MAIN NAMES
 

• IAIDO The way of drawing the sword, name from 1932.
• BATTO Another name for iai.
• KENDO The way of the sword, already drawn, name from 1895.
• KORYU Old school or lineage.
• MUSO JIKIDEN EISHIN RYU (MJER) A style or school of Iai. Named for  Hasagawa Eishin.
• MUSO SHINDEN RYU (MSR) Style related to the above, originated by Nakayama Hakudo.
• SEITEI Basic, fundamental. Seitei Gata, fundamental techniques (kata).
• SEI DO KAI The name of the Iai school at the U. of Guelph.

ETIQUETTE NAMES:

• REIGI Etiquette
• REIHO Etiquette, method of bowing
• REISHIKI Same as above.
• SAHO Method of etiquette
• HAJIME NO SAHO Beginning etiquette
• OWARI NO SAHO Finishing etiquette

SWORD POSITIONS:

• TEITO holding the sword loose by the left side. Also used when sword is in belt and both hands loose at sides.
• TEITO SHISEI holding the sword by the left side, as if in the obi. Thumb on tsuba.
• KEITO Same as teito shisei.
• TAITO Putting sword into belt
• DATTO Taking sword from belt

BOWING:

• REI Bow.
• TACHI REI Standing bow.
• RITSU REI Same as tachi rei.
• TO REI Bow to sword.
• ZA REI Kneeling bow.
• KAMIZA NI REI Bow to kamiza (gods)
• JOSEKI NI REI Bow to the high section of the dojo.
• OTAGAI NI REI Bow to each other.
• SENSEI (GATA) NI REI Bow to teacher(s)
• SHINZEN NI REI Bow to shrine.
• SHOMEN NI REI Bow to front, more appropriate if in a gym without a shrine

• ARIGATO Thank you (informal)
• DOMO Thanks (informal)
• DOMO ARIGATO Thank you (formal)
• DOMO ARIGATO GOZAIMASU Thank you very much (very formal)
• DOZO Please go ahead
• GOMEN NASAI Excuse me, I'm sorry
• ONEGAI SHIMASU Please (when asking for something, usually as in Please lets practice together)
• O TSUKARE SAMA DESHITA You have become tired (because of the hard work you have done teaching) An expression of thanks
• SUMIMASEN Excuse me (to attract attention)
• HAI Yes.
• IIE No.

RANKS AND TITLES

• KO HAI Junior student.
• SEMPAI Senior student.
• SENSEI Instructor.
• SHIHAN Teacher who takes class when sensei is absent.
• KYU Student grade, from 5 to 7 up to 1, the highest.
• DAN More advanced grades, from 1 to 10.
• YUDANSHA Members with dan grades.
• HANSHI Highest shogo title from ZNKR, must be 55 or older and 8 dan.
• KYOSHI Middle title from ZNKR, must be 7th dan.
• RENSHI Title bestowed from ZNKR in addition to Dan ranks.
• SOKE Head of style (actually head of family, unifier of gods and lineage)
• KAICHO Owner of school (organization) eg. Sei Do Kai
• KANCHO Owner of school (building, hall) eg. Yugen Kan

PRACTICE HALL ARRANGEMENT

• DOJO Practice hall.
• SHOMEN Front of room.
• SHINZEN, KAMIZA, Alter, gods place.
• JOSEKI (JO) High side, Shinzen.
• SHIMOSEKI, SHIMOZA opposite shinzen, where students sit.
• GE Side of dojo opposite shinzen

TYPES OF PRACTICE
 

• KEIKO Practice.
• EMBU Demonstration.
• TAIKAI Competition.
• SHIAI Match within a competition.
• TAMESHIGIRI Test cutting.
• MI TORI KEIKO Watching practice.

