Hyōjō o kakusu [表情を隠す]

Masking Facial Expressions by CEJames & Akira Ichinose

In karate-jutsu for Self-defense, Jiko bōei no tame no sora shujutsu [自己防衛のための空手術], we are tsught and trained in the application of methodologies to deal with violence. In truth, SD is also about avoidance and deescalation for the martial aficionado must do their utmost to not resort to the use of their physical skills but rather make use of the psychological. Detecting an adversary as you travel down the path to conflict and violence the body language and facial micro-expressions of the potential adversary sre the keystones to avoidance, AND, your body language and facial micro-expressions are your first line of defense snd most effective deterrent. The messages you send through body and facial communications are critical. The following will provide the student in learning and use of Hyōjō o kakusu.

The phrase “Hyōjō o kakusu” (表情を隠す) translates literally to “to hide one’s expression”, and it touches on a deeply ingrained aspect of Japanese social behavior and aesthetics. This practice intersects with the cultural values of restraint, harmony, and ambiguity in communication, and it manifests in traditional and contemporary Japanese art, theater, literature, and everyday social interactions.

1. Cultural Foundations of 表情を隠す (Hiding Facial Expression)

A. Tatemae and Honne (建前と本音)

• Tatemae: the public façade or the behavior one displays in social settings.

• Honne: one’s true feelings and desires.

This dichotomy is central to Japanese interpersonal relationships. The act of hiding one’s facial expression is a physical embodiment of maintaining tatemae, especially in situations where revealing one’s inner emotions might disrupt group harmony (wa, 和).

📘 Reference: Lebra, Takie Sugiyama. “Japanese Patterns of Behavior” (1976). University of Hawaii Press.

Explores how emotional restraint supports societal harmony.

2. Hyōjō o Kakusu in Traditional Japanese Arts

A. Noh Theatre (能)

• Noh masks obscure the actor’s facial expression entirely.

• Subtle shifts in head angle change how the mask appears emotionally—this aligns with the aesthetic of yūgen (幽玄), the beauty of subtlety and mystery.

📘 Reference: Zeami, translated by Thomas Rimer. “On the Art of the Noh Drama”

Zeami, a seminal Noh playwright, emphasized emotional restraint and minimalism.

B. Ikebana (Flower Arranging) & Sumi-e (Ink Painting)

• These arts emphasize minimalism, negative space, and subtle emotion rather than overt expression.

• They reflect the philosophy of ma (間), or meaningful silence/space, resonant with emotional withholding.

📘 Reference: Addiss, Stephen. “The Art of Zen” (1989).

Discusses how Japanese aesthetics favor understatement and the unseen.

3. Expression Control in Social Etiquette and Language

A. Aizuchi (相槌) and Ambiguity

• In conversation, Japanese people often use vague, indirect language and maintain neutral expressions to avoid confrontation or offense.

• The goal is emotional control, often maintained with facial neutrality.

📘 Reference: Hall, Edward T. “The Silent Language” (1959).

Examines high-context cultures like Japan where communication relies heavily on non-verbal cues.

B. Smile as a Mask

• In Japanese society, smiling is often used to conceal discomfort or sadness, not necessarily to convey happiness.

• This is a cultural form of hyōjō o kakusu in daily life.

📘 Reference: Davies, Roger J. & Ikeno, Osamu. “The Japanese Mind: Understanding Contemporary Japanese Culture” (2002).

Includes a section on “The Japanese Smile” as a mask.

4. Contemporary Cultural Representations

A. Manga and Anime

• Characters are often drawn with exaggerated expressions, but moments of emotional restraint (e.g., looking away, hiding behind hair) are significant.

• Some genres (e.g., slice of life, iyashikei) emphasize emotional undercurrents and subtle expressions.

B. Fashion and Subcultures

• Kigurumi and Gyaru-moji involve concealing identity and expression, sometimes literally using masks.

• In Shironuri fashion, the white-painted face serves as a deliberate concealment of individuality and emotion.

5. Psychological and Philosophical Implications

• Emotional suppression in Japanese society has both positive functions (social harmony, mutual respect) and negative consequences (emotional stress, mental health suppression).

• Philosophically, it aligns with Zen Buddhist teachings about detachment and not clinging to transient emotional states.

📘 Reference: Kuroda, Toshio. “The Development of the Kenmitsu System as Japan’s Medieval Orthodoxy”

Offers insights into how Zen philosophy influenced cultural aesthetics, including emotional reserve.

6. Modern Criticism and Reflection

• Some Japanese authors and artists critique hyōjō o kakusu as emotionally repressive.

• Writers like Haruki Murakami use emotionally distant characters to explore themes of alienation and introspection.

📘 Reference: Strecher, Matthew Carl. “Dances with Sheep: The Quest for Identity in the Fiction of Murakami Haruki”

Discusses how Murakami’s characters reflect and critique Japanese emotional reticence.

Conclusion

表情を隠す (Hyōjō o kakusu) is not merely about suppressing emotion—it is a rich cultural practice, deeply woven into the fabric of Japanese aesthetics, ethics, and social order. It reflects a preference for subtlety, harmony, and introspection—values that are expressed across both high art and daily life.

