S - Soke

Soke [宗家]

This title holds a particular interest for me. It is a title I don't cotton to very much and feel we westerners over use it, with other titles like master and grand master, to the ninth degree. So don't be surprised to my views on this one.

Soke in one definition states it to be a specialty cuisine of Okinawa. I don't know for sure about this one so lets move on. In the next interpretation it is a Japanese term meaning, "the head family [house]." It is also used here in the west as a title of the founder of a system/branch of the martial arts. It is also believed to be a title for the first generation head master of their art. 

I quote an entry from the wikipedia, "Sōke are generally considered the ultimate authority within their art, and have final discretion and authority regarding promotions, curriculum, doctrine, and disciplinary actions. A sōke has the authority to issue a menkyo kaiden certificate indicating that someone has mastered all aspects of his style." - http://en.wikipedia.org/wiki/S%C5%8Dke

In my humble opinion we westerners tend to like titles, ranks, grades and other such accouterments, if you will. I also think we tend to assume we know what they mean and how they are earned. Often, it is a self-awarded title or it is used in some smaller circles as a title of respect for a founder of a system but I tend to wonder a bit if we use it correctly. My research tends to lean toward an incorrect usage and an unearned title in a lot of cases.

Regardless, in martial systems the title "soke" as I understand it is the title of the head of the system, i.e. Shimabuku Tatsuo Sensei could hold that title since he created and named his own system/branch of Shorin/Isshinryu in January of 1956 (the 15th). 

Now, officially according to a couple of Japanese to English translator's of characters/ideograms the two characters above mean, "head of family; originator." The first character means, "religion; sect; denomination; main point; origin; essence," and the second character means, "house; home; family; professional; expert; performer." 

I can see by these two characters where I could come to a conclusion when used in the context of martial systems that soke means, "the origin or essence of a home, family and/or professional." Hmmm, still don't like the title ergo Tatsuo-san (this one is a bit personal and maybe should not be used) or Shimabuku Sensei or Shimabuku-san (meant for Tatsuo not his son Kichiro).

Sokkyo [即興]

The characters/ideograms mean "improvisation; impromptu; off the cuff; without a score." The first character means, "instant; namely; as is; conform; agree; adapt," the second character means, "entertain; revive; retrieve; interest; pleasure."

A major road block, my view only, of why self-defense often fail is improvisation. To improvise you need to use your intuitive abilities. In a nutshell the self-defense curricula needs to address this aspect of training and practice. How this is done is it must have plans and procedures, i.e. tactics/strategies and techniques if you will, that will still allow the person to improvise and use their tuition. 

As skilled martial artists who utilize what we do for self-defense we need to build on what has gone before while remaining open to new possibilities. You can't plan this stuff and to assume simply that practicing set combinations in response to set attack combinations is to stagnate or completely still any intuitive improvisation. Your intuitions are critical to improvisations, i.e. when a technique/strategy/tactic does not work many do it again and again - stuck in some infinite looping process while receiving damage. You have to have the ability to judge when things are going wrong and it is intuition that allows us to adapt, to make an adjustment, to improvise. You need to change the tactics and techniques to not lose.

When martial arts dojo move into a detailed, leave nothing to chance, model they stifle intuitive thinking, practice and training. The details are fine initially but one must move into a more holistic approach allowing the culmination of details to fall into the subconscious. If you over stimulate and inundate your mind with specifics/details the more easily those details/specifics fall apart in the chaos of violence. You expect things to go a certain way and when they don't you repeat, repeat, repeat to your detriment. 

Plans are good, tactics are good and strategies are good but too much of good make you insensitive to any anomalies that arise in violence that mean, improvise, change and adapt. If you have plans/strategies/tactics make sure they include contingency actions. Simplistic example, when you feel the freeze your contingency is to move - now. Once moving then other tactics can be adapted or improvised. You need to try and cover as many different difficulties in violence so you don't miss new opportunities to adapt and adjust and improvise to not lose, not receive damage and find a safety zone. 

Realize that those many combinations your being taught to combat those many attack combinations must be optimized and remain fluid by injecting differences so that they are not ingrained as related to one specific action vs. counter-action vs. action. 

Does this make sense? In closing, plan to adapt. Plan to improvise. Plan to intuitively train and practice for adaptable improvisational ability.