COMMANDS IN THE DOJO

• ATO Move back.
• HAJIME Start.
• HAYAKU Quickly.
• KI WO TSUKETE Be careful.
• MATE Wait.
• MAWATTE Turn around.
• MO MOTTO More, eg. mo oki, bigger.
• MOKUSO Close the eyes, meditation.
• NAMERAKA NI Smoothly
• OSAME TO Replace swords into saya.
• YAME Stop.
• YUKURI Slow.
• YURU YAKA NI Smooth.

GENERAL VOCABULARY

• AGE Lift or raise up.
• AIUCHI Strike together.
• ATE Strike.
• ATO DE Afterwards.
• BATTO Draw the sword.
• CHIGAU Different.
• CHIISAI Small.
• CHIKAKU Near.
• DAME Not like that, wrong.
• EGURU To scoop out, gouge.
• HETA Unskillful, poorly done.
• JOZU Skillful.
• KYOJUN Standard, basic level.
• MACHIGAI Mistake.
• MIRU Look.
• NAZE Why.
• OKI Big.
• SEMERU Push, press.
• SHITA Under.
• SHITO KOKYU One breath.
• SHIZUKA NI Soft, gentle.
• SUKOSHI A little, a small amount.
• TATSU Standing, upright.
• WAKARIMASU I understand.

DIRECTIONS

• MAE Forward.
• MIGI Right.
• HIDARI Left.
• USHIRO Rearward, behind.
• OMOTE Front.
• URA Back.
• UCHI Inside.
• SOTO Outside.
• JODAN High.
• CHUDAN Middle.
• GEDAN Low.
• FUKAKU Deep.
• HIKUI Low
• OTOSHI Dropping.
• ICHI MON JI A straight line.
• TATE ICHI MON JI A vertical line.
• YOKO ICHI MON JI A horizontal line.
• KAKUDO Angle.
• NANAME Diagonal.
• CHOKKAKU Right angles.
• DO Degrees, eg. kyu ju do is 90 degrees.
• HEIKO Parallel.
• MASSUGU Straight ahead.
• SHOMEN Straight ahead.
• UE Up.
• OTOSHI Dropping.
• YOKO Horizontal, to the side.
• KOMI Coming close or drawing near.
• BIKI (from HIKU) To move, as in saya biki or hakama biki.
• GYAKU Reverse, opposite, inverted.
• HANTAI The other way around.
• KIKU Lower.

THE UNIFORM

• KEIKO GI Practice uniform.
• UWA GI Practice top.
• EMBU GI Demonstration top / uniform.
• SODE Sleeve, on practice top.
• TANOMO Large sleeves on formal tops.
• MON Family crests on uniform (5).
• MONTSUKI Wide sleaved top with mon on chest, sleeve and back.
• KAMISHIMO Over vest / jacket.
• KESA Lapel / part of monk's costume hanging from left shoulder.
• ZEKKEN Chest patch embroidered with own name and dojo name.
• OBI Belt.
• HAKAMA Split skirt, wide legged pants.
• HIMO Straps / cords
• HERA Peg in back of hakama.
• MATADACHI Split in side of hakama.
• KOSHI ITA Back plate on hakama.
• TABI Japanese sock-slippers used in dojo.
• ZORI Japanese sandals for use outside dojo.
• TENUGUI Small hand cloth to wipe face.

POSTURES

• KAMAE Postures.
• GAMAE(Kamae) Stance.
• HANMI Half forward stance
• HITOEMI Equal stance, feet parallel forward
• GEDAN Lower level, sword pointed down.
• SEIGAN Natural step, fundamental kamae.
• CHUDAN Middle kamae, sword in middle, seigan is a chudan gamae.
• JODAN Upper level, sword above head. Usually hidari jodan, left foot forward.
• HASSO GAMAE Figure 8 stance, sword by side of head. Usually hasso hidari, sword on right, left foot forward.
• WAKI GAMAE Sword pointed down and back, for a sutemi (sacrifice) waza. Usually sword on right side (migi waki gamae), left foot forward.
• KARUMA like waki gamae, blade horizontal.
• SEIZA Kneeling on both calves.
• SONKYO kneeling position in Kendo practice.
• IAI HIZA, TATE HIZA Kneeling on one calf.
• TACHI AI Standing.
• IAI GOSHI Hips lowered, stable position.

