S - Sai

Sai [釵]

The character/ideogram means "sai (an Okinawan weapon)." The character means, "ornamental hairpin." It is a Martial Arts term used as a noun. Its form is that of a pointed, not sharpened, pronged shaped metal baton, with two curved prongs called the yoku projecting from the handle, the tsuka. The parts of the sai are:

Monouchi, the shaft of the sai. (on Okinawa in the fifties and sixties a local smith would make sai for the students from scratch)

Yoku, the prong like side guards, symmetrical. Its design was a manji design developed by Taira Shinken Sensei that employed oppositely-facing yoku

resembling a Buddhist symbol that is seen as a reverse swastika (manji) from which it takes its name.

Tsume, the tip of the side guard (yoku).

Moto, the center point between the two side guards (yoku).

Tsuka, the handle of the sai. The tsuka can be wrapped with different materials to provide a non-slip type grip.

Tsukagashira, the butt end of the handle (tsuka).

Saki, the tip or point of the sai that is usually blunt.

The sai were used in other cultures such as China, India, Vietnam, etc. It was used by Okinawan's, we believe, as a police implement for crowd control, etc. It was used in Japan in another form referred to as a jutte (jitte) that was a single prong with a more squared slimmer single side guard. Both are truncheon weapons that also trap, i.e. a sword or staff, etc. 

It must be noted like other kobudo the history is questionable due to a lack of proper documentation of historical nature.

Saiki kioku [再帰記憶]

The characters/ideograms mean "reflexive memory." The first character means, "again; twice; second time," the second character means, "homecoming; arrive at; lead to; result in," the third character means, "scribe; account; narrative," the fourth character means, "recollection; think; remember."

In lieu of the term or phrase muscle memory. Muscle memory leads to thinking that simply repeating a movement over and over again without all the other principles will encode that movement into instinctive and reflexive memory. This is a misnomer. There is no such thing as muscle memory. To use this phrase or term can lead to misunderstanding when practicing for reflexive action in the heat of conflict.

Reflexive memory is where the mind, body and spirit act as one. When properly practiced and trained it refines movement and motion to help us fill other fundamental principles of martial systems, i.e. like economic motion. This type of action, reflexive and instinctive, is superior to such contrived actions you might find in typical self-defense drilling (drilling is a necessary tool for the initiate to martial arts but not to action in defense, ergo why it is important to make distinctions such as this).

To develop reflexive actions and thus reflexive memory you have to practice, practice and practice meaning repetition, repetition and more repetition. But, that is not the end of the story about reflexive memory-actions. You have to be selective about what techniques you encode this way. Learning many, many techniques are not productive and effective. Initially you learn a compete set of such techniques so you can whittle them down to the essential for defense. Accumulating more and more tend toward diminishing the actual reflexive action-memory capability you encode where they leave you in the lurch when you need them in a conflict. 

Remember that once you encode a reflexive action into reflexive memory it takes twice as long to remove that byte from memory to make room for the more appropriate. 

There are many more avenues to take in reaching reflexive memory-actions such as reality based simulations and scenarios along with visualizations when performing repetitive practices. This involves all the fundamental principles of martial effectiveness.

Sakki [殺気]:

The characters/ideograms mean "thirst for blood." The first character means, "kill; murder; butcher; slice off; split; diminish; reduce; spoil," the second character means, "spirit; mind; air; atmosphere; mood."

The atmosphere created by the intent to kill. How does one perceive such a thing. I can only explain it by an experience I once had when sitting at a dinner table with friends when a man walked in to join us. Before he even came around into my field of vision I had this sensation that something was very, very wrong. You can say my spidey sense was jumping all over the place.

I remained aware and diligent in my observations of him the entire time at the dinner table. I kept him either in direct view or well within my peripheral vision. I later asked the host, a close friend, who the guy was and found out he was often perceived this way by others. Later, my friend called to tell me I was right to remain aware of him as he later was classified and contained as a psychopath. He also had an extensive military career/experience in special forces with time in Viet Nam, etc.

Although not a killer or killing intent it was apparent that something about his body language spoke of danger and he turned out to be very capable of dangerous things. I suspect that Miyamoto Musashi also had this "sakki" or aura of killing intent or ability ergo why he was so successful with the sword.

Sakki is not something that can be duplicated in the training hall, it is not something that is turned on and off, and either you have this or you don't and it may not be something that is exuded by an individual but rather an atmosphere where a person or group of persons in a frenzy of violence cause the atmosphere to be violent or with an ability to find death for anyone at any moment. 

I have heard it mentioned in Ninjutsu but from my experience it is a soundbite used to awe students and non-participants, etc. It is NOT something you can teach or learn.

Sakusen-jo so [作戦上想]

The first word/phrase and first thee characters/ideograms mean "strategic; operational." The first of those three characters means, "make; production; prepare; build," the second character means, "war; battle; match," the third character means, "above; up." The fourth or last character means, "conception; idea; thought; perception; concept; think."

We in western, and now apparently asian, karate tend to get caught up in details or complexities. We make techniques more and more complex with minute details as a means of feeling like it has value and substance. Getting caught up in details is not adequate for combative strategies necessary for survival. 

We train and practice this way and what can occur is when we are in "the fight" or "combat" we devolve from the smaller, simpler and natural techniques into the larger, complex and bigger details that don't fit the lizard brain's idea of simplicity and effective techniques. This is how the mind loses its no-mind, present moment mind, and freezes since the lizard mind is forced to go up a level to the "thinking mind" which is slow cumbersome and subject to freezes, confusion and indecision - a real killer in a fight, combat, etc. 

Your strategic thoughts, sakusen-jo so, need to remain simple, small and natural, i.e. natural as in close to what the lizard brain would use in a clinch but trained to fit the new paradigm of techniques, so it will naturally and instinctively associate some set of things appropriate to the situation, the moment of conflict.

San-kata-renshu [三型練習]

The characters/ideograms mean "three kata practices." The first character means, "three," the second character means, "mold; model; type," the third character means, "practice; train; drill; polish; refine," the fourth character means, "learn."

