Every newcomer in a city looks for a city map or a city guide, which will allow him to move easily and understandably from one place to another. It will also inform him about important places monuments etc, their history and other useful information. The same applies when someone visits a museum, a big exhibition or other similar places. Have you ever think of such a requirement for a dojo, a dojo guide per se? Does it sound reasonable?

It is beyond doubt that every budoka knows what the dojo is; however what it is not quite certain if he is aware of the exact meaning of the word. The cultural model of the dojo adopted today, by the most contemporary budo practitioners, is that of the gym. This sounds logical because, at the surface, budo practice represents a physical activity. However this is not but the surface of a very complicated matter. On a deeper level budo is mainly concerned with the spirit. Dojo literally means a “place to study the way,” or in a broader meaning a “place of searching for enlightenment”. A detailed study of the kanji used for dojo, indicates a link of a long philosophical heritage, as it comes from the Sanskrit term bodhimandala; bodhi means enlightenment and mandala is a graphic symbol of the universe, used as an object of focus in seeking the enlightenment state. Thus the place in which serious spiritual search takes place becomes the vehicle for bodhi. In other words a dojo is a special place for those seeking higher consciousness. Certainly it is a training hall; but thinking only in terms of the physical activity, is a limited understanding of the concept.

Having reached the point that a dojo is not simply a gym hall, the question comes; which are these special elements that provide the special atmosphere of a place where enlightenment is looked for?  And how is this atmosphere created? There are certain environmental features which distinguish the traditional dojo from a training hall or studio; elements which collectively set the stage for the training of body and mind and send a clear message to practitioners about the pathway to be followed. These features will be attempted to be described herein. Though not all-inclusive, the features presented reflect a strong traditional scent in a facility dedicated to budo training and practice.

The first that attracts the attention as someone stands at the door of a traditional dojo is the floor, which comprises the training surface under foot. In the case of karate, kendo or iaido, the ideal surface is a hardwood floor. Special care must be taken in the construction of this floor, so it has the necessary springiness. Regular maintenance falls under the category of soji, keeping the training floor neat and clean. Traditionally this is done by towel-mopping the floor with water, after each strenuous workout. In this context, practice takes on a spiritual symbolic quality of cleansing the soul. In certain dojo it has become a tradition following the first training of the year, usually a tough one.

The hardwood floor is a very strong indicator of the seriousness of the dojo and of the commitment behind the training. Next to a wood surface, a tatami floor is also considered traditional for martial arts practice; however, tatami is more suitable for aikido and judo.

Concrete, title, or carpet, by no means provide a proper training surface for a traditional dojo. Firstly they do not provide the springiness and support required and can result in injury to feet and ankles and should never be used. Modern technology provides special floors, as those used in many big training halls; however hardwood floor and tatami are connected with budo tradition.

Soon after someone joins a dojo, he will realize that it is arranged along the lines of a building aimed for spiritual exercises, thus it is arranged geometrically into a complex matrix.

When you enter the dojo, the entrance should ideally be directly opposite the joza, or the “upper seat”. Opposite is the shimoza, ‘’lower seat’’, where the dojo entrance is located. To the right is the joseki, the "upper side wall"; to the left is the shimoseki, ‘’lower side wall’’. The floor space itself, where the actual training is taking place, is referred as embujo or taijo. If a competition is held there, with appropriate lines marked out for contests, the area is known as shiaijo.

The joza is also called kamiza, “deity’s seat” or shomen, “the front”. It is immediately distinguished by a shrine or an alcove or a display of certain kind.In a very traditional dojo you may find a shinden, an elevated place against the kamiza wall, a place largely symbolic, reserved only for the founder of the ryu or an imperial family member.

The small shrine or alcove at the joza, contains a variety of objects of Shinto or Buddhist origins (a more detailed description of the kamiza will follow later). Also at the joza, the photograph of the headmaster or founder of the art practiced in that dojo, as well as the hata (banner) of the dojo, may be found. In Japan at some very old dojo, especially ones where the current headmaster of a ryu may train himself, carved wooden effigies of the ryu founder may be found sitting at the kamiza. In addition you may see, a tokonoma (recessed alcove), where a flower arrangement or kakemono (hanging calligraphic scroll) are displayed. In few words, arrangements are differing in various dojo, however the general idea is to show that joza and its associated kamiza must be considered as the spiritual centre of the room.

When you are standing facing the joza, to your back is the shimoza. This is the place where practitioners line up prior to and after training. The shimoza wall is the most appropriate place for the nafuda kake, a rack with wooden tags identifying the ranks of dojo members (although it may be found on either of the side walls). In a small dojo, the shimoza side may have pegs for hanging clothes and training gear (remember some old pictures from Funakoshi sensei early dojo in Japan, when his very first dojo in was only eight tatami).

Now face the joza and you will find, to your right the joseki (seki is another way of saying “seat” or “one’s place”) and to your left the shimoseki.  Along either of these walls dogu kake, racks for weapons or other training devices, can be found. In a karate dojo makiwara (striking posts) are mounted here; or in kendo dojo an uchikomi-ningyo, a kind of armed and armored scarecrow that serves as striking dummy.

At this point the question comes to mind; ‘’is all that architecture important to our practice? What purpose it serves?’’. Of course this is not an easy answer but I will try to explain.

Traditionally, dojo architecture is closely associated with reishiki (etiquette). Every member of the dojo or visitor should bow towards the kamiza, upon entering or leaving the dojo, since it is considered as the spiritual centre of the dojo. The instructors of the dojo will seat themselves at the joza at the opening and closing of practices. When practice begins, dojo members align themselves in order of seniority from joseki to shimoseki. In a traditional dojo, senior practitioners will stay nearer the joseki, when training; juniors train on the shimoseki side. To make it more complex reishiki also specifies details such as, which is the appropriate foot to begin with when approaching or leaving the kamiza and in which direction to turn first in moving around the training area. When stepping into the taijo, it must be done with the foot away from the kamiza, the shimoashi, while stepping away from the kamiza, the foot nearest the kamiza, kamiashi, should move first (of course the foot nearest or away from the kamiza will differ, from right to left, depending upon which side of the dojo one is standing).

OK then but stillwhat purpose do these formalities serve? In the past, dojo architecture and the associated reishiki (etiquette) had at least three functions: Firstly, the placement of the sensei at the front, seniors on the right, and juniors on the left provided the teacher maximum protection from an intruder (remember that the main weapon of the bugeisha (warrior) was the sword, which was carried on the left side and used with the right hand leading); secondly, the arrangement shielded the teacher's instruction from unauthorized observers (remember instruction was provided only to selected and authorized members); third, it reflected certain Buddhist worship rituals. If you believe in tradition all these have some relevance even today.

By Spiros G. Drossoulakis