CUTS AND BLOCKS OF THE SWORD

• KIRI Cut.
• KIRU To cut.
• UCHI Strike.
• KATATE UCHI One handed cut.
• MOROTE UCHI Two handed cut.
• KIRI KUDASHI Finishing cut.
• SHOMEN UCHI Strike on front of head.
• YOKOMEN UCHI Strike on side of head.
• KIRI OTOSHI Dropping cut, straight down.
• KESA GIRI Diagonal downward cut.
• KESA Sash worn diagonally across the chest by buddhist priest.
• GYAKU KESA GIRI Diagonal upward cut.
• KIRI AGE Same as gyaku kesa giri.
• YOHO GIRI Horizontal cut.
• KIRI GAESHI Large diagonal cut, sword finishing in waki gamae position.
• ATE Strike or hit, as with the handle.
• TSUKI Thrust.
• UKE NAGASHI Receive and deflect.

PARTS OF AN IAIDO TECHNIQUE

• KATA Form.
• WAZA Technique.
• HENKA WAZA Small variations in same basic technique.
• KAE WAZA Substitute or totally different techniques.
• KOKYU Breath control.
• CHOSOKU Breathing.
• METSUKE Gaze.
• ENZEN NO METSUKE Gaze at the far mountains.
• BATTO To unsheath a sword.
• NUKI TSUKE or KIRI TSUKE, simultaneous draw and strike.
• TATE HA Standing edge, draw with edge up.
• JO HA KYU Acceleration, buildup to climax.
• SEME Pressure.
• SEMERU Pressing forward.
• SAYA BIKI Movement of scabbard.
• SAYA BANARE Tip at koiguchi during draw, just before strike, the
• flight from the scabbard.
• KIME Focus
• FURI KABURI Lifting sword from nuki to morote jodan.
• KIRI KUDASHI or KIRI TSUKE, the finishing strike.
• HIKI TAOSHI Pulling down. (Usually the opponent).
• HANE AGE Flipping over. (Flipping up the blade).
• CHIBURI Shaking off the blood, cleaning the blade.
• O-CHIBURI Large or circular chiburi.
• YOKO CHIBURI Horizontal chiburi, move to the side.
• CHINUGUI Chiburi done as per Uke Nagashi, wiping off the blood.
• NOTO Replacing the blade in the saya.
• TATE NOTO Standing noto, blade replaced with edge facing up.
• ZANSHIN Awareness, watchfulness, lingering heart.

HOLDING THE SWORD

• TE NO UCHI Grip on sword with fingers pulling into palm.
• SHIBORI Wringing. Twisting the hands inward over the handle on the cut.
• HASUJI Angle of the edge.
• KIRI TE Grip that allows cutting action with blade.
• SEME TE Pressing forward with the blade.
• MAMORI TE As for seme te. Covering or protecting hand.
• SHINI TE Hand position that does not allow a cut. Dead hand.
• TOME TE Stopping hand, one that is defensive.
• NOBI TE As for shini te.
• KATA TE One handed.
• MORO TE Two hands on tsuka.
• SOE TE One hand on tsuka, one on blade.

SWORD NAMES:

• KEN Sword, usually refers to the straight double edged type.
• TO Sword, curved type, single edge.
• BOKUTO Hardwood replica of sword.
• BOKKEN Same as bokuto.
• SUBURITO Wooden sword, usually heavy.
• SHINAI Bamboo practice sword, used for Kendo.
• TACHI Old style sword, (koto) mounted edge down.
• UCHI GATANA Inside sword, forerunner of Katana, worn in belt.
• DAITO Great sword, larger of the set of two, daisho.
• SHOTO the smaller of a pair of daisho.
• DAISHO Great small, the set of two swords.
• SHINTO New swords, from about 1600 to 1870.
• KATANA Same as Daito. Mounted edge up.
• GUNTO War sword, those made just prior to and during WWII.
• IAITO Practice sword for Iaido, not sharp.
• SHINKEN A real or "live" blade made for Iaido practice.