In karate we have Kihon, Kata and Kumite, the three pillars of practice and training. In karate philosophy we have "shu," "ha," and "ri." In kata we have "kihonteki kata," "Kokyu kata," and "Kotenteki kata." 

Kihonteki Kata (Fundamental/Basic Forms) [基本的型]

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

Kokyu Kata (breathing forms) [呼吸型]

The characters/ideograms mean "breathe; breathing; form." The first character means, "call; call out to; invite," the second character means, "imbibe; inhale; sip," the third character means, "model; type; mould."

Kotenteki Kata (classical forms) [古典的型]

The characters/ideograms mean "classical; traditional; form." The first character means, "old," the second character means, "law; rule; ceremony; code," the third character means, "bull's eye; mark; target; object," the fourth character means, "model; type; mould."

Kihonteki kata are the very basic forms and bunkai, i.e. the "shu" part of shu-ha-ri, where the novice is just beginning to accumulate the knowledge necessary to take practice and training to the next level. It is meant to build a foundation and will soon be encoded so that the practitioner can begin to forget the kihonteki kata. 

Kokyu kata is where the practitioner starts to blend in the fundamental principles learned during "shu" phase of training and practice. It is where "breathing or breathe" is blended into the physical repetitive practice that is the gateway toward the "ha" level of shu-ha-ri. 

Kotenteki kata is the level where the more classical forms are created through practice and training. This part incorporates such variations of kata as honto-kata, etc. and is the corner stone toward higher levels within the "ha" phase of shu-ha-ri. 

In the "ha" phase you would include Rekishikan, i.e. a more historically driven practice where historical, cultural, belief and philosophical aspects are blended into the current levels to achieve a more wholehearted and holistic practice that provides the keys to open the gates toward the "ri" phase or levels of shu-ha-ri.

Sanchin [三戦]

The two characters/ideograms mean, "three battles." The first characters means, "three," and the second means, "war; battle; match." This is the name of the kata that teaches a practitioner how to bring the three, "spirit, mind, and body," together as "one." it is, in my veiw, a matter of synchronizing the body, mind and breathe (haragei; hara) into one yin-yang.

What I mean by yin-yang is I believe that the performance of Sanchin involves both soft and hard where one goes from one extreme to another repeatedly through out the entire pattern or form. To achieve an ability to be totally soft and then with a sudden breathe and tensioning, dynamic tensioning of the entire body structure to achieve to be totally hard.

A kata of South Chinese origins is often considered the most important karate kata of all. It is a well-known kata for Goju and Uechi systems of karate, i.e. very hard systems/styles. The creator is unknows and its meaning as to characters is "three battles." The above definitions of the characters at least gives credence to that meaning.

It is felt and believed that the purpose of the kata is to develop and unify the mind, body and spirit. This kata is felt by many to develop and train the individual in moving "ki or Chi" or life energy throughout the body. This is the "internal" aspects of the Okinawan systems of karate. 

"Some say the meaning of Sanchin ("Three battles") relates to the three journeys of life; Developing body, mind and spirit. Through proper martial arts training, one properly learns to develop her or his body through exercise and practise of kata/forms. Later, one begins to understand the true meaning of one's training and develops an understanding of bunkai and history, developing the mind. Spirit is developed much later in life and is only understood by those who have achieved this." - http://en.wikipedia.org/wiki/Sanchin

It is also a "breathing kata." This connects to the goku-i where references are attributed to inhaling and exhaling or drinking and spitting to the hard (yang) and soft (yin) in the martial arts. It helps a practitioner find his balance, posture and other body mechanic's principles as explained in fundamental principles of martial systems. 

Shime is a means by which a Sensei can check things like strength, posture, alignment, and breathing - to name a few. 

Isshinryu:

The oldest kata in Okinawan karate is the Sanchin kata. Sanchin is a stationary exercise for muscle and breath control that was performed by the Buddhist monks in China. Bodhidharma taught the monks sanchin to keep them from falling asleep during the long hours of meditation. It was originally a part of the Iron Monk form, Tei Shao Mu Tshien.

Sanchin came to the island in eighteen seventy-nine. The student rooted the feet to one spot and performed sanchin. In later years three steps were added for a forward and backward motion.

The kata was first taught to Higaonna Sensei who passed it on to Miyagi Chojun Sensei who then passed it along to Tatsuo Sensei. Tatsuo Sensei made it a part of the Isshin system.

Sanchin means three conflicts or three battles or three gods; the three conflicts refer to the melding of mind, body, and spirit. It is practiced in one form or another through out the karate world. It is predominantly found in Isshin, Uechi, Goju, Shito, and Shotokan karate.

The purpose of sanchin is tension breathing. It was not meant to teach any particular defensive or offensive techniques. The tensions breathing along with the exercise received when practicing karate provide the armor the karate student needs to protect the body.

Sanchin is considered the core of Isshin. It develops the students Ki, life force energy.
The benefits of sanchin are muscle tension control; proper breathing technique; ki development.

It is said that the lungs are the reservoirs of life; air is the lord of strength; strength is the corner stone of a solid foundation.

Sanchin is the longest kata in regards to elapsed time to perform. The length of time is due to the ibuki breathing techniques used. It uses one stance called the sanchin dachi.

Sanchin is a pseudo-isotonic and pseudo-isometric exercise. It increases heart rate. It opens the lungs and increases the lung capacity. It increases blood circulation, strengthens the heart muscle, and increases the blood to the brain and other organs.

It has been reported that sanchin practice has caused strokes, aneurysms, and contributed to arteriosclerosis. It is recommended that the student consult a doctor before beginning any health program.

Sanchin Kiko [三戰気功]

The characters/ideograms mean "three battles spirit achievement; fundamentals of three battles (sanchin) kiko (spirit achievement, etc)." The first character means, "three," the second character means, "battle; fighting; war," the third character means, "spirit; mind; air; atmosphere; mood," the fourth character means, "achievement; merits; success; honor; credit." 

The Okinawan masters of karate pre-1800's taught sanchin kata as it was based culturally on exercises taught by Daruma - China's Bodhidharma. Bodhidharma in Japanese is Daruma. It is about circulating "ki or chi" through the bodies meridian, pathways, of the body. It is believed that this practice strengthens the muscles and tendons as well as stretches them. It is also believed that this form of practice directs our "ki or chi" into the bones and up the cerebrospinal system, the spine. 

