Seiza: True Sitting

Note: This article was originally printed in the BBTMAC/Shindokan Dojo Newsletter.

One of the purposes of the Dojo Newsletter is to provide our dojo members with a solid foundation in their understanding of the cultural components of budo, the martial arts and ways of Japan and Okinawa. As I have previously alluded to, the cultures from which these arts come are inseparable from the arts themselves. In this issue, we will continue our presentation of various aspects of budo culture with a discussion of seiza, the formal kneeling seated posture common to Japan and Okinawa.

The first thing that one should know is that “seiza” literally means “true” or “correct” (sei) sitting (za). The very word “seiza” then should provide a certain degree of understanding that proper seiza is more than merely sitting in a kneeling position. Please keep in mind that depending on the art (martial or cultural) or the social situation, there are variations in how one sits down into seiza as well as some very slight variations in the seated posture itself. The method that I will describe is derived directly from the Ogasawara-ryu, a classical school of formal court etiquette (among other things).

For purposes of this article, I will forego a discussion of the exact method of sitting down into seiza, as the method that a student uses here in the dojo is likely dependant on the art that one studies. In other words, the way that one sits down into seiza in Muso Jikiden Eishin-ryu is different from the way that one moves into seiza in Ono Ha Itto-ryu Kenjutsu. These methods are both different from the way that one sits down into seiza in an art such as Wado-ryu Karate-do. As such, I will focus on the structure of seiza once one has lowered into it.

The most important thing about seiza is shisei, or a posture that exudes a feeling of dignity. Dignity is one of the key components of the foundation of any form of budo or geido (cultural arts). When one is sitting in seiza, one’s posture must be straight, with a feeling of one’s head being pulled straight up from the crown. This serves to “stretch” the spine and lift the head, brining the ears directly over the shoulders and putting one into proper structural alignment. Additionally, the small of one’s back should be pushed forward, shifting the weight forward towards the knees rather than keeping it back on the ankles. Aside from contributing to the feeling of shisei in one’s posture, this forward shift of the weight enables one to sit comfortably in seiza for longer periods of time (there is a limit for everyone, however!) or to move more fluidly from seiza should your art or the social situation require you to do so.

One’s metsuke, or gaze, should be cast slightly downward. Additional considerations include the distance between one’s knees and how one place ones hands. In the most formal variations of seiza, the knees are positioned at a distance of two fist widths apart. For women and girls, the knees should be touching. The big toe of each foot should be touching. The arms hang naturally from the shoulders, with one’s elbows at one’s sides. The palms of the hands should rest at mid-thigh, with the fingers (held straight together) angled slight forward and towards the inside of the legs. This is how one would sit in a formal situation.

However, there are slight variations in the distance between the knees and how one positions their elbows and places their hands, depending on the art one studies. Sometimes, the big toes will overlap rather than merely touch. However, there are certain factors in correct seiza that remain constant, regardless of stylistic considerations. Seiza should always covey a strong, but dignified spirit. It should be natural and relaxed, never forced or tense. One’s facial expression should be equally relaxed and dignified, never tense or angry. One should never slump or slouch, neither should one “puff” one’s chest up in an attempt to look strong. Seiza is dignity. Without true dignity, it cannot properly be called seiza, or “true” sitting. Anything else is merely “za.”