S - Seitona tekiyo

Seitona tekiyo [正当な適用]

The characters/ideograms mean "proper application." The first character means, "correct; justice; righteous," the second character means, "hit; right; appropriate; himself," the fourth character means, "suitable; occasional; rare; qualified; capable," the fifth character means, "utilize; business; service; use; employ." 

This term may seem a bit iffy in regards to its association to martial systems yet it is relevant to speak toward the proper application, i.e. seitona tekiyo, because we need to make sure the techniques used have proper application that is governed by the moment, situation, environment and scenario, etc. 

Lets use a literal here, there are a variety of techniques in kata and they all have a fundamental bunkai but it this actually a proper application of said technique and is it for this or that situation; this or that environment; this or that scenario, etc.? Maybe, then again maybe not.

Proper application, seitona tekiyo, means you have to discover in a holistic way what technique is applied to what attacks, etc. It also means choosing the right strategy and tactic according to the moments situation. It might mean running away, it might mean avoidance through communications and it might mean applying some physical technique that must apply properly to the moment, attack, or violent physical application. 

As Kane and Wilder sensei teach, "there are a variety of proper applications for any given technique," movement or waza in kata, but the trick is discovering what is the proper application at that particular moment with all that moments unique properties. 

It then becomes important to understand that one movement or technique does NOT have unlimited applications. There is no such thing as each individual will have only those applications that will work for them in practice, training and application. It is the way it works and it is up to that individual to find those that "work" for them. It gets a bit convoluted but testing, testing and testing such applications is the only way to find those that are proper applications - Seitona Tekiyo!

Note: it might work in the dojo with a compliant partner so make sure you vet it with a noncompliant partner as well in the most realistic fashion possible - see, its complicated.

Seiuchin [制引戦]

There is not definition showing for all three characters/ideograms but the first character means, "system; law; rule," the second character means, "pull; tug; jerk; admit; install; quote; refer to," and the third character means, "war; battle; match." 

The first character in tandem with other kanji/kana:

規制【きせい】regulation; (traffic) policing; control; restriction

強制【きょうせい】obligation; coercion; compulsion; enforcement

制限【せいげん】restriction; restraint; limitation; limit

制裁【せいさい】restraint; sanctions; punishment

制作【せいさく】work (film, book)

The second character in tandem with other kanji/kana:

引き継ぐ【ひきつぐ】to take over; to hand over

引き取る【ひきとる】to take over; to take back; to collect; to claim

引きずる【ひきずる】to drag along; to pull

引き分け【ひきわけ】draw (in competition); tie game

引っ越す【ひっこす】to move (house); to change residence

The third character in tandem with other kanji/kana:

作戦【さくせん】tactics; strategy

終戦【しゅうせん】end of war; cessation of hostilities

戦災【せんさい】war damage

戦死【せんし】death in action; killed in action; KIA

戦車【せんしゃ】tank (military vehicle)

The general meaning for this kata is "war kata." When you look at the separate characters you see "war" and then references to pulling, tugging, jerking, etc. which exists as technique within the kata and finally the word "system" I could extrapolate from this that the kata has reference to being a kata of tugging, pulling for war or fighting or combat that is considered a system for that purpose, i.e. a war kata would suffice. 

Looking at how the three characters are combined with other kanji/kana you can see the value of such symbolism, i.e. one refers to tactics and strategy, war damage and death in action. Another is if subduing a person, i.e. to take over, and finally words such as restraint, punishment and enforcement. All contribute to a meaning for the kata and by its name.

Seiza [正座]  

The style of sitting that becomes excruciatingly painful very quickly for adults who are not conditioned to it from childhood. This particular style of sitting, called seiza, or "correct sitting," was a legacy of the tea ceremony. 

Another factor that led to the seiza style of sitting was that the movements of tea masters were less restricted when they were sitting on their legs and feet, rather than kneeling, sitting in some other style. And since absolute control and economy of movement became key elements fo the ceremony, Sen no Rikyu and other masters made the seiza style of sitting a fundamental part of the ceremony itself. 

The influence of the tea ceremony on Japanese culture in general was so powerful that seiza gradually became the formal way of sitting on all occasions for people of all classes. 

In present day Japan virtually the only people who regularly site seiza style are professional performers of the tea ceremony, priests, and a few other categories of peoples who practice traditional activities. Being able to sit seiza style is now regarded as ultimate proof of whether one is traditional or modern and Western-minded. 

To sit "agura (ah-guu-rah)" style, which refers to the "Indian" way of sitting, with the legs folded, and usually crossed, in front of the body.

This style of sitting does become excruciatingly painful very quickly for adults who are not conditioned to it from childhood. This particular style of sitting, called seiza, or "correct sitting," was a legacy of the tea ceremony. 