Bodhidharma or Daruma teachings were Zen and both have a spiritual connection to what they transmitted that coupled with martial arts of China. Since China has a strong influence in all other Asian cultures, i.e. strong with both Okinawa and Japan, it is not surprising to find those connections in karate, etc.

This connects us to the second half of this phrase, i.e. spirit achievement, meaning that possibly this spirit achievement is promoted through the many traits learned, trained and taught that is sanchin kiko. 

To achieve success with sanchin kiko practice the karate-ka must realize that alignment is involved, an alignment of the body, mind and spirit. These three can be best explained through the fundamentals of martial systems. The principles explain how a wholehearted practice achieves such harmony by the alignment of the bodies internal workings, i.e. the flow of chi or ki is best accomplished with the body is adhering to the principles of physiokinetics, the mind is aligned with the principles of both theory and philosophy and the spirit is aligned with the alignment of the principle of technique as its manifestation through the practice of sanchin kata while achieving alignment of the other sets of principles. 

It is by the proper practice of sanchin kiko that we first learn of the complete fundamental principles of marital systems much like the study of the ken-po goku-i thus connecting the mind and body through academic study of the gokui and the physical study of others in the actions of the body leading to the development of the mind, spirit, coalescing the three into one. 

Sanchin being three battles is about teaching the self to achieve a holistic wholehearted blending into the "one" that often, as novices, resist one another, i.e. mind resists the spirit while the body tends to go in its own direction without direct influences of the other two. This relates back to principles of martial systems in that to achieve a wholehearted holistic practice of karate requires a blending of all the principles as "one whole" compilation of all the atomistic parts into the one, karate-jutsu-do.

Sanchin kiko is considered the very essence of Okinawan Ti or karate. It develops the spiritual energy called "ki," it teaches the karate-ka to breathe properly, and it develops strength in the muscles and bones. These three fundamentals are trained through sanchin kiko to become one, to work together as one. The mind drives sanchin kiko, the body follows the mind and through the harmonious unity of the three create true spirit. Sanchin kiko harmonized breathing with movement as controlled by the mind. 

Sanchin kiko incorporates chinkuchi kaki, i.e. the strengthening and power through the unity of joints, sinews, and muscles, etc. Breathing is a key element that uses a deep diaphragmatic breathing system that exercises the internal organs while developing the mind, body and spirit. The breathing is inward through the nose to be routed literally into the depths of the lungs due to the deeper breathing with the diaphragm but visually through the top of the head around the back and down the spine to flow under the space between the legs, up into the groin, the stomach, etc. completing a circle. Then outward through the mouth as it reaches back to the bottom of the lungs. 

It is also important to understand sanchin "shime" where testing is done with the flat of the hands while demonstrations are often done with fist, etc. to emphasize the body armor developed through sanchin kiko.

San-mitsu [三密]

The characters/ideograms mean, "three mysteries to enlightenment; thought, word and deed; three mysteries (Buddha's body, speech and mind)." The first character means, "three," the second character means, "secrecy; density (pop); minuteness; carefulness." 

In martial arts the statement, "the key to enlightenment," precedes individual perceptions as to what it takes to achieve it. The issue with this is that most are individual techniques when in general the truth lies in how that person handles life, i.e. how they think, how they perform deeds and the words they use. Martial arts are a physical discipline, effort and spiritual action necessary to blend the thought, word and deed to effect our physical reality. 

San-mitsu explains how a person can increase the body's energy level and capacity by the practice of a martial art. This is emphasized more in the internal arts of China, i..e Chi Gung and Tai Chi Chuan. It is about utilizing the physical to achieve the mental and spiritual. 

Our physical efforts use and enhance certain frequencies on a molecular level. Words are the expression of our thoughts. When spoken they to have certain frequencies or vibrations. Our physical actions as to deeds and the perceived actions that are to be viewed as putting thought into action on an every day basis are the most obvious, i.e. body language tends to convey true meaning so that words and thoughts are confirmed as one wholehearted way of present moment living. It is how one sets the example over just using words alone. 

San-mitsu is another principle or sub-principle of the foundation we must create on a physical level leading our mental and spiritual toward a more holistic wholehearted approach to martial arts and life.

Sansai [三才]

The characters/ideograms mean "three powers; heaven, earth and man." The first character means, "three," the second character means, "genius; years old; cubic shaku."

Sansai refers to the three powers represented within the ancient classic, "I Ching." In the hakke or eight trigrams the three lines generally refer to the three powers. There are several combinations up to the hexagrams used in the I Ching that hold the positions of heaven, earth and man. Some understand this to mean heaven-man-earth where man standing on the earth is open to the influences of the heavens and earth. This is maybe the simplest theory of the three powers.

In Isshinryu Tatsuo-san believed wholeheartedly in the three powers. He used such classic beliefs along with some ancient classics such as the I Ching for his work in divination or fortune telling. At the entrance to one of his dojo you will see characters referencing this belief and work to include his birth hexagram.

Since the hexagrams, 64, are derived from combinations of the eight trigrams, hakke, you will immediately notice their influence toward the new system of Isshinryu by the eight empty hand kata. It also becomes apparent when you receive the original "eight" ken-po goku-i along with the silk promotion certificates (i.e. these were presented to many of the first American practitioners in the late fifties and early sixties, etc.). 

A.J. Advincula sensei often speaks of the three powers within Isshinryu, i.e. Naihanchi-n-Sanchin, Chinkuchi, and muchimi-n-gamaku. This seems to be the core or essence of the make up of Isshinryu. 

There are many other symbolic representations toward the three powers through out the Isshinryu system as created and named by Tatsuo-san. Take a look at the Isshinryu-no-megami, etc.

Sanshin [三進] 

The characters/ideograms mean "three advances." The first character means, "three," the second character means, "advance; proceed; progress; promote."