Improvisation is the ability to take the drills beyond a mere repetitive drill and into the type of skill needed by anyone forced into a defensive posture. It is a skill whereby one must use sophisticated decisions making on the spur of the moment, without the benefit of any scenario or strategy or tactics - it is about that instant surprise attack.

Improvisation is the lead into spontaneity and that is only possible when you first come to an agreement with your partner, i.e. the senpai-kohai thing. You have to agree to accept what ever comes from either the senpai and/or the kohai. Before you do this you must spend time, lots of time, in repetitive practices using drills that are structured and highly repetitive in practice. You use drills to perfect your abilities then you introduce the concept of improvisation and thereby introduce spontaneity. 

When the high stress conditions of a violent attack occur you will have trained and developed your rapid cognition through the practice of improvisational drilling. This is what is meant by the spontaneous introduction of differences within a drill, i.e. changing some small aspect of the attack and defend nature within the drill so as to create acceptance from senpai-uke to develop and condition improvisational spontaneity while being subjected to high stress conditions. 

Then you introduce the drills with greater and greater speed and constantly changing improvisation to achieve a more realistic ability to act in accordance with what ever is thrown at you. Simply, after a long period of repetitive practice in drills, introduce some simple change that results in acceptance and spontaneous improvisational actions appropriate to the improvisational introduction of change, etc. One rule, if a change is introduced both must accept it without reservation. 

Creating an environment with the right framework (drills), all of a sudden, engaging in the kind of fluid, effortless, spur of the moment surprise changes makes for good training and practice - and it will be easier as time and practice continue until you can improvise in any situation with any strategy, tactic and technique(s). 

Create the conditions in the dojo for successful spontaneous improvisational actions!

Sokudo [速度]

The characters mean "speed; velocity; rate." The first character means, "quick; fast," and the second character means, "degrees; occurrence; time; counter for occurrences." 

Speed, or sokudo, is not just velocity but can also be rate, as in the rate in which we perceive time. Time seems to be slow and deliberate as we experience our youth yet it tends to be perceived as very rapid when we reach and enter our winter years, i.e. sixty and above. 

Symbiotically a martial artists often feels things are moving very slow when first training and practicing. This is a normal perception of time and lives up to the laws of nature. When one reaches certain levels within the system, style or branch of martial art then time tends to speed up. Dojo practice tends to take what is seemingly an exorbitant amount of time to complete yet when a black belt the dojo practice session is seemingly too short to get all that needs doing done. 

Then we speak of speed as in the delivery of techniques to the attacker's body targets. By itself it does not hold the entire weight of power delivery but becomes an important aspect of the overall fundamental principle of martial systems power delivery. 

Speed is relative to many different entities be it aging perception to the speed and trajectory of a fist to target. Is speed completely and thoroughly covered in your dojo?

Sonkei [尊敬]

The characters/ideograms mean "respect; honor; revere." The first character means, "revered; valuable precious; noble; exalted," the second character means, "awe; respect; honor; revere." 

I have been told a few times by fellow karate-ka that they respect their seniors and out of that respect they come to feel that due to the seniority and knowledge that they should not be questioned; they should not be corrected; they should not be told when something is done by them that is incorrect and so on.
                
Yes, one should respect their seniors; one should respect their elders; one should respect their Sensei; one should show and be respectful to all who they meet.

I was told by a San-dan once that they would never correct or inform a senior when they feel something is wrong especially if that senior teaches/says/writes something they feel is incorrect.

I say that if you truly have respect for seniors/elders/sensei then you do them harm if you do not mention to them something you perceive as wrong. No one is all knowing or perfect. One of the best benefits of practicing karate-do is that you always strive for perfection and always know that you need to continue practicing to continue down that path.

So, regardless of one's age or rank you will be doing them a favor by mentioning to them the things you see or perceive as incorrect. Advincula Sensei has always said that when you find out that something is incorrect you correct it.

There is nothing in life that we all can not learn from regardless of our age and abilities. If we fail to listen and be open to learn more then we do a disservice to ourselves and if sensei our students.

Be respectful of your seniors/elders and tell them what they would want to know to grow.

How does one gain respect in the martial arts? It is not something that is assumed simply because one wears a black belt. This is especially true of today's martial communities since the black belt has not apparent definitive meaning as a whole in martial arts but rather an individual meaning dependent on the person and who they train under with no particular guidance or authoritative model.

It is another of the most important traits of a leader for a Sensei is a leader who practitioners look to for guidance and mentoring. It is an admiration for that person earned over time by their actions and deeds comprised of ability, quality and achievement. This person also has the feelings, wishes, rights and traditions/beliefs of others paramount to their leadership. 