Another factor that led to the seiza style of sitting was that the movements of tea masters were less restricted when they were sitting on their legs and feet, rather than kneeling, sitting in some other style. And since absolute control and economy of movement became key elements fo the ceremony, Sen no Rikyu and other masters made the seiza style of sitting a fundamental part of the ceremony itself. 

The influence of the tea ceremony on Japanese culture in general was so powerful that seiza gradually became the formal way of sitting on all occasions for people of all classes. 

In present day Japan virtually the only people who regularly site seiza style are professional performers of the tea ceremony, priests, and a few other categories of peoples who practice traditional activities. Being able to sit seiza style is now regarded as ultimate proof of whether one is traditional or modern and Western-minded. 

To sit "agura (ah-guu-rah)" style, which refers to the "Indian" way of sitting, with the legs folded, and usually crossed, in front of the body.

Seizon hon'no [生存本能]

The characters/ideograms mean "survival instinct." The first character means, "life; genuine; birth," the second character means, "suppose; be aware of; believe; feel," the third character means, "book; present; main; origin; true; real," the fourth character means, "ability; talent; skill; capacity." 

Seizon hon'no or survival instincts are those inherent traits of the human condition where they tend to dominant the male species more so than female. Our survival instincts, the lizard brain, tend to use anger, aggression, fear and other drives to include the sex drive to achieve dominance over those who may not be the strongest of the herd. 

It is often stated that the human condition, the condition of all animal life on Earth, relies heavily on the survival of the fittest model where the stronger, both physical and psychological, dominate and rule the weaker of the tribe. This is evident in all the actions of present day life.

Long ago when all we understood was we would rise up at the break of dawn over the horizon of the fields, forests and mountains of nature we would feel this need to seek out food, to feed our tribe, to make sure the tribe remained strong and resilient to continue surviving. We would hunt and forage to feed first the strongest to protect the tribe then the tribe to keep it strong and producing stronger offspring. We did nothing else but this day by day until darkness absorbed the days heat and light to promote needed rest for the next day of hunting and foraging. 

Human's evolved and developed to the point where survival of the fittest, strongest and more capable into those who could use the brain to achieve dominance. The industrial revolution then the digital revolution where tribal differences grew exponentially and nature had to devise other ways to weed out the weak and reduce the population toward a level the Earth could support. This produced aggression toward other humans for needs no necessary and wars to kill off the weak and dominate more than merely tribal models. Societies became the tribes where larger and larger groups, societies, became the norm - unnatural to Earths natural ability to support life. 

War beget fighting and even today due to the over population and the lessening of resources result in aggression where models such as martial arts became necessary evils. 

Think about this as you practice and train in your martial art. Is it really an art form or more aggression based dominant directed survival of the fittest, survival instincts, i.e. seizon hon'no, gone wild.

Seki [関] Kanmon [関門]

The character means "gate; barrier." The additional meaning for this character is "gateway; barrier; involve; concerning; connection." 

The characters/ideograms mean "gateway; barrier." The first character means, "connection; barrier; gateway; involve; concerning," the second character means, "gate." 

Your aware of the old saying, "When one door closes, another door opens." Then your also aware that for the Asian martial arts it is a matter of gates, when one gate opens you have access to additional gates which you must approach and open. There are gates one has to pass beyond in training and practice that allow an approach toward mastery. 

Gates symbolize not only those stages, levels or barriers one must pass through in martial arts but also those same gates exist in life itself and the martial arts are a means of training the mind, body and spirit to achieve the opening, passing through and experiencing that which resides on the other side of the gate(s) in life changing self-examination, self-reflective and self-realization dynamics.

Sekigyokuteki Kanwa [積極的緩和]

The characters/ideograms mean "active relaxation; positive relaxation." The first character means, "volume; acreage; contents; pile up; stack; load; amass," the second character means, "poles; settlement; conclusion; end; highest rank; electric poles; very; extremely; most; highly," the third character means, "bull's eye; mark; target; object," the fourth character means, "slacken; loosen; relax; lessen; be moderate; ease," the fifth character means, "harmony; Japanese style; peace; soften; Japan."

The characters/ideograms combined do not have a direct definition. The first three characters/ideograms mean "assertive; positive; active; proactive." The first character means, "volume; acreage; contents; pile up; stack; load; amass," and the second character means, "poles; settlement; conclusion; end; highest rank; electric poles; very; extremely; most; highly," and the third character means, "bull's eye; mark; target; object."

The second set of two characters/ideograms means "relaxation; softening; relief; mitigation; alleviation." The first character means, "slacken; loosen; relax; lessen; be moderate; ease," and the second character means, "harmony; peace; soften; Japan."