This is in reference to the ancient practice of Okinawan toudi that deals me movement to advance on an adversary. This term is also related to the sanchin kata and explains or symbolizes the different aspects of the basic kata of karate-goshin-do. There are the three battles of sanchin, i.e. the body, mind and spirit, while sanshin is the three basic movements or advances of the kata often seen within sanchin as well. It is rudimentary for explanation and not much else is explained to expand on these concepts. 

See also Rokushu

Saru no no [猿の脳]

The characters/ideograms have no meaning when coupled in this fashion. The first character means, "monkey," and the last character means, "brain; memory." The middle character is a kana character that emphasizes the relation of the two characters/ideograms. 

The monkey brain, first time I heard this phrase was on the "no nonsense self-defense" web site by Mr. Marc MacYoung and Dianne MacYoung, is that portion of our brain or mind that tends to lead us around like zombies getting us into all kinds of trouble that can be avoided if we could learn to put the monkey back into its cage at the first sign it rears up to take us over. 

It is when our logical brain takes notice of something that registers deep down inside our belief system and triggers an emotional response that can cause us to act "stupidly" and get into deep trouble.

Sasshō nōryoku no aru buki [殺傷能力のある武器]

The characters/ideograms for this phrase mean "deadly force." The first character means, "kill; murder; butcher; slice off; split; diminish; reduce; spoil," the second character means, "wound; hurt; injure; impair; pain; injury; cut; gash; scar; weak point," the third character means, "ability; talent; skill; capacity," the fourth character means, "power; strength; strong; strain; bear up; exert," the eight character means, "warrior; military; chivalry; arms," the ninth character means, "utensil; vessel; receptacle; implement; instrument; ability; container; tool." 

The military express it as a person who uses, causing - or that a person knows, or should know, would create substantial risk of causing - death or serious bodily harm. What we are mainly concerned with in martial systems as civilians is the legal definition of deadly force but just as important we need to find out what is considered when applied deadly force.

Each city, county and state will have its definitions of deadly force. That is not enough for us as martial artists who may use skills learned for defense. What you use, how you use it and how far it goes are just a few thoughts as to what is needed in understanding the amount of force used in defense and when that force enters the realm of deadly. 

Is what your using at that moment reasonable and by who's standards. Do you know which aspects of your system are considered as deadly force and by who's standards. Do you know just how far you are allowed to go before the force used becomes excessive and/or when it reaches the realm of deadly force and by who's standards. 

Example, the use of eye gouges? Is this a technique that falls under the heading of deadly force? Once source writes that it is considered deadly force when used. Does your system teach this as a part of defense and do they identify it as a deadly force technique? Is the use of a knife in defense also the type that is considered, if used, as resorting to deadly force? 

The best one can do in martial arts especially when it involves the teaching of self-defense is to learn all about force along with the sub-category of deadly force  by researching the laws that govern both force itself and deadly force as a byproduct of that force. Then it is also best to consult an attorney who has knowledge and experience in the self-defense use of force law to advise any self-defense instructor as to what it is they are actually teaching. 

Don't rely on the books and there are many outstanding books that discuss violence, force and deadly force along with references to the law and how to get the appropriate legal views on teaching self-defense. You really have to get out there and find out just exactly what it is you can and can not do relating to defense, force used in that defense and take special notice of when it becomes deadly force.

Satori [大悟]

The two characters mean, "enlightenment; great wisdom," while the first character means, "large; big," and the second character means, "enlightenment; perceive; discern; realize; understand." The word and character are used to explain a concept that we seek in our practice of the way of the empty hand, i.e. the way of martial arts. It is the yin aspect that goes hand-in-hand with the mental/mind training and practice where the ken-po goku-i is that koan used to enlighten the individual while they practice the physical aspects of martial systems. 

Enlightenment is not just one thing but many where the study of the koan of the goku-i (short for ken-po goku-i) which in of itself is directed toward the law of the fist so that it may set a foundation for the extended study of the mind-body that is indicative of all martial systems of Asian cultures. 

This aspect of the Buddhist doctrine along side its companions, i.e. Zenism and Shintoism, creates a whole person or wholehearted person with a heart and soul the promotes a moral ground on which to practice the art of martial systems. 

It is a discovery one must make as a person of heart that the body is not a lone machine but a partner with the spiritual or mind of the whole person. It is the effort of the physical-mental that brings a holistic aspect to the system.

Satsujin-ken [殺人剣] 

The characters/ideograms mean "murder." The first character means, "kill; murder; butcher; slice off; split; diminish; reduce; spoil." the second character means, "person," the third character means, "sabre; sword; blade; clock hand." 

Katsujin-ken [活人剣]

The characters/ideograms mean "life-saving sword (a killing sword may be a sword of life depending on how it is used)." The first character means, "lively; resuscitation; being helped; living," the second character means, "person," the third character means, "sabre; sword; blade; clock hand." 

The two terms are used together and are a part of the martial art of the Japanese sword, i.e. aiaido, kendo, etc. 

Satsujinto, Katsujinken: The Sword that Kills, the Sword that gives Life: a philosophical teaching of the art of the sword. This set of terms as a philosophical teaching also applies to other martial arts as well or can be adapted to them. It is a philosophy that martial arts due to its inherent violent nature must be a system that is properly practiced and applied with humility and a moral compass that works toward the betterment of humans over the yang side that promote evil and violence. It is meant to develop a mind-body that is positive with the mental virtues that are good and beneficial to self and others. 

The fundamental principles of martial systems has a main principle of "philosophy" that extends into satsujin-ken and katsujin-ken (also satsujinto and katsujinto). The overall principles must have a modicum of humility and morality as a core or essence of the marital arts or it can quickly go to the dark or yang side that is yin-yang or good-evil dichotomy. They are often rendered more explicitly in English as “The sword which cuts down evil is the sword which preserves life.”

This adage is attributed to the masters of Yagyū school, the Tokugawa shoguns’ personal instructors in swordsmanship.

Seido [制度], Yoshiki [様式], Shibu [支部]

Seido [制度]

The characters/ideograms mean "system; institution; organization." The first character means, "system; law; rule," the second character means, "degrees; occurrence; time."