MEASURING THE SWORD:

• SHAKU 30.2 cm. or 11.9 inches.
• SUN 1/10 of a shaku.
• BU 1/10 of a sun, 0.3 cm
• NAGASA Measure of length of blade from kissaki to mune machi in a straight line
• SORI Measure of curve of blade from nagasa to mune at deepest point.

SIDES OF THE SWORD:

• OMOTE That side that faces out from the hip when it is in the saya in its usual mounting. This side is signed by the swordmaker.
• URA Side that faces the hip.

POINTS ON THE SWORD BLADE:

• NAKAGO Tang of blade.
• NAKAGO JIRI End of tang.
• MEI Signature on tang.
• YASURI MEI File marks on tang.
• HITOE Back of tang, meets mune at mune machi.
• MEKUGI ANA Hole through tang.
• MUNE MACHI Notch for habaki, at back of blade.
• HA MACHI Notch for habaki, at edge side of blade.
• TSUBA MOTO 1/3 of blade nearest tsuba.
• CHU O Middle 1/3 of blade.
• MONO UCHI 1/3 of blade nearest tip, cutting area.
• KATAHABA Measurement at thickest part of blade.
• MUNE Back of blade.
• SHINOGI JI Area of blade near back from shinogi to mune.
• HI Grooves down shinogi ji.
• SHINOGI Line of blade between shinogi ji and jigane, ridge at widest point of blade.
• JIGANE Area of blade between hamon and shinogi.
• HAMON Edge of tempered area, temper line.
• HIRA Face of the blade between shinogi and ha, includes jigane and hamon.
• YAKIBA Tempered area near edge.
• HA Cutting edge.
• YOKOTE Line between edge plane and tip plane.
• MITSUKADO Point where shinogi, yokote, and ko shinogi meet.
• KO SHINOGI Shinogi line through tip area.
• KISSAKI Tip area, from yokote to end.
• FUKUSA Cutting edge in tip area.
• BOSHI Tempered area in tip / the curve leading to the point.

FITTINGS OF THE SWORD:

• TSUKA Grip, hilt, handle.
• KASHIRA Fitting at end of handle, end of handle.
• TSUKA MAKI Or tsuka ito, lace wrapping of handle.
• TSUKA ITO Same as tsuka maki.
• SAME Sharkskin wrapping of tsuka.
• MENUKI Decorative fixtures on handle.
• MEKUGI Retaining peg.
• MEKUGI ANA Hole for peg.
• FUCHI GANE Fitting between handle and guard.
• SEPPA Spacers on either side of tsuba.
• TSUBA Sword guard.
• HABAKI Fitting between tsuba and blade, wedge for koiguchi.
• KOGAI Skewer.
• KOZUKA Small knife.

THE SCABBARD:

• SAYA Scabbard.
• KOIGUCHI Scabbard mouth (literally carp's mouth).
• KURIGATA Knob for tying sageo.
• SAGEO Cord from saya (kurigata) to hakama himo.
• KOJIRI Fitting at end of saya, end of saya.

BODY MOTIONS

• TAI SABAKI Body motions.
• TAI Body.
• SABAKI Movement.
• AYUMI ASHI Normal walking motion, back foot slides up to become front foot.
• CHIDORI ASHI "Bird walk" as in ayuma ashi.
• TSUGI ASHI Half step, rear foot up to front then front forward again.
• OKURI ASHI Following foot, step forward with front foot, then rear foot moves same distance forward to regain original distance apart.
• FUMI KOMI Shift forward, as in a strike, using the hips.
• FUMI KOMI ASHI Foot motion as shifting forward, front and back slide together, not two different movements.
• JIKU ASHI Turning foot, the main axis of rotation.
• SEME ASHI Pushing or pressing foot.
• SURI ASHI Sliding foot.
• KAITEN Turning.
• MAWARI Swinging around.
• TENKAN Moving one foot behind the other to face 180 degrees.
• IRIMI Entering.
• HIRAKI ASHI Rear foot moves forward and turns to face opponent, front foot turns to establish feet again in kamae but with opposite foot forward.