Read also the section on Masking Body Language, etc.!

Natural Survival Responses

Shizen'na seizon han'nō [自然な生存反応]

by CEJames & Alfonz Ingram

Fight (rage), 

flight (escape planning), 

freeze (paralysis), 

fawn (capitulation) and 

flop (hopelessness) 

The natural survival responses—fight, flight, freeze, fawn, and flop—are automatic, physiological and behavioral reactions to perceived threat. These responses originate from evolutionary survival mechanisms, primarily involving the autonomic nervous system (ANS) and the limbic system, particularly the amygdala, which detects danger and triggers defensive actions.

Below is an in-depth look at each survival response, including psychological and neurobiological underpinnings, with references to research and clinical theory.

🧠 Core Framework: Polyvagal Theory & Trauma Response

Developed by Dr. Stephen Porges, Polyvagal Theory explains how the vagus nerve governs our responses to safety and danger. These survival states are not just reactions, but adaptive strategies driven by the autonomic hierarchy:

• Ventral vagal (social engagement)

• Sympathetic (mobilization: fight/flight)

• Dorsal vagal (immobilization: freeze, flop)

(Source: Porges, S. W. (2011). The Polyvagal Theory: Neurophysiological Foundations of Emotions, Attachment, Communication, Self-Regulation)

⚔️ 1. Fight (Rage / Aggression)

Definition: Confronting the threat with aggression or active defense.

Physiology:

• Activated by the sympathetic nervous system (SNS).

• Increased adrenaline, heart rate, blood pressure.

• Prepares muscles for strength and attack.

Psychology:

• Often linked to anger or rage.

• Seen in trauma survivors who become reactive or aggressive under perceived threat.

Example: Arguing with or physically defending oneself against a perceived attacker.

Reference:

• van der Kolk, B. (2014). The Body Keeps the Score. Emphasizes how trauma can trap people in fight-dominant states.

🏃‍♂️ 2. Flight (Escape Planning)

Definition: Avoiding danger by fleeing or escaping the threat.

Physiology:

• Also activates the sympathetic nervous system.

• Prioritizes speed, focus, and stamina.

• Cortisol and adrenaline spike to prepare for running or evasion.

Psychology:

• Often expressed as anxiety, restlessness, hypervigilance.

• Common in trauma responses marked by avoidance or compulsive “busyness.”

Example: Leaving a stressful situation suddenly or obsessively planning exits.

Reference:

• Levine, P. A. (1997). Waking the Tiger: Healing Trauma. Discusses naturalistic escape responses in animals and humans.

❄️ 3. Freeze (Paralysis / Shock)

Definition: Becoming still, numb, or immobilized in response to overwhelming threat.

Physiology:

• A hybrid of sympathetic arousal and parasympathetic override.

• Heart rate may slow, breath becomes shallow.

• Body becomes immobile while senses remain active.

Psychology:

• Related to dissociation, numbing, inward withdrawal.

• Seen in survivors of abuse or accidents where escape wasn’t possible.

Example: Feeling stuck, unable to move or speak during a traumatic event.

Reference:

• Ogden, P., Minton, K., & Pain, C. (2006). Trauma and the Body: A Sensorimotor Approach to Psychotherapy.

🙇 4. Fawn (Capitulation / Appeasement)

Definition: Trying to placate or please a threat to avoid harm.

Physiology:

• Can be a ventral vagal response gone adaptive, or a freeze-fawn hybrid.

• Low arousal but active social engagement to reduce threat.

Psychology:

• Often stems from childhood trauma, particularly complex PTSD.

• Pattern of people-pleasing, self-erasure, codependence to ensure safety.

Example: Apologizing excessively or complying to avoid conflict or rejection.

Reference:

• Walker, P. (2013). Complex PTSD: From Surviving to Thriving. He coined the term “fawn response” in trauma theory.

🛏️ 5. Flop (Collapse / Hopelessness)

Definition: Total submission, collapse, or mental shutdown under extreme threat.

Physiology:

• Dominated by the dorsal vagal branch of the parasympathetic nervous system.

• Low blood pressure, slowed heart rate, numbness.

• Similar to “playing dead” in animals.

Psychology:

• Seen in extreme trauma, such as rape, torture, or war.

• Related to learned helplessness, disconnection, shutdown.

Example: A person in severe depression, unable to get out of bed or function.

Reference:

• Lanius, R. A., Vermetten, E., & Pain, C. (2010). The Impact of Early Life Trauma on Health and Disease. Discusses neurological shutdown in trauma survivors.

📘 Additional References

1. Porges, S. W. (2011). The Polyvagal Theory

2. van der Kolk, B. A. (2014). The Body Keeps the Score

3. Walker, P. (2013). Complex PTSD: From Surviving to Thriving

4. Levine, P. A. (1997). Waking the Tiger

5. Ogden, P., Minton, K., & Pain, C. (2006). Trauma and the Body