Yoshiki [様式] *

The characters/ideograms mean "style; form; pattern." The first character means, "way; manner; situation," the second character means, "style; ceremony; rite; function; method; system; form; expression."

Shibu [支部]

The characters/ideograms mean "branch; subdivision." The first character means, "branch; support; sustain," the second character means, "section; bureau; dept; class; copy; part; portion."

Seido, yoshiki and shibu are used in another context to designate how a martial art is classified - in general. It can be broken down into "systems, styles and branches" or subdivisions of styles, etc. 

For instance: systems are very broad, i.e. karate vs. kobudo vs. kendo vs. iaido, etc. while a style is a sub-category of one system such as karate, i.e. gojuryu vs. uechiryu vs. shorinryu, etc. Then we have branches as a sub-category of the styles, i.e. isshinryu under shorinryu as well as mastumura seito shorinryu and kobayashi shorinryu.

It should be realized that this is simply a way to categorize and is not a means of establishing a "hierarchy." A hierarchy tends to denote a meaning of greater value and status which is not the intent of a martial art system - a classical or traditional model. When the rank or dan-i system was introduced we introduced a hierarchical model that fed a model that had levels, grades and therefore dominant roles for individuals.

Originally Okinawan karate had no dan-i system. Everyone practiced to learn karate. There were no belts only senpai and kohai where levels of proficiency and experience were set to create a dualistic model of mutual achievement where senpai taught kohai and kohai provided senpai a means to learn, practice and apply their knowledge which in turn when applied properly also taught the kohai to reach higher and learn from senpai, etc. The real model was a matter of yin and yang or yin-yang, i.e. kohai-senpai, where both had seeds of yin-yang that created a holistic wholehearted way without a dominant model of ego and pride driven hierarchy. 

Isshinryu is categorized as a branch of shorinryu which is a system of karate whereby Isshinryu is also a system that teaches a specific style of karate which is also a branch of the system of Shorinryu which is a sub-system of karate, etc. where all systems, styles and branches are all systems that have their own style of the overall system of karate and kobudo, etc. 

This interchangeable means of categorization simply helps to teach the cultural influences that drive a system called "Ti or Te or Toudi" to a style that became a system called Nahate, Tomarite and Shurite that later became a group of systems that were individual styles of said systems called gojuryu, shorinryu and uechiryu, etc.

Seigyo [制御]

The characters/ideograms mean "control; governing; checking; suppression; repression; restraint; mastery; management." The first character means, "system; law; rule," the second character means, "honorable; manipulate; govern."

Seigyo, or "control" is a cornerstone to martial arts and defensive techniques be they avoidance or physical actions. Control is spoken in martial arts as the ability to control the body in application of self-defense techniques. Control is the controlling of the opponent such as the use of joint manipulation techniques. 

It is not often we experience actual training and practices toward controlling the self in conflict, control the emotions and our ego's. Pride, honor, and other such things tend to drive how we respond to perceived slights against any one or many of them. He "dissed me" is one of ego, pride and social status where one might be psychologically influenced to act to "save face."

Seigyo, control, must be a mental training tool of all martial artists and especially if they walk into the darkness of the job, i.e. police, fire, emergency services or military. 

In my view, "Honor," is the ability to restrain and control emotions through acceptance that manipulation is only possible if one allows it and governing our control and reactions, etc. are dependent on our perceptions, self worth, and self esteem. If we develop this to a high degree then we control our honor and allow no one to control if causing a loss of control, emotions, etc.

Control. In the case of martial arts the term is seigyo and it must be stressed that one review all the meanings to this term for they all apply in today's martial arts. This is not to say that control is not involved in the traditional/classical/historical martial arts for control is paramount in those systems. Control has always been an intricate part of Japanese martial arts. 

In Okinawa the ancient art of Ti or Toudi was not about control. The training of karate, then called Ti or Toudi, was about survival and the perception I have from what history is available along with the culture and beliefs of the Okinawans tends to lead me toward a more relaxed atmosphere where a true relationship between sensei and kohai made for a more informal training environment. I also believe that influences from Japan and the occupying military forces promoted the more controlled dojo of the early 1900's that increased in the new millennium.

In the west control has become the most important aspect of martial arts training. I also believe this comes from the source or those who introduced martial arts, particularly karate, the military. The early pioneers of most karate in the west were military personnel who trained overseas and quickly opened training facilities upon return to the states. Then you start to include the commercialism of the training where money is necessary then control becomes more important.

As the need to attract participants to increase income rose the need for more control also rose. It is now a matter of control and not true martial arts in western and even Eastern martial arts products. I say products because it would seem to me that most martial arts is commercialized resulting in money as its belief system making what is produced as a product vs. a person with all the qualities that once represented Okinawan Bushi (not the Japanese Bushi). 

Read Charles Goodin's article on Bushi of Okinawan: http://seinenkai.com/art-bushi.html

Then you add in all the winners and losers cultural influences and it comes back to control. The tori-and-uke relationship has turned into a winner-n-loser where the core belief is one has to dominate and win to the detriment to anyone who may have less that you. There are times when winning or not losing become extremely critical to survival but within the dojo environment it should be set aside for a more traditional tori-n-uke relationship to foster maximum learning, knowledge, understanding and experience so that when winning or not losing is critical or life and death critical we have the ability and experience to achieve the appropriate results, to not lose. Then again taking it even deeper the tori-n-uke relationship along with a sensei-n-kohai relationship one can achieve the very best of martial arts - the ability to not fight, to avoid conflict and to remain safe and sound and healthy and out of conflict. 

In closing I read a recent post to one of my google mail accounts making reference to bylaws, rules, regulations, requirements, debates, appropriate actions or legal advice tends to mean control. One group has or wants it while the rest are required to follow. Let me also express that control has always been about survival as the control created in the tribe or social group originally meant survival against the dangers of wild animals, the environment and against rival tribes or groups. The type in our early history of mankind and not the kind that it morphed into as the industrial world gave birth to today's commercially, economically and politically formed control where survival is not necessarily about life and death although in some instances it is but mostly it is about money instead. 

The control of the traditional/classical form as understood from Japanese influences is derived from the feudal era that greatly influences even today's way of life in Japan's society. That would take another set of postings all on its own. 