When you combine all of these characters you get "positive relaxation." A state of the body that is coupled with the fundamental principles of martial systems to maximize the totality of power to the target, opponent or attacker. 

All to often karate-ka tense up and "muscle it" to get things done. This takes energy, a lot of energy and it means you will tire quicker and less energy will be conveyed or transmitted to the target. Take another look at how power and energy are generated and delivered. In other words take a look, closely, at the fundamental principles of martial systems for it is discussed within that text.

Sekinin [責任]

The characters/ideograms mean "duty; responsibility; liability; onus." The first character means, "blame; condemn; censure," the second character means, "responsibility; duty; term; entrust to; appoint." 

"If only he or she had taught me the correct way I would not be in jail right now!" How often have you heard or said the same type of comment? If only he or she had or had not <fill in what ever statement you want that fits here> I would had or had not <fill in what ever statement you want that fits here too>.

This is an important precept in every day life yet it holds more importance in the martial arts especially when it comes to self-defense, etc. The effects of failing to address this great burden in training/practice can result in liability both psychologically and legally. 

This then brings up the question, who's responsible? The Sensei? The Senpai? The organization sponsoring the dojo? In the end all responsibility lies directly on the shoulders of the individual practitioner, no other. This burden is the hardest one to shoulder. It means opening yourself to criticism, others and especially yours. 

Sekinin or responsibility if you lose a fight on the street, if you allow a family member to get hurt, or you end up in jail it is not the other guys fault, it is not the family member, it is not the dojo or any of its members, it is not the fault of the self defense classes you took but it is absolutely your full and complete responsibility. 

If you failed to use common sense. If you failed to use critical thinking in your training and practice. If you failed to learn about violence. If you refused to believe that your actions have legal and moral implications along with effects then you failed to do all you could to take responsibility or Sekinin for your self.

Seme [攻め]

The character and its transitive/conjugation verb form/ideogram mean "attack; offence; offense." The character/ideogram means, "aggression; attack." Another term used like "tori" to "uke," i.e. seme vs. uke where seme or tori are considered the attacker who pursues the uke or receiver. 

Uke (受け lit. "receiver"). Tori [取り] active partner (e.g.in judo demonstration; key performer; last performer of the day. The character means, "take; fetch; take up." 

It would appear that either term, i.e. tori or seme, could be used in martial systems to denote the relationship between them and uke or the receiver of attacks. Seme and tori would then be the attackers. Often this relationship is fluid as to who is in what state since attacks shift from one or the other in free style combat where in training and practice one or the other is static to accomplish the needs of the training. 

There may be some ambiguity in the tori definition since the character itself alludes to one who takes or fetches which could be a receiver while semi definitely speaks to the attack or offensive actions so it may be the more correct term - in general, fundamentally speaking.

Sen [先]

The character/ideogram for sen [先] means "first move; opening move." This particular term regards taking the initiative in marital arts combat. Taking the initiative often is misunderstood as attacking fast, hard and with force before the other person moves. In the compete martial art system of budo it also means taking the initiative by looking for faults or chinks in armor of conflict; to seek them in the environment; to seek out dangerous situations before they are dangerous; to look for ways to avoid conflicts; to look for ways to enhance ability and proficiency. 

In a fight or combat sometimes the initiative is not attacking with speed, hardness and force but to look at the attackers weaknesses and then take the initiative to exploit them quickly and decisively. 

Take sen, the initiative, in each situation at the moment and in the present to achieve your strategies.

Senjutsu [戦術]

The characters/ideograms mean "tactics." The first character means, "war; battle; match," the second character means, "art; technique; skill; means; trick; resources; magic."

Senjutsu or tactics. Tactics are used to accomplish you strategies in battle. Tactics are the atomistic while strategies are the holistic. Tactics are fluid and they change from situation to situation. Tactics are not just the techniques you use in a given situation. Tactics include knowledge, situational judgement and finally the tactic necessary to avoid, evade or defend (not necessarily all venues of violent conflicts), etc.

Senjutsu to senryaku [戦術と戦略]

The first character/ideogram means, "war; battle; match," the second character means, "art; technique; skill; means; trick; resources; magic," the third character means the same as the first and the fourth character means, "abbreviation; omission; outline; shorten; capture; plunder."

The first two characters/ideograms by themselves mean "tactics." The last two characters mean, "strategy; tactics." The last two characters could be utilized by them selves but when combined with the word "and" as represented or symbolized by the word in Japanese "to" result in the combined characters to allow for tactics to stand alone for this definition.

In martial arts it might seem redundant to speak of and teach practitioners specifics about both tactics and strategies but the distinction is important, even critical to real conflict. 

