Seiza
正坐
Seiza
Foreword
It is with great pleasure to have the opportunity to write about the significance of the seiza position in Karate-do. I have given my utmost effort and scrutiny of every word in the hope of transmitting the art as accurately as I could base on my limited knowledge. I hope this can help to clarify some misconceptions regarding seiza for whomever is interested. Hopefully, a person of greater skill and knowledge will come along someday and make the necessary amendments to further our Karate-do knowledge.
Historic Origins of Seiza (正坐)
Sieza (正坐) literally translate to mean sitting correctly and it has become a practice
that represents the Japanese cultural. As a result, the practice of sitting in the seiza position has also become a fundamental posture in Japanese Budo (武道) that reflects a practitioner’s
respect, alertness and competence in their chosen art. Budo is a term that includes a diverse range of traditional Japanese martial arts and so it is not surprising to find different disciplines having their own unique way of performing seiza. However, the spirit and essence of seiza remains constant although the performance of seiza may vary across disciplines. Due to the limited scope of this paper, we will only concentrate on the practice of seiza in Karate- do. The importance of seiza cannot be over emphasized because one can infer a karate-ka’s(practitioner of Karate-do) level of ability just by observing the way he or she moves in seiza.
One needs to understand the origins of seiza to fully appreciate its significance in the Japanese culture and ultimately in the dojo. Hence, the practice of seiza is not merely a fancy way of sitting but conveys mannerism and a conduit to improvement in Budo and one’s self- development.
The floor culture can trace its origins in ancient China from the Shang dynasty (1744- 1046 B.C) to the Tang dynasty (618-907 A.D). This cultural influence eventually spread to Japan where the practise had further developed into a more refined manner in modern times. The ideogram for sitting (坐) consist of two people sitting on the earth and there were many methods of sitting on the floor. The floor culture eventually disappeared from mainstream Chinese culture by the end of the Song dynasty (960-1279 A.D) due to increase contact with other Eurasian continental cultures. However, the floor culture presisted in Japan and the current seiza position has been in existence in for a long time but it was not given its name until much later in the Meiji period (1868-1912 A.D).
Painting of Confucius teaching his students who are sitting in seiza. (Zhou dynasty, China, 1046 – 256 B.C).
Figurines of two people sitting in seiza in front of a table. (Han dynasty, China, 206 B.C -220 A.D).
Figurines of musicians performing in the seiza position. (Tang dynasty, China, 618-907 A.D
There are many sitting positions and one of these sitting styles is known as “Agura” (胡坐) where a person sits with their legs crossed and relaxed. The agura position was normally used during informal situations or by someone of higher authority. Consequently, subordinates were required to sit in the seiza position because it demonstrated respect and allowed the subordinate to stand up quickly to perform tasks ordered by their superior. Thus, the seiza position is not intended to be relaxed. It was a position of alertness and readiness.
Emperor Saga Teno of Japan sitting at agura. (Yamoto, Japan, 786-842 A.D)
French illustration depicting the Shogun sitting in agura while his ministers sit in seiza denoting their difference in rank. (Meiji period, Japan, 1868-1912 A.D).
The seiza position was also commonly used in ritual situations such as Buddhist ceremonies where participants convey their respect and manners. The development of the tea ceremony in Japan also required participants to sit in the seiza position which further its popularity. This is due to the recognition that the tea ceremony is a ritual itself and demanded respect from its participants.
Painting of ladies participating in a tea ceremony. (Meiji period, Japan, 1868-1912 (A.D)
Japan experienced profound changes in all aspects of their society during the Meiji period in the 19thcentury. Western industrial and military technologies brought with it the reality of Japan’s vulnerability to colonisation by the western powers of the time. Therefore, it was bluntly clear that Japan needed to modernise if it was to survive as a nation. As a result, almost anything western was considered exotic and in high demand. Many western practices from industrial, military and personal daily practices were learnt and incorporated into Japanese everyday life. The pursuit for modernisation and everything western eventually caused concern in Japan. The fear of losing their cultural identity to western influences caused the Japanese people to look back into their history and cultural practices to preserve their unique heritage.
Modern day karateka performing mokuso (黙想) in the seiza position.
Funakoshi Gichin (船越義珍) sitting in seiza (1950s).
One unique cultural practice that the Japanese chose to preserve was the formal sitting position and was finally given the modern name “seiza”. As a result, seiza transformed from a mere sitting position to a symbol of Japanese identity. As such, there are specific requirements for how we transition from standing position to seiza and vice versa. It is not surprising that most people even in Japan today overlook this process. However, the correct transition into and from seiza is fundamental to the Budo-ka and an integral part of one’s study of Budo both in mind and body.