They have earned the condition of being honored, i.e. esteemed or respected or well regarded, by those who look to that person with utmost respect. 

It is the observation and regard given to a person for their ethics of respect; an attitude of consideration or high regard, good opinion, honor, and admiration that is felt wholeheartedly by all those involved.

Sonshite Tokutore [損して得取る]

The character/ideogram means "you must lose a fly to catch a trout." The first character means, "damage; loss; disadvantage; hurt; injure," the second character means, "gain; get; find; earn; acquire; can; may; able to; profit; advantage; benefit," and the third character means, "take; fetch; take up." 

The basic understanding when coupled with the kana is that one must bend with the wind in lieu of fighting it. It is a philosophy derived from the teachings of Buddhism. It is a concept governing forces, i.e. allowance of a greater force to have its way. An essential element for the martial systems of aikido and Judo. It is often found in lesser form in other martial systems including karate. 

It is taking the superior force and redirecting it back to the source. It is allowing the other to attack (committed to the attack at this point) and while in the midst of it dealing the defeating blow.

It is this and many other things.

Sonzai-kan [存在感]

The characters/ideograms mean "one's presence (as felt by others)." The first character means, "suppose; be aware of; believe; feel," the second character means, "exist; outskirts; suburbs; located in," and the third character means, "emotion; feeling; sensation." 

Will is driven with presence and presence comes from will. Presence is a combination of both body language and voice quality. Have you ever encountered a short stubby person who impressed you as self-confident, self-assured and self-reliant? If you have you may have realized later that this person was short, squat and stubby like but you will say, "what was it that said to me this person is ....?"

Look to the military bearing where presence is critical in winning battles and wars. How many of your friends or family members who had a less than stellar presence until returning from military service where you become impressed at how they "changed?" Their presence was modified through military training. 

As martial artist you lean body mechanics or better stated body fundamentals of the fundamental principles of martial systems. It teaches you how to best achieve greater strength, speed, force and power through such things as proper alignments, etc. and that means standing tall, holding your head up with pride and so on. Get the picture.

Voice, often most voices must be strong, resonant and filled with confidence to achieve the kind of presence I allude to here. It must be natural and that requires a bit of training and underlying substance or it won't work. In those rare occasions when a voice just does not have the resonance, pitch, etc. to achieve this goal can be overcome by the presence of the body language. Another aspect is communication skills associated with people skills. The people/communication skills include what is taught through the the art of verbal self-defense series, to name one source. 

Now, just adjusting your body language and your voice quality is not all you need to do. There is the underlying substance that must be present to create the aura that says "presence." Some has been discussed already and the other is where both the mind and body training and practice received through traditional or classical martial arts training and practice accomplishes. Even without the military atmosphere the often rigid and difficult requirements of martial arts training is a lot like military training. It provides the impetus for a military bearing or martial bearing that lays a foundation for the underlying substance that builds presence. If you also gain from personal reality or live experience than all the better. Much like military training that is tested and forged by combat.

Sonzai-kan or presence. It denotes a aura or purpose detected through the presence of another person, i.e. in karate-goshin-do it is that presence that speaks to the power, efficiency and proficiency of the adept. It also speaks to a presence and projection of purpose when you see that person practicing karate but no more so than in the kata presence. 

Kata when performed by a adept of karate tends to speak to the observer and tells a story which is the essence of the kata applications for the moments intent projected by the karate-ka. It is something another karate-ka can sense and often it is also a sense perceived by the uninitiated who simply feels something unique and unusual but just can't put their "finger on it." 

When you see a true master of karate-goshin-do you sense an aura and a story that speaks to you about what they are experiencing during the practice and training. It is difficult to communicate through written words this sense. Look at it like a projection of a sixth sense and look at it as the spidey-sense that is deep inside the lizard brain telling you that something unique, unusual and special is happening.

Sotei [想定]

The characters/ideograms mean "assumption; supposition; hypothesis." The first character means, "concept; think; idea; thought," the second character means, "determine; fix; establish; decide."

Assumptions, we as humans as I understand live off of assumptions. What drives those assumptions. Your perceptions as driven by other factors will drive your assumptions. The time in which you were born and raised, the culture and ethnic groups you are exposed too, all the power relations, the perceiving person, your sense input modes especially those that dominate, the perceptions of perceptions as to truth and accurate facts, and both the internal and external environmental influences you encounter, your perceptions of movement, perceptions of others body language and with particular emphasis on the facial expressions not to forget tone or tonal quality of a person or person's voice.