Strategies, in a short terse way, are those unchangeable strategies one will rely on for all conflicts. In karate my strategies are to "move in close and unbalance and disable" the attacker. This is one of two strategies I use in my practice. The first and most important strategy is to achieve a state of no conflict or to avoid it at least. The second is if the physical becomes unavoidable. 

Tactics are those specific actions you will take in the moment to stop damage and gain safety. I don't promote specific techniques as some self-defense systems do but advocate learning a variety of things that can be implemented in a crunch that have proven to work in training, reality based training, and are closely aligned with human natural and instinctive body movement. The tactics will be changing at each moment. This is the reason why I don't say I will do this particular technique to overcome this particular attack pattern. The idea is to not be "glued" to any specific but rather allow for a holistic blending of minimal techniques to achieve my strategies. 

It may be beneficial to teach specifics to get things rolling but then training and practice must become chaotic and fluid in nature or you will find yourself trying to apply a specific that has no effect and get stuck in a loop trying to make it work when you should be moving on to something else that will "work." Remember "damage and safety; avoid it or remove it or you from it."

Senjutsu-go [戦術語]

The characters/ideograms coupled together mean for martial artists "tactical language." The first character means, "war; battle; match," the second character means, "art; technique; skill; means; trick; resources; magic," and the third character means, "word; speech; language." 

We can begin to see by the meaning of the separate characters how tactical language becomes the meaning or intent of this martial art term. A noted author and professional said that more often than not one can avoid physical conflicts by learning, understanding and applying tactical language. This is a means within the art of avoidance that works well when done properly. 

There is the every day language we all use, i.e. the words along with facial expressions, body language and intonation, every single day without much consideration as to the context and intent that comes with it. There is a good reason why the old adage of "count to ten before you speak" means a lot. If you feel a comment rising rapidly to the mouth, breathe deeply, slowly and rhythmically. If your doing that you can't talk to do it right. 

We can take tactical language a bit further by expressing "jiko no hanashi no geijutsu" or the art of self-talk  which is another tactical language techniques where one actually listens to what they are saying or going to say before opening the mouth and letting the technique go with no control or consideration for the effects - both to you and to the person(s) listening to you. 

If that doesn't hold sway then consider that our self talk and our language can have both positive and negative effects on our minds and bodies as to health while letting your normal language, the monkey, lead vs. tactical language can get you damaged. Something to consider, think about and maybe learn - yes?

Senpai [先輩]

The characters/ideograms mean "senior (at work or school); superior; elder; older gradtuate; progenitor; old-timer." The first character means, "before; ahead; previous; future; precedence," the second character means, "comrade; fellow; people; companions."

Caveat: note that senpai is the term I use from the translation sources I have. Many use the term "sempai" for this and as far as I know both would be correct since I would assume the characters/ideograms are the same.

Kohai [後輩]

The characters/ideograms mean "junior (at work, school, etc.); younger people; younger student." The first character means, "behind; back; later," the second character means, "comrade; fellow; people; companions."

Caveat: note that kohai is also spelled as kouhai in some translations. It is best to focus on the characters/ideograms vs. the English translations as several are used to mean the same thing while the characters/ideograms do not change. 

Senpai means senior students. Senpai is not exclusive to martial arts or systems. Senpai is a Japanese term meaning one's seniors in an educational or work environment. In the martial arts Senpai is one who has been training longer than you. The strange way this sometimes works is a person in the martial arts can actually have a higher belt grade or level but still be a kohai while a more junior in ranking may be the Senpai simply because they don't have the experience of that practitioner. 

Senpai and kohai relationships are fluid in nature. You can be a Senpai to one person while a kohai with another. It is a place in the dojo hierarchy of who showed up first. You might say that it involves time in the dojo without relation to the ranking or grading of belts. 

Think of the Senpai, generally speaking, as the person with a greater knowledge of the dojo schema and it is the additional experience within the dojo that makes them the Senpai. When you add in this dojo experience and knowledge of its inner workings with the persons personal and professional experiences tends to round out the overall experience making for a Senpai to those who joined the dojo after that Senpai. Its a matter of dojo knowledge coupled with individual age and maturity. 

When you look to the kohai you see all the above as pertinent but from a junior or younger brother/sister perspective. Here lies how that relationship is created. 

A key feature or the essence of the Senpai and kohai designation is it is fluid as can be seen by the description above but it is also a cultural thing, i.e. you are not one of some privilege but rather one who holds a responsibility and that responsibility goes both directions - Senpai to kohai to Senpai. In the Japanese culture is is thought of as a older brother or sister to a younger brother or sister. You make sure the kohai are learning properly, meet the dojo standards and practices and are following proper etiquette, etc. If something goes amiss the Senpai is just as responsible as the kohai. 