Transition from Standing into Seiza in Karate-do
Step 1: Kiotsuke (気をつけ)
This term is often used in the dojo and understood to have an equivalent meaning of standing at attention in English. There are several distinct differences between Kiotsuke in the military and karate-do contexts. Firstly, the hands are placed directly to the side of the body in the military context. This posture is not preferable in karate-do because the position of the hands in the military posture causes a state of immobility known as “itsuki” (居着き). In other words, it makes it harder for the karate-ka to use his or her hands whilst in the military posture. Conversely, the Karate-do version of kiotsuke have the hands placed slightly towards the front and still on the side of the thighs. This allows greater ease of hand motion and maintains the karate-ka’s state of alertness and preparedness to respond with ease.
A similar philosophy applies to the legs where the military posture requires the knees to be locked in an upright position causing a state of “itsuki” in the lower body. The Karate-do version allows the knees to be relaxed while maintaining an upright standing posture. The feet is placed usually at the “musubi dachi” (結び立) position. Take a breath in at this position.
Step 2: Lowering the body
Notes on Lowering Upper Body
Next step is to lower the upper body by bending the knees. There are several essential points that must be addressed at this stage of movement. The most important of these is to maintain the center-line of the entire body when lowering oneself. This means one need to maintain perfect balance by not shifting weight from one leg to another. Imbalance will cause a “wobble” due to the movement of body weight from one side to the other. This “wobble” is not preferable because shift of the body’s weight to one side creates a weak spot at that moment in time. You can imagine if all your body weight has shifted onto your left leg then your opponent only need to attack your left leg to break your entire balance and posture. Naka Tatsuya (中達也) Shihan from the Japanese Karate Association (JKA) suggest imagining there is a string that is tied to the top of your head and it is lowering your body directly downwards.
Notes on lowering the Knees
Part of the left knee needs to be placed just in front of the toes of the right foot. If this is too difficult at first, try to at least keep the left knee parallel to the right toes. At the same time the toes of the left foot are placed on the ground with the heel facing up, the right leg is bent with the toes of the right foot on the ground and the heel slightly elevated. This allows the body to maintain the center-line when being lowered. In addition, the position of the right foot prevents “itsuki” and allows the right leg to be at a state of readiness.
A common mistake that many people make at this stage of movement is lowering the upper body by placing the left knee behind the right foot or placing the right foot much to far forward. Sometimes the space between the left knee and right foot is as far as an entire step. This posture is not desirable because it shifts the bodies center of balance to the rear or front and place the majority of body weight on the right foot. Thus, creating a point of vulnerability where an opponent can break your balance and entire posture by attacking your right leg.
Crossbowman of the terrocotta army sitting in similar position describe in Step 2 conveying his state of readiness for orders. (Qin dynasty, China, 221-206 B.C).
Step 3: Kiza (跪坐)
Lowering the body
This is the sitting position just before transitioning into seiza and it translate to mean “sit at kneeling”. It requires both heels to be placed in the rear and the buttocks resting on top of them. The first step for entering Kiza is simply to move the right knee parallel to the left knee. The toes of the right foot are also placed parallel to the toes of the left foot with both heels facing upwards. After that, lower the buttocks towards the heels of the feet while keeping the upper body straight. Don’t rest entire body weight onto the heels because it creates itsuki. Imagine there is a thin piece of paper between buttocks and heel. Thus, the center of gravity does not shift and is now located roughly at the middle of the thigh and the body is ready to spring into action if required. Keeping the upper body straight allows this transition to be stable and balanced.
Placement of Hands
The hands should slide gently towards the top of the thighs with the fingers slightly pointing inwards. This movement should happen naturally when the buttocks lowers onto the heels.
Step 4: Seiza (正坐)
Lower both feet to the ground with soles of the feet facing up and lower the upper body from the buttocks naturally into the seiza position. The hands should remain roughly at the same place when in Kiza. These motions are performed whilst maintaining a straight upper body to maintain balance.
Notes on correct Seiza Posture
The prevention of a state of “itsuki” is central to the spirit of seiza. Firstly, do not rest your entire body weight on the feet because this relaxed posture creates a state of itsuki where it becomes difficult to raise the upper body and impairs readiness. Therefore, imagine there is a thin sheet of paper between your buttocks and the feet and create a sensation of being suspended by a string on the top of your head.