What gets most people into more trouble is those assumptions they assume to be accurate and then turn into a belief system that drives what they do every day of their lives. It is often something that is readily accepted as truth but without any other proof other than the perceived expertise of the presenter of said information or belief. 

Do you assume your sensei is adequately prepared to teach you the martial arts? If you believe he or she is, how did you validate that information? Do you allow those assumptions to remain intact no matter what or are you ready to change them according to new facts, new information and new expertise?

Soto Dojo [外道場]

The characters/ideograms mean "outside; dojo (hall used for martial arts training)." The first character means, "outside," the second character means, "road-way; street; district; journey; course; moral; teachings," the third character means, "location; place."

Soto dojo is an outside dojo. What you can also refer to as an "open-air dojo [空気道場]." Westerners, and more Asian's dojo, are getting accustomed to the clean smooth floor dojo vs. being outside in the open air on not so smooth ground that is uneven and cluttered with things that make moving different for training and practice. Getting back to the basics, so to speak, of soto dojo or outside place to train and practice helps develop things like balance, body structure, tenshin, etc. 

It is recommended that soto dojo training and practice become a integral part of martial arts. If practicing, training or teaching budo karate or karate-goshin-do then it is a tool to teach the mind and body to handle all kinds of situations and terrain. 

For the traditionalist it is par for the course as traditional Okinawan Ti or karate began in the soto dojo.

Sozo-sei hatsumei [創造性発明]

The characters/ideograms mean "creativity and invention; invention creativity." The first character means, "genesis; wound; injury; hurt; start; originate," the second character means, "create; make; structure; physique," the third character means, "sex; gender; nature," the fourth character means, "departure; discharge; publish; emit; start from; disclose," the fifth character means, "bright; light."

Creativity and Invention or sozo-sei hatsumei work beginning in the "ha" stage and the "ri" stage of "shu-ha-ri." It becomes the personal expression of what the individual learns from the "shu" stage of learning a system such as Okinawa-ti (karate). 

It is a release from the bonds of the dogmatic adherence to specific ways in the initial learning of a system, a martial system, karate. It in of itself is the foundation that one uses to create and discover their full marital potential that is the "way of the empty hand" or the WAY [道] in general

Sude [素手]

The characters/ideograms mean "unarmed; bare hands." The first character means, "elementary; principle; naked; uncovered," the second character means, "hand."

When we look literally to the practice and training of karate we often assume that it is about both the empty hands and the weapons also called "kobudo." In reality there are two distinct systems here where bare hands, i.e. sude, came about first while kobudo was implemented gradually as various uses became evident in using various tools and implements used in every day activities of life for weapons that at the time were a bit outside the recognized norm for weapons, i.e. swords, knives, etc. 

This term is used to help explain how bare hands were in all probability the first weapons used when other weapons like the sword, etc. were banned by the King of Okinawa. Bare hands, sude, were a part of our weaponry, unarmed, since time began and it was natural since hands are used for about everything humanly doable. It was progress to have previous adepts to add in feet, elbows, various hand positions, and other body parts to enhance their combative abilities. This was to extend the unarmed weapons from just the hands to other body parts which progressed into discovering how every day tools and other devices could be used as extensions of the hands, feet, and body to defend and protect.

Sugaku-teki kakuritsu [数学的確率]

The characters/ideograms mean "mathematical probability." The first character means, "number; strength; fate; law; figures," the second character means, "study; learning; science," the third character means, "bull's eye; mark; target; object," the fourth character means, "assurance; firm; tight; hard; solid; confirm; clear; evident," the fifth character means, "ratio; rate; proportion; %; coefficient; factor."

Mathematical Probabilities are controllable by the individual. Often were hear that mathematical probabilities are not controllable when it comes to violence and conflict but they are and that is done by knowledge, education and application. It is tough because you have to be open-minded yet questioning of all incoming knowledge. Knowledge is often controlled and manipulated by the presenter according to their perceptions, the time in which one lives, the culture and ethnic groups attached or addressing, any power relationships between the presenter and receiver, the presenter's sensory mode and the receiver's sensory input modes, perceptions of perceptions of the presenter and receiver as to truth and accurate facts, the presenter's influences from both internal and external environments as well as those of the receiver. Complex, isn't it. 