Then things become even more convoluted regarding the Senpai-kohai and sensei relationships. As Senpai you become a role model that the kohai will tend to emulate and that means Senpai will assume some teaching responsibilities, both formal and informal. The sensei still guides the Senpai who then guides the kohai but the Senpai remains connected to the sensei until they too reach a level whereby they assume the sensei role and that follows with the kohai who remains connected to the Senpai while assuming a Senpai role for other kohai who follow that practitioner into the dojo. 

All this sets up a teacher student, i.e. sensei to Senpai, while creating a peer-to-peer relationship in learning, teaching and applying the knowledge and techniques of martial systems. It becomes a collaborative endeavor to pass on the knowledge of a system from teacher to student and senior student to junior student. 

In an ideal teaching environment a dojo should have one sensei to three or four students. When you add in the Senpai-kohai model you then extend the sensei's teachings while maintaining a proper teacher-student ratio for optimal teaching and learning. One good sensei can manage up to four Senpai  who can manage or mentor up to four kohai putting a dojo at twenty practitioners. This seems like a solid dojo environment to pass down a martial system. 

If you are a very, very lucky sensei you may inspire your four Senpai to be sensei on their own right who can either supplement the main dojo or go to their own dojo. If they would remain then you would have a senior sensei, four sensei with four Senpai with four kohai. This would be eighty students, four sensei and one senior sensei. 

You can see that this model promotes the best scenario for teaching a discipline such as martial arts. When things go wrong in a traditional/classical dojo is when the relationships between sensei and Senpai/Senpai and kohai become based on sport where winning and losing pit one another against each other and the brother/sister mutually beneficial learning environment rises up as well as one sensei trying to manage a dojo with nothing more than four or even more students - and only students competing with one another for the sensei's attention and promotions, trophies and accolades.

Senpaikohai [先輩後輩]

The characters/ideograms mean "one's seniors and juniors; seniority-based hierarchy." The first character means, before; ahead; previous; future; precedence," the second and fourth character means, "comrade; fellow; people; companions," the third character means, "behind; back; later."

A term that explains the fundamental relationship for training and practice in a martial art dojo. See above term explanation. 

Senryaku no hōhō [戦略の方法]

First two characters mean "strategy; tactics." the first character means, "war; battle; match," and the second means, "abbreviation; omission; outline; shorten; capture; plunder. The second two characters mean "method; process; manner; way; means; technique." When combined they provide the meaning, "the method of strategy/tactics."

Sensei (Sen-say-ee) 先生

The characters mean, "teacher; master; doctor; with names of teachers, etc. as an honorific," while the first character means, "before; ahead; previous; future; precedence," and the second character means, "life; genuine; birth." 

I quote:

The most common title of all in Japan with the exception of san (sahn), which is the equivalent of Mr, Mrs or Miss, is Sensei, which literally means "the first born," but which is used colloquially to mean "teacher, master, professor," and is sometimes the equivalent of "sir" or "madam." Sensei is a title of respect that the Japanese use to address people with any professional skill or position, including school teachers, scientists, medical doctors, sports trainers, painters, composers, teach ceremony and ikebana masters, potters, marketing and sales experts - as well as politicians and authors.

A word of warning is due, however. People who are not very bright, or who are klutzes at something or other, are frequently referred to as sensei - in a non-serious and joking manner when it is to their faces, and as a way of putting them down when the title is applied to them behind their backs.

When middle-ages Japanese men are out drinking, they will often refer to each other as sensei as a parody on the misuse of the word at other times, and to show contempt for people who like to be called sensei, but who do not deserve the honor.

Sentakushi [選択肢]

The characters/ideograms mean "choices; alternatives; options." The first character means, "elect; select; choose; prefer," the second character means, "choose; select; elect; prefer," the third character means, "limb; arms & legs."

Sentakushi or "alternatives or options" in the martial arts helps explain why there are so many waza, kata and other types of combative physical arts. It provides the practitioner options and alternatives in a clinch. It is the person who has to learn, understand and know all of these and then the additional responsibility comes to choosing those that would best fit them. 

Choosing what fits is part of the training and practice. You encode through reality based training and practice so the mind can choose the correct options in a fight as it pertains to the moment, the environment, the situation and the adversary, etc. It allows the mind to mix, blend or modify one or more waza into an appropriate response for the present moment. 

The options and alternatives were never meant to be built into a testing for rank or money generating system but rather give each practitioner options and alternatives to fill up their fighting toolbox. Sentakushi, alternatives and options and choices - all yours.