So, after all this that I might add is the tip of the iceberg how do we want to address the fact that control is persistent in today's martial arts? Does it actually, in martial arts, provide for unity of all participants? Does it actually, in martial arts, bring all martial artists together into one mind, one wholehearted group or tribe with the common good as its core requirement? Does it promote good moral beliefs that are accepted throughout all members? Does it promote true budo belief as originally intended, as to Okinawan karate, by karate's ancestral cultural belief systems? Is this even relevant for modern times? Did someone make the same statement about modern times in ancient times? Most important, are we simply repeating history over and over and over again where only the surface perceptions seem modern or different? Could we all unite without control? Is control some deeply ingrained survival instinct from mother nature that will never go the way of the dodo bird? 

Can we have control that does not suppress, repress, or restrain others? Can we have the type of control that only manages the entire tribe without controlling? Can we have a system of unity without control, governing, manipulation and be honorable at the same time? 

Where is the true dojo, the true Sensei and the True Kohai? Maybe it can only exist in the smaller, singular, wholehearted back yard dojo of ancient times where one fosters such relationships of tori-n-uke with mutual benefit, understanding and experiences that foster mastery, equally, for all participants. Can this even be done? Has it ever been actually and truthfully done? Is this just a dream or can it be reality?

Control is and has been an issue with humans all throughout mankind's history. The type, amount and degree of that control is critical especially when teaching martial arts geared toward both combatives and self-defense. There has to be a certain amount of leeway toward how critical and exact you become with teaching vs. allowing things to go so loose that you defeat the purpose of teaching martial arts as combatives and self-defense.

You want to control what is being taught so it can be learned but not so tight that it becomes dogma or so strict that the person fails to make it work when they need it. This seems the crux of learning a martial art as combative and defensive using the Asian maxim of the "shu-ha-ri" system or model. Strictness is necessary in the "shu" levels to make sure that the person(s) learn the fundamental principles of martial systems, i.e. the foundation that will make things work when that same person moves into the "he and ri" stages of training and practice.

The very nature of the Asian martial arts as a traditional/classical form of combatives and defense teach us that nothing is carved in stone but literally rides on the surface of the fluidity of martial arts as symbolized by water, the mirror and the void. When you look into the void the void is looking into you. There is a reciprocity involved as we learn from the principle of philosophy, i.e. the sub-principle of yin-yang. 

You don't want that restrictive teaching in the "shu" levels to become so constricted that you lose sight of the entire whole of martial arts. This sometimes results in misdirected and misunderstood system that are not practical and this results in the loss of practitioners. 

The control as governing what is being taught remaining true to the fundamentals or basics along with principles while not suppressing the importance of fluidity and flexibility. You want to remain able to check progress and manage how they move forward while allowing them to seek out their own way so they may one day master the system thus mastering themselves, i.e. the minds, the bodies and their spirits. 

No law or rule shall be so restrictive that it stunts growth or feeds the ego pride of an individual. It must remain honorable and the manipulation must be derived from the dual relationship of teacher and student, senior students to junior students and most important between the tori and uke when you teach applications. 

It is governing with a firm hand while allowing each individual to find their own path and to remain within a space where the training and practice are hard and shugyo while allowing for the pleasure, joy and fulfillment the individual needs to keep steady, diligent and focused on learning, applying and some day teaching to their students. 

Control, seigyo, is a critical component of teaching anything to anyone at anytime. It is that method that makes a good teacher as well as a good student. It creates an atmosphere of learning and prospering within a certain amount of humility. It is about the balance of things therefore supporting the principles of yin-yang, etc. 

Now, here is the rub of rubs .... the degree you control does not just mean the dojo but every single individual as an individual requires and needs a certain level of control that will be different for each and every one of those individuals.

Seijakusei [脆弱性]

The characters/ideograms mean "vulnerability." The first character means, "brittle; fragile; easy to beat; sentimental; susceptible," the second character means, "weak; frail," and the third character means, "sex; gender; nature." 

What comes to mind when you speak of vulnerabilities? Vulnerabilities involves a variety of things all meant to expose said vulnerabilities as a tool to learn and grow so they are mitigated to the lowest level possible. Rory Miller recently exposed to me that vulnerabilities means seeing, hearing, and feeling those vulnerabilities that are part and parcel to fundamental principles of martial systems, i.e. vulnerabilities to your stance, to your attackers stance, to your balance, to the attackers balance, to your body alignment, to your attackers body alignment, etc. 

He also mentioned social and emotional vulnerabilities, i.e. how you handle anger, fear and frustrations or how you handle the monkey coming at you from another person. Then do you teach, instruct or mentor martial artists to seek out and exploit others vulnerabilities often hidden within things like their cultural make up, their perceptions and their belief systems? Can you do it on the fly, instinctively without conscious thought?

Seijakusei, vulnerabilities, are as complex as any other aspect of martial arts or fighting, self-protection or self-defense sooooo do you address these issues in training and practice?

Seika (Saika 最: upmost; most; extreme) Tanden [臍下丹田]

The characters/ideograms mean "center of the body; pit of the stomach." The first character means, "navel," the second character means, "rust-colored; red; red lead; pills," the third character means, "rice field; rice paddy." 

Seika is the Japanese characters. Also known as  seika no itten [臍下の一点] (one point below the navel), kikai tanden [気海丹田] (ocean of energy below the navel) or kikai [気海] (ocean of energy).

The importance of the tanden comes from where our center of gravity resides and that speaks to the various principles that are fundamental to martial systems such as karate, aikido and judo, etc. We are taught from the beginning to focus on our tanden, the center of our bodies, that being the lower abdomen. In truth the center resides just below the navel, some say about two inches below, but also that center moves toward the actual center, i.e. that point that resides somewhere below the naval and about mid way between that point and the spinal column at our back. 

This focus and development means the creation of the foundation to power in the body. This is to supplement the use of muscles throughout the body, i.e. the arms, the legs, etc. It is pulled from the tanden and directed outward through the arms and legs, etc. 