Secondly, keep the elbows tucked in next to the body for mannerism and tactical purposes. Some people have a bad habit of placing the elbows away from the body. This posture creates a sense power or physical prowess from a behavioural psychological perspective. However, this creates a huge gap between the arm and the upper torso which places the karate-ka in a vulnerable posture for the opponent to perform an arm or elbow lock. Hence, one can infer a karate-ka’s understanding of the art just by observing their posture in seiza. In addition, it is contrary to the philosophical meaning and physical practice of seiza if one creates this false sense of physical toughness by placing their elbows away from the body. Therefore, a good karate-ka will keep their elbows tucked in and allow their spirit or Zanshin (残心) to radiate their martial prowess.
“You should be calm outside, but keep your mind alert and prepared”.
-Yagu Munenori (柳生宗矩, 1571 – 1646),Mentor to the Tokugawa shogunate, head of the secret service and founder of the Edo branch of Yagu Shikage Ryu
Thirdly, the placement of hands should be on top of the thighs with the fingers slightly pointing inwards. This position allows the hands to spring into action quickly whenever required.
Finally, there is a small variation between female and male versions of the seiza posture. The only difference is the male is allowed a small space between the knees. This space is roughly about one fist in length. The female version has the knees together without any space in between.
Breathing when Lowering body
Earlier it was mentioned to breath in just before lowering the body at the Kiotsuke (Step 1) position. The breathing out is controlled slowly from Step 2 all the way to the Seiza position in Step 4. Breathing correctly is essential for seiza.
Getting up from Seiza
The process of standing up from the seiza position is the exact reverse of entering the seiza position. Firstly, breath in at seiza position and then rise to Kiza position. Secondly, move right leg by placing right toes just behind the left knee while raising the upper body with back straight. Thirdly, raise upper body with back straight to standing position by pushing on the right leg and left leg while breathing out. Make sure to maintain the sensation of being lifted by a string attached to the top of the head and raise the body by maintaining the center line or center of gravity.
“In strategy of my school, keep your body and mind straight and make your opponent go through contortions and twist about. The essence is to defeat him in the moment when, in his mind, he is pivoting and twisting. You should examine this well”.
-Miyamoto Musashi ( 宮本武蔵, 1584 –1645), Kensei (Sword Saint), undefeated dueler, masterless samurai, founder of Niten Ichi Ryu.
Seiza in other Budo Disciplines
As stated earlier, the way seiza is practiced can vary between different Budo disciplines. This can be for a number of reasons due to tradition or necessity. An example that demonstrates this variation in seiza can be found in weapon-based disciplines.
In the Seitei style of Iaido (制定居合道)the practitioner need to hold a katana in the left hand and wear a lower body garment called a hakama while entering seiza. In this discipline, the practitioner performs a step called “hakama-biki” that involves the right hand gently separating the sleeves of the hakama before lowering both knees simultaneously almost to the ground. Effort is deliberately made to place left knee onto the ground first then followed by the right knee when entering Kiza, and then finally lowering into seiza. Special attention is also required to ensure the hakama is in the correct shape when in seiza. All these steps are performed while keeping the upper body straight and at the center of gravity.
The dogi (uniform) in Karate-do is different and no weapons are involved compared to Iaido, hence the procedure of lowering of the body and hand positions are slightly different in the process. However, the difference is only superficial because the philosophy of preventing itsuki, maintaining balance and alertness are exactly identical. In other words, the motions might be different, but the spirit is the same.
Embracing Seiza as a Connection to the “Way” (道)
It might be a natural tendency to overlook the importance of seiza as an inseparable part of learning Karate-do at first. It is likely some people focus most of their attention to the raw primal combative nature of Karate-do. As a result, some practitioners pay more attention to the learning of combative techniques or “Waza” (技伎) and overlook the intricacies of ritual-like actions such as seiza. With continued learning, it becomes clear training begins not just when we perform seiza but begins the moment we step inside the dojo.
It is with understanding of the philosophical and spiritual perspectives of Karate-do will one come to awaken the unconscious potential within ourselves into conscious awareness. Consequently, one will begin to realise rituals such as seiza are equally, if not more physically and mentally demanding and more important than any waza. Hence, these rituals that seems unrelated to any waza initially, are in fact the foundations of all things Karate-do. Within this mentally, the karate-ka will begin to discover the “Do” (道) or the“Way” in Karate-do. To strive for such enlightenment, one can begin by performing seiza diligently with absolute conviction.
By Edwin Tse