Sentakushi or options are those options a martial artists chooses when confronted by scenario's that may or may not lead to confrontation and conflict. We all have choices in our lives and they all do not necessarily mean violent conflict. The choices or sentakushi we use in the words we speak or the responses to words we provide all deal with reactivity. 

Sentakushi directly applied to the physical form of martial arts deal with both initiating and countering actions. How we move in relation to any given stimulus involves sentakushi or choices. It is imperative that instruction, training and practice all involve sentakushi for the choices we make have repercussions, i.e. why it is important to involve avoidance, evasion and deescalation in martial arts - avoidance, evasion and deescalation of self and if needed avoidance, evasion, and deescalation of others. 

Your choice, sentakushi, as to what strategy and tactics you take - in conflicts be they administrative or violence based.

Senzai ishiki [潜在意識]

The characters/ideograms mean "subconscious (awareness)." The first character means, "submerge; conceal; hide; lower (voice); hush," the second character means, "exist; outskirts; suburbs; located in," the third character means, "idea; mind; heart; taste; thought; desire; care; liking," the fourth character means, "discriminating; know; write."

Senzai ishiki or subconscious is an aspect that is assumed within martial arts training and practice. It is seldom confronted full on in training as to its effects when confronted by conflict. The freeze is a good subconscious mind topic of discussion because we all are affected by it regardless and knowing it and how it effects us so we may break the freeze involves talking to the conscious and subconscious. 

Look at the subconscious as that mind that speaks to the lizard brain and therefore to overcome the natural tendency to freeze in dangerous situations we allow it to achieve a break from the lizard's desire to stick with nature's tried and true method of survival. 

Look at martial arts addressing the mind of the subconscious as a method of instruction that brings such things outside our awareness into the light of awareness so it can effectively and positively influence our actions and feelings. It is taking that level of the mind below our consciousness and making it available to the conscious-mind - in training and practice. 

As a means of bringing this word, phrase or terminology out into our consciousness this quote from the google definitions speaks well as to my purpose, i.e. "The term subconscious is used in many different contexts and has no single or precise definition. This greatly limits its significance as a definition-bearing concept, and in consequence the word tends to be avoided in academic and scientific settings."

Sometimes things will just pop up and into our conscious minds and at other times we get this "feeling," an emotional sense that something is just not kosher. We as humans tend to do a lot of thinking that is often very sophisticated that is not in our conscious awareness. What is happening here are both emotional signals along with brain activities is a method the human mind taps into our intuition. Emotional cues should be taken seriously as they have power and often are more on target with reality than other means of detection.

This begs the question, "how do we train the subconscious?" The answers is easier than you might imagine. First, lots or reality based training. Second, lots of research to attain knowledge and understanding. Third, attaining as much experience as possible with continued efforts to build on it. As you progress you build the kind of cues and patterns that stimulate the subconscious and build intuitive ability so you can act quickly beating the adversaries OODA loop. :-)

This is effected by your stance. Not the type your feet and body assume for proper kamae. The stance you develop and use regarding your attitudes and approach to carrying out strategies and tactics. It comes down to the conscious awareness you use in tandem with the more intuitive subconscious awareness. Being alert when you consciously enter into a more difficult environment and/or scenario the better you can utilize these gifts. 

It falls back to the type, degree and over depth of how you train and gain experience, knowledge, and proficient and efficient ability.

Seppuku [切腹]

The two characters/ideograms mean "ritual suicide; disembowelment; harakiri." Often the process of the samurai committing ritual suicide. It is also referred to as "harakiri." The first character means, "cut; cutoff; be sharp," and the second character means, "abdomen; belly; stomach." To cut the belly.

This word is not necessarily a martial art word but rather a cultural word that would help explain some of the cultural influences of Japan toward the practice and study of martial arts. It is one of those words that grabs attention and anyone who delves into some form of martial arts be it practice and training or merely a love of martial art movies involving samurai then it is one that is easily recognized and provides a specific picture in the minds eye. 

Samurai were trained from very young. The influences if Buddhism, Confucianism and Shintoism all promoted the type and depth and breadth of training to the highest degree where loss of face or disturbing of the harmony or a master or society in general could result in the need to perform the art of seppuku, hara-kiri or disembowelment. 

It is a unique practice of the feudal era Japanese samurai class and is not something we would encounter in today's society except in very rare cases. Seppuku was seen during the end of WWII in southeast asian strongholds such as Okinawa. It was not a cultural belief or art for the Okinawan's as far as historical records can provide. 

From my perceptions of studies regarding this act it is the most horrible way to take one's life with the pain being one unimaginable.