THE SWORDSMAN

NAMES OF ROLES:

• UKE Receiver (of technique)
• NAGE Performer of technique.
• TORI Attacker.
• SHIDACHI (SHI TACHI) Finishes partner practice.
• UCHIDACHI (UCHI TACHI) "Attacker" in partner practice.
• TEKI Opponent
• KASSO TEKI Invisible opponent.

THE BODY:

• NAKAZUMI Centreline of body
• ATAMA Head
• MEN Head.
• SHOMEN Front or top of head.
• YOKOMEN Side of head.
• SHAMEN Side of head, temple
• GAMMEN Point on face between the eyes.
• SUNMEN Same as gammen2
• ME Eye.
• JINCHU Centre of upper lip
• KUBI Neck
• NODO Throat
• DO Chest / side of body at ribs
• SUI GETSU Solar plexus.
• MUNE Chest
• TE Hand.
• TE KUBI Wrist.
• OMOTE Open / palm of hand
• KOTE Wrist (forearm).
• HIJI Elbow
• KATA shoulder
• UDE Arm in general.
• URA Back of hand
• YUBI finger / toe
• KOSHI Hip.
• HARA Abdomen.
• TANDEN Centre of balance, below navel.
• SEIKA TANDEN As per tanden.
• ASHI Foot or leg.
• ASHI KUBI The ankle.

PHILOSOPHICAL CONCEPTS
 

• BUDO Way of war.
• BUSHIDO Way of warrior.
• KIRYOKU Will.
• MUGA No ego.
• MUNEN No thought.
• KOKORO, SHIN Mind.
• MUSHIN, MUSO, No mind, no rationalization.
• FUSHIN Frozen or stopped mind.
• FUDOSHIN Immovable mind, calm spirit.
• FUKAKU Personal character.
• GOKAI Grand, expansive, brash.
• HEIJISHIN Ordinary mind.
• SUKI Opening.
• KI Spirit, energy, inner strength.
• KI KEN TAI ICHI Spirit, sword, body, one.
• SAYA NO UCHI NO KACHI Saya = scabbard, uchi = inside, kachi = victory. The sword in the saya, winning without drawing.
• DO Activity, motion.
• SEI Motionless, inactive.
• SHU HA RI Keep, break, leave. Memorize technique, question and understand, forget technique.
• MA Distance, space, interval (in time).
• MAWAI (MAAI) Mutual distance (in space.
• SAE OF SWORDSMANSHIP The skill beyond technique only.
• DAI KYO SOKU KEI Big strong fast smooth.
• JO HA KYU Slow, faster, fastest.
• GOKAI Grandeur, large feeling, full motions.
• KIAI Shout, yell.
• KIME Sharpness of movement, positive end of cut or thrust.
• KIMOCHI Feeling, sensation.
• KIRYOKU Willpower.
• KOKYU Breath, breath power.
• KAKE GOE Yelling to get extra energy.
• KENSEN Pressure from the sword, esp. the tip.
• RIAI Unification of action and theory.
• SEN Initiative, to forestall.
• SEN NO WAZA (SEN) Strike faster than opponent, before attack delivered.
• SEN SEN NO WAZA (SEN NO SEN) Strike as opponent commits to an attack but before he moves.
• GO NO SEN NO WAZA (GO NO SEN) Strike at a suki, a mind stopping. Strike before the opponent forms the intention to strike.
• DEHANA WAZA Strike at the outset, as opponent moves, like sen no waza.
• OI WAZA Chasing or following strikes, attack as opponent retreats.
• SUTEMI Sacrifice technique, accept a blow to deliver one.
• AIUCHI Mutual strike, strikes at the same time.