As stated in a fictional book but holds truth in its foundation, "If you do not learn to breathe properly, you will learn to do nothing properly." As a basic or fundamental to any martial art, you must practice proper breathing from the seika tanden until it becomes instinctive. By the breathing you trigger chemicals that calm you and calm controls fear and anger. This in turn controls the heart keeping a better control on the pressure and beats per minute. All this to remain in as much control of self as possible and with repetitive training toward reality you allow the training when trained to instinctive action you control the whole so action is appropriate. 

This breathing and development of the seika tanden is paramount to making any martial art work in a stressful dangerous and possibly debilitating encounter. Debilitating not by the action of an adversary but by the reaction of the body-mind of you, the person in defense of self. 

Focus of the mind and the activation of any movement must start from the tanden. In addition, the musculature in association with the organs and the connections to the spine in proper alignment are also key to development of the seika tanden for martial arts. Those bands of abdominal muscles and associated connections should be the focus of development not only in strength but in the other principles such as structure, alignment and posture, etc.

Again, even in this explanation of the Asian fixation on the tanden in martial arts the fundamental principles of martial systems align themselves with the concepts and context of traditional martial arts training and practice regardless of the style/system involved.

Seikatsu yoshiki [生活様式]

The characters/ideograms mean "one's lifestyle." The first character means, "life; genuine; birth," the second character means, "lively; resuscitation; being helped; living," the third character means, "way; manner; situation," the fourth character means, "style; method; system; form; expression; ceremony; rite; function." 

Seikatsu yoshiki or lifestyle refers to a part of the avoidance model of self defense. It is a matter of self-analysis of your own life style and how that relates to violence and conflict. If you live or are exposed to a type of life style that has violence as a part of its environment then you expose yourself to having to defend against it. 

After self analysis of your lifestyle you then have to be open and honest with your self and your priorities in life. Do you want to be exposed to violence? Do you feel that the lifestyle trait is worth exposure and possibly repercussions of violence? These are the type of things you have to ask yourself long before you seek out that ultimate self defense course because avoidance is far better in the long run. Don't take my word for it, ask the professionals who live that life, who are required as part of their jobs to engage for the benefit of society, and those who have experienced the repercussions of violent encounters. 

Simply put by Marc MacYoung, "Be polite; Be sincere; Don't screw people over!"

Seikaku [性格]

The characters/ideograms mean "character; personality; disposition; nature." The first character means, "sex; gender; nature," the second character means, "status; rank; capacity; character; case (law, grammar)."

Our lives are governed by several factors. Two of those are our gender and our race. The third and possibly most important is personality. The yin-n-yang of personality is the spectrum of introversion to extraversion. Where we fall in that spectrum says a great deal about such things as choosing our friends and mates. It governs how we make conversation, resolve differences, and it affects what career's we choose - mostly. 

Our personalities have a lot to do with how likely we are to exercise, function well without sleep and I suggest when subjected to adrenaline dumps and emotional effects. It can have great effect on how we learn from our mistakes, become a leader, and ask such questions that are "What if" questions. One third to one half of people in the west are introverts. Introverts are known to embrace the inner world of self. 

Do introverts make good martial artists? Introverts posing as extraverts may actually be the most dedicated and long term practitioners of not only martial arts disciplines but most disciplines of human kind. The difference is they tend to be more involved in the smaller close-knit groups often referred to as the back yard dojo with three to five participants. 

The introverted karate-ka tends to avoid self promotion and fall into a "thinker" category. They can and do take on an extraverted model but you may find them also seeking out a more reclusive state to recharge, to build up the batteries of energy depleted by extraversion activities. 

It can be important for personalities to take stock of their own talents and no more so than those who are introverts. It does not mean extraverts don't have a need to take stock but it is important to understand how that part of personality affects all the things we do. 

Is it possible that deescalation may be better suited to the introvert vs. the extravert? Introverts as inner thinkers may have a unique approach to things like negotiations. They tend to practice and prepare more than the seemingly gifted extraverts. 

Introversion and extraversion spectrum of personality can provide many answers to not only the individual practitioner but the leaders as well. A good example is for extraverts conducting larger group driven practices may benefit them more while the introverts will in all likelihood do better in much smaller individualized type practices.

This term means both character and personality. What it does is provide the individual a choice as to development of character or development of personality. Character seems to be the dominant way in martial arts. 

When martial artists of old spoke of masters and experts they included that persons character. This person was not only proficient in the physical forms and applications of martial arts but they had a character that was serious, disciplined and honorable. They don't rely on the impression of others and how they behave in private was more important than how they impressed in public. They looked inward.

A martial artists or any person of character relied on the inner self by the honor the felt themselves. They didn't perform to impress others but performed to meet the stringent requirements of self. A demonstrations was simply a demonstration, not a performance that is judged outside the self. 

Today's master is driven by the impressions they receive from others. They become a person of perceived personality that speaks to the need to be a salesman, a social operator, a person with a ready smile, a hearty handshake, and an ability to get along with colleagues while at the same time positioning and performing to outshine them. 

What kind of martial artist are you, a martial artist with character or a martial artist with personality?

Character: The mental and moral qualities distinctive to an individual; also nature - personality - temper - figure - disposition.

Personality: The combination of characteristics or qualities that form an individual's distinctive character; Qualities that make someone interesting or popular; also character - individuality - personage - person - figure.

A key component that differentiates one from the other are moral qualities and that one is simply one aspect of the holistic other. One can have a personality but still not posses character. While character traits can span across many individuals the character of an individual is unique based on factors such as culture, beliefs, and the perceptions of the person at any one moment. 

A term used by Okinawans to denote or represent a person of character is "bushi." Bushi is explained through an article by Charles Goodin of Hawaiian Okinawan Karate. (http://seinenkai.com/art-bushi.html)

Some forms of martial arts simply focus on personalty while others focus on character. Character has personality as a smaller part of the whole as a contributor toward bushi type character.

Sei-kanwa [正緩和]

The characters/ideograms infer "positive relaxation." The first character means, "correct; justice; righteous," the second character means, "slacken; loosen; relax; lessen; be moderate; ease," the third character means, "harmony; Japanese style; peace; soften; Japan."