Setchi [接地]

The characters/ideograms mean "ground (elec); contact patch (between car tire and road); landing (an airplane)." The first character means, "touch; contact; adjoin; piece together," the second character means, "ground; earth."

Setchi or grounded in this particular usage means a more mental grounded aspect vs. the typical grounded to the earth as in kamae or stances. It comes down to perceptions of reality vs. some fantasy or urban legend that is believed to be reality. Take the applications of "ki or chi." It is pure fantasy to believe that one can project ki or chi energy over a distance, short or long, to knock out another human being. 

In martial arts where there are many perceptions and many belief systems it is important that one remain grounded to reality. Keeping your feet on the ground, metaphorically speaking, to keep your head out of the clouds, i.e. clouds that tend to mask or hide reality, is important. You don't want to find out you live in a fantasy world when the adversary inundates you with damage do you?

The many perceptions and beliefs of a system be it sport, budo or self-defense or any mixture of all three, etc. must remain grounded in its own reality, i.e. sport is sport, budo is budo and self-defense is self-defense. Take SD for instance, it takes very little to leave behind reality in self-defense and fall into the illegality of fighting so it means you must remain grounded in what self-defense is and how it is applied in our culture, belief systems and legal definitions, etc.

Shakai-teki noryoku [社会的能力]

The ability to interact and communicate with others. They are comprised of social rules and relations that are created, communicated, and adjusted verbally and non-verbally. We learn these skills through a process of socialization. Our interpersonal skills, or people/communication skills, are those skills we use to communicate and interact with people. It is a measure of our ability to operate within groups, i.e. social as in neighborhood, social as in work, and social as in dojo participation. 

These same social skills are those that will allow a person to deescalate a volatile situation before physical violence occurs. Social skills are affected by how alert we are, our situational awareness, our awareness of others and their cultural and belief system along with external influences such as alcohol, drugs, mental fitness and other such things. 

Since it is a learned behavior it can make a great deal of difference when handling conflict or any social situation. In self-defense it becomes necessary to learn about how such things affect those you may be trying to communicate with to avoid violence especially if you can not avoid it. It is a critical behavioral skill when you reach outside your social community. This would include various tribal oriented groups such as gangs, etc. 

Having adequate social skills allows a person to encounter a variety of social problems and through proper skill application reduce stress and the possible punishment doled out if you violate a group rule or dynamic. Your skill level is measured on about how you treat others and you react to others. This is an important concept, how you react to others. It's about how you handle your personality toward the people whom you are reacting with or against. 

In self-defense we teach many actions that are physical but rarely do we introduce such topics as avoidance, deescalation or the type of social skills necessary to get along with all types of persons regardless of cultural belief systems including the resulting rules or group dynamics that govern how that group survives.

Shiai [試合]

The characters/ideograms mean "match; game; bout; contest." The first character means, "test; try; attempt; experiment; ordeal," and the second character means, "fit; suit; join; 0-1."

Shibo [死亡]

The characters/ideograms mean "death; mortality; to die; to pass away." The first character means, "death; die," the second character means, "deceased; the late; dying; perish."

Shibo or death, why do we fear it so? Is death simply the permanent cessation of all biological functions that sustain a living organism? Is there something after death? Was there something before life? Is there reincarnation or does our consciousness or our soul if you will continue on? Why do we fear death?

Fear does cause the freeze. Death is a reality when conflict and violence are involved. How much does the thought of death influence your ability to defend in a violent situation? We are perceived to come from nothing and end up returning to nothing, to dust or back to the Earth. 

This question has been discussed since the time when humans first thought about "I" as a person who thinks. Death is a real concern from the moment you take the fist breath until the last. There are many instances that death can take you away and most are not within our sphere of concern until we are confronted by some conflict. Then that conflict depends on the levels of violence to cause concern. How do we handle that concern so that we are not stuck in the freeze? 

Is it death that causes some to simply lay down and curl up in a fetal position hoping the danger will simply leave? Is this a realistic form of survival? How does one overcome the specter of death so they may act and survive? Is one actually able to push death away to act and if so how do they achieve such strong will? Do you ask yourself these questions?

Some know from the outset in the professions they embrace that death walks with them constantly and in certain situations wraps deaths arms around them not to protect but to expose to death or the real possibility of death - military, police, corrections officers, firemen, EMT's and others! Do you ask yourself these questions?

Is there a point when all the fear of death simply falls to the side and you act and is that the moment we seek to train toward? Is our thoughts of death or the possibility of death meet the true exposure to death or are we exaggerating the thoughts beyond true realistic possibilities of death? In other words are our thoughts of the possibility of death realistic to any given situation?

How do we train and practice to overcome the specter of death and how much of that specter resides in the conscious area of our minds? Do you ask yourself these questions?