We reduce the mathematical probability of violence through such actions, education and applications in the art of avoidance. We further reduce the probabilities of violence and victimization in our efforts at self-defense, the physical manifestations in techniques, etc., because of the self-assurance, self-confidence and self-control gained in such training and practice. 

Reaching near or "0" mathematical probability of violence is a part of any self-defense training model but is it discussed, trained and practiced?

Sujo [素性]

The characters/ideograms mean "birth; lineage; parentage; origin; identity; background; history." The first character means, "elementary; principle; naked; uncovered," and the second character means, "sex; gender; nature." 

Did you know that a huge roadblock to your ability to act or apply your martial prowess is tied to your identity? Does your identity cause you to pause and say something like, "I am not that type of person and I couldn't do <fill in the blank here>." Do you tell yourself you can do some action but deep down you have some social conditioning that taught you hurting another human is bad? Did you train to overcome this identity crises. It is a crises that can result in damage if you have not addressed it before you encounter some action or attack that goes against your identity as to background and history as to culture and beliefs and what your tribe/group promote and teach as good or bad.

Does your training regimen and hall address this on some level. Does your training and practice speak to this reality in a protection scenario? Does your Sensei or instructor train and practice to overcome your learned and hardwired survival instincts? 

Sujo; identity, background, history, culture, beliefs. How have you self-reflected and addressed them will make a difference. One more clue, it must be practiced and trained to where you have no doubts as both the mind training and the physical training must reflect this or it won't work in a crunch.

Sumi geri/sokuto/kakudo [角度足刀蹴]; angle kick knife edge foot

The characters/ideograms mean "angle kick knife edge foot." The first character means, "angle; corner; square; horn; antlers," the second character means, "degrees; occurrence; time," the third character means, "leg; foot," the fourth character means, "sword; saber; knife."

There may be some contention as to which word to use where my preference is Kakudo sokuto geri or angle knife kick where the knife edge is the contact point to the target. It might need to be expressed in more detail as the actual edge that makes contact is the back half of the foots knife edge closer to the heel and knife edge position for stability and solidity at contact, etc. As with all of these, take with a grain of skepticism until proven by a greater reliability source, etc. 

Sunsu [スンスウ]

The kana are used for this term. Sunsu was a creation of Shimabuku Tatsuo Sensei, the founder/creator of the Isshinryu system - a branch of the Shorinryu system of Okinawa. 

This kata is considered the kata that encompasses the essence of Isshinryu. It is not known when he created the kata but it has gone through a few naming's before he settled on Sunsu. It is a creation or a kata given birth through a combination of "DNA" or techniques from the other seven empty hand kata. It is apparent the similarities when performing the kata.

Joe Swift writes, "It has been stated that it (sunsu) means either "strong man" (Uezu, et al, 1982) or "son of old man" (Advincula, 1998)." Apparently an article from Okinawa, cannot confirm this as fact, said that Sensei did sanchin so well it was like he could not be knocked over by an ocean wave. It is said, a story again, that his students nicknamed him "Sun nu su" or "master of the salt." (Ryukyu Shinpo-sha, 1999, p.9)

AJA Sensei indicates in his teachings that the name was derived from a family dance his father performed at celebrations and so forth. It is understood that the Sunsu kata is representative of his diligent efforts to reach higher levels in karate that encompases Tatsuo-san's understanding of fundamental principles of the Okinawan fighting system once referred to as "Ti or Toudi." 

strong man [強者] strong man; exceptional person; man of courage (kyoushya); first character "strong," second character "someone; person."

son of old man [老人の息子] first character "old man; old age; grow old," second "person," third "breath; respiration; son," fourth "child; sign of the rat."

mater of the salt [師の塩] first character "expert; teacher; master; model," second character "salt."

strongman [有力] first character "have; exist; posses," second character "power; strength; strong."

If there were to be only one kata to study then it would be Sunsu. It blends the body, breathe, and mind of the student. Sunsu and Isshin are synonymous to one heart or one mind way of karate.

Sunsu is the child of Isshin karate. No other style has or practices sunsu. It was developed by Shimabukuro Tatsuo Sensei some time in the nineteen forties.

Sunsu or Sunnu-su means son of old man or strong man. The name was given to Tatsuo Sensei because of his great strength and mental focus in performing Sanchin.