Positive relaxation is sometimes difficult to explain. We often speak to remaining relaxed or with out tension in practice and application of martial systems but that can be misleading for to be relaxed or without any tension is like being a blob of jello on the ground. There is a certain amount of muscular-skeleton tension that must be applied to even move. Just how much is the key.

It is like body positioning which some consider critical but in reality it is not just body positioning but rather a naturally poised body where the musculature system that is not fixed, rigid or flaccid, collapsed but is in a state not just physical but rather a condition or state of the whole. 

Positive relaxation is therefore a state achieved where only the minimal of musculature tension is used to conserver maximum energy levels and leave the body, i.e. muscles, tendons, cartilage and bone structure at a state that maximizes its movement, i.e. reaction and action time which is the trigger from the mind to the body with information appropriate to the situation and moment. This allows the energy to be transferred vs. used up in muscle tensions, etc.

Sei-kanwa, or positive relaxation, also applies to the mind. The mind remains in the moment not affected by either internal or external distractions, etc. thus allowing the lizard brain to act instinctively and naturally - the goal of martial systems. 

Positive Relaxation (PR) is a mind-body-psyche state of readiness and action without waste - good strategy.

Seisan [十三]

The characters/ideograms mean "thirteen." The thirteen here is the number 13. The first character means, "ten," and the second character means, "three." 

When I began researching this definition I was thinking I would go to the Isshinryu site and quote, at least to begin, the explanation as to what this name means when used with the marital arts, i.e. kata. I find this one to be one of possibly all of them as strickty "made up" to fit the perceptions of the kata. It and the meaning provided when you define the characters/ideograms has none and is not based on historical facts. 

This kata name is thought to allude to "13 hands, fists, techniques or steps." The characters/ideograms as you can see mean "13" and don't have any other characters to indicate any of these thoughts. Who knows what they intended by the naming of this kata as "13."

Seishin [精神]

The characters/ideograms mean, "mind; soul; heart; spirit; intention." The first character means, "refined; ghost; fairy; energy; vitality; semen; excellence; purity; skill," the second character means, "gods; mind; soul."

Of the definition I feel the most important trait is "intention." I am not clear as to Advincula Sensei's and Nakazato Sensei's context/meaning because I, personally, feel that there is more to this than simply "The true intention of karate is Seishin, which is not to fight." Yes, a solid explanation to the original question of "What is the most important aspect of karate?" 

It is Kyan Sensei's "way" but it lacks the complete substance of what Kyan Sensei may have actually intended by providing us this term to explain the true intention of karate-do. This is not from any special knowledge but rather my personal understanding that is derived from questions, answers and the research I have tired to do over the years. This is not easy with all the obstacles one encounters in researching a foreign discipline like any martial art from Asia. 

Simply, the answers are not that simple. They are not that complex either but they tend toward the difficult. If this terse and brief explanation that spurred this posting is anyting it should be the key that unlocks the practitioners natural inquisitive mind. A mind that will seek out answers from all sources. A mind that will see all sides, hear in all directions and then with an open-mind absorb that which is the essence of martial arts. This may be true "Seishin," i.e. the heart, soul, spirit and intention for the study of Okinawan Karate-jutsu-do.

In the end it is a matter of personal opinions. This is Kyan Sensei's opinion to which Nakazato Sensei agrees and by that passes this belief on to Advincula Sensei who also passes this down to his students.

Seishin Shugyo [精神修行者]

Seishin and the first two characters/ideograms mean, "mind; soul; heart; spirit; intention." The first character means, "refined; ghost; fairy; energy; vitality; excellence; purity; skill," the second means, "gods; mind; soul." Note: See the shugyo entry for that word and set of characters.

The Okinawan's believe that Seishin Shugyo or spiritual training is the "training that comes first." They use a phrase, i.e. Oku Myo Zai Ren Shin," that has a meaning that "in order to find the secrets, one must first have spiritual training." It is also said, "polish the heart through the polishing of technique." 

This adds more meaning to "shugyo" and its importance to the study, practice and training in the art of karate-jutsu, the Okinawan art of the empty hand.

Seishin-shuyo [精神修養]

The characters/ideograms mean "mental training; moral (spiritual) improvement; practice mental training; cultivate one's mind (soul)." The first character means, "refined; ghost; fairy; energy; vitality; semen; excellence; purity; skill," the second character means, "gods; mind; soul," the third character means, "discipline; conduct oneself well; study; master," and the fourth character means, "foster; bring up; rear; develop; nurture." 

In martial arts this means one who acknowledges "mental training" as an intricate part of karate goshin-do training or mental training in martial arts as a whole. It is to actively incorporate mental training that is not just assumed but rather addressed in details and holistically to support equally the physical training one has in martial arts.

Seishin-tekina yakusoku [精神的な約束]

The characters/ideograms mean "mental commitment." The first character means, "refined; ghost; fairy; energy; vitality; excellence; purity; skill," the second character means, "gods; mind; soul," the third character means, "bull's eye; mark; target; object," the fourth character means, "promise; approximately; shrink," and the fifth character means, "bundle; sheaf; ream; tie in bundles; govern; manage; control."

Martial artist must have a mental commitment or all the action taken in the dojo for repetitions upon repetitions is for naught. I believe mental commitment is something one must achieve long before taking any type of self-defense program. I mean to know, understand and acknowledge all that encompasses the violent conflict model. 

You have to "give yourself permission" to overcome all those factors and to overcome our natural instincts governed by nature, the time in which we live, the cultural influences of society, any power relationships involved, the perceiving person, sensory input modes, the perceptions of perceptions as to truth and accurate facts, and both the internal and external environments. 

There is a ton of stuff you need to know, understand, accept and then provide adequate and relevant training and practice, reality based simplicity, when you enter the self-defense world of martial arts.

Seito [生徒]

The characters/ideograms mean "pupil." The first character means, "life; genuine; birth," the second character means, "junior; emptiness; vanity; futility; uselessness; ephemeral thing; gang; set; party; people."

Westerners often use the term "deshi" but in reality there is a difference between deshi and seito, i.e. seito is a student while deshi is a disciple. A traditional dojo can have many seito but in most cases only have a few, very few, deshi.