I am not advocating we spend an exorbitant amount of time being consumed by thoughts of death and yet do we discuss them in self-defense or any of the professions or do we simply leave that one on the side for each of us to consider on their own? Do we discuss death as to our adversary? Do we discuss not only the possibility of death of another but do we consider the repercussions when we cause a death? Do you ask yourself these questions?

I ask these and other questions all the time. Not to distraction and not to my detriment but to know and understand where I stand with death and how I train and practice with death standing and watching from the side line. As I enter the winter years of life I contemplate many things along with death. As I get closer to that last breath when ever it may arrive I consider death for it is that one thing in life you will not avoid, you will not have an opportunity to deescalate or to defend from, it will take me - some day, hopefully not some day soon. 

Is this morbid? Is this practical? Is this necessary or is it fear of death that keeps us from considering its role in life, in self defense or ... ? 

In closing, did you know that some define death while simultaneously defining life? Death describes the state of something that has ceased so life is the start of something and death cessation or life is the cessation of death therefore death is the cessation of life. Two sides to one coin or the yin-n-yang that is life. Now, philosophical thinking can take this subject beyond ...

If I had to provide some answer to handling death in self-defense I would say that reality based training and practice, lots and lots of it, along with as much exposure to experience in survival stress response (coined by Rory Miller) would go a long way to trigger action over freezing of which death or the specter fo death contribute. 

Is death actually the underlying reason for all fear?

Shibui [渋い]

The characters/ideograms mean "austere; elegant (and unobtrusive); refined; quiet (and simple); sober; sombre; subdued; tasteful (in a quiet way); understated." The character means, "astringent; hesitate; reluctant."

Not conspicuous or attracting attention. To be not obtrusive or undesirably noticeable. A quality of not sticking out in an unwelcome way. One of the main traits indicative of a true master of a martial system or art. The greater the mastery the less one attracts attention to the fact.

Shido [指導]

The characters/ideograms mean "leadership; guidance; coaching; shido (disciplinary action for a minor infringement of the rules of judo)." The first character means, "finger; point to; indicate; put into; play (chess); measure (ruler)," the second character means, "guidance; leading; conduct; usher."

Do you lead by example? Do you lead by your actions? Do you lead by the position of leadership, i.e. shido? Do you have the ability to lead skillfully? Do you inspire others? Are you able by your mere presence to instill a will and desire to exceed in practice, training and application? How many Sensei are actually qualified leaders in their system of choice?

Do you have a positive influence on those who follow your guidance in martial arts? Can you gain support and aid form others to accomplish tasks without effort? Do you live a process of social influence by which others excel in a discipline? Do you aid and support others in accomplishments both personal and group oriented? Do you encourage leadership in others so it emerges naturally? Are you a good organizer? Can you achieve common goals with the assistance of others? Are you able to follow the leadership of others? Is your dojo one that is cohesive and coherent?

Do you have the social skills indicative of a leader? Do you have an open-minded perception of all things? Are you able to make decisions and then live those decisions as an example to others? Does your communication skills foster your leadership in the dojo?

Do you have the trust and confidence of those you lead? of those you follow? Do you help your kohai? Do you go the extra mile to communicate the system in the dojo? Do you share readily and easily the information necessary for practitioners to achieve proficiency or even mastery of the system and way? Are you trustworthy? Are you flexible? Do you apply attention to those who follow you? 

Principles of Leadership, i.e. Shido:

Know thyself; seek self-improvement diligently and continuously.

Be technically proficient in your system.

Seek out responsibility.

Be responsible for your words, deeds and actions.

Be decisive yet willing to admit errors.

Know your practitioners and keep aware of their well-being.

Keep all persons informed.

Have a strong sense of responsibility for your practitioners.

Ensure your teachings are fully understood, monitored in practice, and accomplished.

Train and practice as a synergetic group.

Use the full capabilities of your system, style, group, dojo and fellow martial artists.

Be and always remain professional in and out of the dojo. Remain loyal, selfless and responsible for the dojo and its members. Be honest, competent, have candor, be committed, remain of high integrity, have unfailing courage, be straightforward, and keep your imagination lively and relevant. 

Know that you are a follower, leader, communicator and listener. Know your strengths and weaknesses. Remain diligently in control of your emotions and how others respond to stress. Know when and where to go for help. Know the culture and beliefs of your system and your practitioners and how they relate in teaching, practice and training. Provide proper direction such as setting of realistic and valid goals; properly resolving problems and issues; planning; and create a culture, atmosphere, environment and belief in a morale and esprit de corps in the dojo, in training, and in reality. 

Shido, not an easy path to follow but a hallmark of all good Sensei.