Sunsu was born of the many years Tatsuo Sensei studied karate. It contains the widest variety of techniques. It demands balance, focus, speed, and coordination. It has eighty-seven moves and takes sixty-five seconds to complete. It has four main stances with a wide variety of hand and foot techniques.

Sumashi Miru [澄まし見る]

The characters/ideograms mean "view clarified; seeing clearly." The first character means, "lucidity; be clear; clear; clarify; settle; strain; look grave," the fourth character means, "see; hopes; chances; idea; opinion; look at; visible." 

Seeing clearly or as written in the ken-po goku-i, i.e. "the eyes must see all sides." Just seeing is not enough, one must look and see with an awareness not encumbered with logical thinking processes but rather a reflexive instinctive action that is encoded in memory, the deep seated kind the lizard brain uses exclusively to handle high stress conflicts. 

Seeing all sides can be the strategies and tactics necessary for all aspects of self-defense. It starts with having the knowledge to see things or to have the awareness to detect when things happen as to whether those things are safe or dangerous. It then speaks to the ability to see danger and to then act appropriately. It is an ability to see the variances and differences in dangerous situations and scenarios so reflexive memory can pull up the appropriate actions necessary to avoid, deescalate or to defend by physical means. 

Seeing all sides, i.e. seeing clearly, also speaks to seeing all sides of using self-defense such as the awareness to perceive dangers, what to do about those dangers from all angles, what actions to take to avoid or stop those dangers then what repercussions you will encounter regardless of what direction you take be it avoidance of physical defense tactics. 

Sumashi miru is about taking in all the knowledge and acquiring as much experience as possible to act morally correct and within the restraints of society morally, spiritually, legally and medically.

Sumuchi (スムチ)

The characters mean "Fortune Teller."

Uranai [占い] is the Japanese term for "fortune-telling; divination." 

Uranau [占う] is the Japanese term for "to tell someone's fortune; to forecast; to predict; to divine." 

Uranaishi [占い師] is the Japanese term for "diviner; fortune teller; soothsayer; palmist." The first character means, "fortune-telling; divining; forecasting; occupy; hold; have; get; take," the third character means, "expert; teacher; master; model; exemplar; army (incl. counter); war."

For the Isshinryu community this term speaks to the cultural belief system that inspired Tatsuo-san to create the Isshinryu system of Okinawan karate. Some attribute his belief and practice of fortune-telling tells the story and history of Isshinryu. This is difficult to prove or disprove because the history of Isshinryu from this perspective is impossible to explain factually and requires a bit of faith and a fuller understanding of the Okinawan culture and belief system.

Tatsuo-san taught karate as well as provided divination or fortune-telling to make a living. Advincula Sensei writes that Tatsuo-san continued the practice of sumuchi after he retired from teaching karate and up to his death. It was the influence of sumuchi, etc. that fed his thoughts and dreams leading to the creation of Isshinryu. It led to his karate maxim of "all things begin with one," as can be derived from the study of his ken-po goku-i. 

Cisco, Tatsuo-san's second son, tells us that Tatsuo-san learned sumuchi from his Uncle, Ganiku or Ganeku. Cisco-san inherited his fathers books of divination.

Sundome [寸止め]

The characters/ideograms mean, “The practice of stopping a technique just short of an opponent; stopping just before.” The first character means, “Measurement; foot/10,” the second character means, “stop; halt.”  

This is the most popular type of tournament that most engage. It also does not allow the use of certain body parts that make karate unique since they can cause a certain amount of physical damage. This removes the importance of competition that should allow a karate-ka to use all of their power in attacking. The essence of sundome is to have the competitor to attack in a continuous manner while not actually touching the opponent. In more modern competitions often the attacker stops after striking specified safe targets when awarded a “point” as in point sparring or point kumite. Coupled with sundome, this type of point sparring tends to send inaccurate messages as to the effectiveness of a technique. Rules of competition tend to affect the power applied enormously. 

As rules change so do the techniques they effect. 

Although this type of tournament does expose a person to stresses that may or may not cause the adrenaline rush these types of rushes differ from those of combat, i.e. a violent attack requiring self-defense where the rush causes certain effects detrimental to using proper SD strategies and tactics. 

A reminder is that martial arts is about Budo, historically, and that is what cultivates a indomitable spirit though years of training. It is a type of mentality that comes from battling oneself. It value is much greater than sundome, it must include the fundamental principles of martial systems to be a martial art.