are imbibed within the movement, rhythms and patterns of martial systems.

Mukyu [無級]

The two characters/ideograms do not have a definition in the translations sites I use. The first character does mean, "nothingness; none; ain't; nothing; nil; not," and the second character means, "class; rank; grade." So one could surmise that the two mean, "nil rank." You can go a step further to say it refers to one whi has not attained rank or grade.

Now, as to its usage in martial arts. I have never used it and expect most dojo don't because it really references all those who are not training or practicing karate because the moment you begin training you are a Ju-kyu or tenth level not black belt but white belt rank or grade. You may actually be mukyu when you first step on the dojo floor but immediately after learning the very first lesson you are no longer mukyu because now you have some knowledge commensurate to the grade you were awarded upon beginning.

Regardless, for continuity and as much completeness as I can achieve I have included it here.

Munen muso no uchi [無  念 夢想 内 ]

The characters/ideograms mean "the strike of non-thought." Mu is nothingness; nen means idea; sense; thought; feeling; attention with additional martial meaning of a representation of perceived phenomena. Munen is also a Buddhist term meaning without thinking anything which is a present moment empty mind concept that is not influenced by superfluous thoughts or thinking.

Muso is also a term of Buddhist origins meaning no form or not being influenced by any form, no form or void. The characters/ideogram mean "dream; vision; reverie." The first character means, "dream; vision; illusion," and the second character means, "concept; idea; think; thought."

Uchi is a character/ideogram meaning "inside; within; between; while; among, etc." The character [打] is used to describe to strike; to hit; to punch and is the older term used for traditional martial arts.

The phrase is used as indicated where one instigates a spontaneous strike that comes from the lizard brain or the unconscious with a positive result. Your mind is empty, it is now capable of allowing the mind to be filled with and by the situation so that the body arrives at the proper response spontaneous and accurately.

It is a mind of no-mind that not only chooses pre-trained technique or combinations but also inspires free formation of any one or combination of techniques or parts of techniques that are appropriate and accurate for successful deployment of actions that are successful in the strategies, tactics and goals of the protagonist.

Musha Shugyo [武者修行]

The characters/ideograms mean "traveling about to gain skill in combat." The first character means, "warrior; military; chivalry; arms," the second character means, "someone; person," the third character means, "discipline; conduct oneself well; study; master," and the fourth character means, "going; journey."

This one seems self-explanatory and westerners have heard tales of samurai, i.e. Miyamoto Musashi as the most famous of all, traveling around and testing their skills. It is also told in stories how the Okinawan karate-ka of the eighteen hundreds and into the early nineteen hundreds would have village contests to test their karate skills or better described as "Ti or Toudi" skills.

Every system, style and branch of karate today has its own unique view or story on musha-shugyo. This type of testing may have been the precursor to the tournament scene we all experience today. Tatsuo-san of Isshinryu often spoke of contests between dojo to test out the skills of the karate-ka.

I can remember traveling around to dojo on Okinawa with Sensei to test our sparring skills with other Okinawan dojo and American dojo on the bases. It became our way of becoming "familiar" with other systems, styles and branches of karate.

Mushin no Kokoro [無心の心]

The characters/ideograms mean "heart of no mind." The first character means, "nothingness; none; ain't; nothing; nil; not," the second and fourth character means, "heart; mind; spirit."

The meaning as it applies to martial systems of practice is one must train the mind to be empty of all thought and emotion when acting. It can also be to have a detached mind, a mind free from encumbrances to respond to any stimulus. The mind shall not be set to any specific place or thought, but free and flexible to respond to any situation. This is thought to be the essence of the state of mind of martial arts. This explanation seems to fit for the term, as stand alone, mushin. What does mushin no kokoro then mean?

It means heart of no mind. It might mean that to have mushin or no-mind/empty-mind is the "heart" of all martial arts. This is merely my theory. It is literally the mind, heart and spirit of nothingness of the mind. Martial artists philosophically speaking must remove all distractions of the mind, heart and spirit. To achieve a clean and free mind from mindless meanderings, a heart free from encumbrances of the heart that speaks to the emotional side of humanity and the spirit or mind-set that promotes the ability to take appropriate actions in a conflict be they simply avoidance to the extremes of physical violent battles for survival. It is a moral compass for the martial artist. It is the ultimate state of present moment presence.

Musubi [結]

The character/ideogram means "to unite (with); to ally; to join hands." Musu means to generate or to produce and when added to "bi," which means spirit, fire or wonders," which symbolizes a concept of both active and passive connotations. It refers to the process of "being" itself. It is a process that generates wondrous things in the universe.

Musubi is therefore a process of unification of opposites. It is the tying together of two antagonistic ends of an original. The process of musubi is to have no beginning and no end; day and night, unification and separation, birth and death that continue in a never-ending cycle. This is not a separate state for each extreme but a symbiotic relationship that creates, i.e. birth, growth, age, death. All things live under this type of duality. A dualistic monism is the term used by Nahum Stiskin in the book "The Looking-Glass God."

The great tie chi as depicted in the yin-yang symbol meets this model. It actually is the symbol that inspired this thinking. The great tai chi is a matter if dualistic monism of symbiotic unification through the natural way of one extreme to another with variations toward a mean balance or equilibrium that is affected by the vibrations of life, the energy we call Chi or Ki that permeates all things in the universe.

This translates to the dualistic symbiotic relations that make martial arts ... martial arts. Master is understanding the requirements laid down by the laws of nature and using them to enhance, build and create mastery of self and martial systems. The martial arts consists of these dualistic attributes that when combined holistically create a symbiotic monism of dualistic natures to make one wholehearted system.