Terms in the dojo

Benkyo studying
Budo training path of warfare
Bunkai application of kata techniques (with opponent)
Bushido training path of the warrior
Chuden middle level (in koryu curriculum)
Dan step, grade
Dojo place where budo is practised
Embu display, demonstration
Embugi display or demonstration clothes
Embuji no shomen agreed front side for embu
Gakusai student
Ge opposite side of dojo to kamiza
Hadagi under garment
Hakama wide pleated trousers
Hakamasabaki spreading the hakama legs to the left and right with the right hand
Hanshi (see: han) master (highest shogo)
Haori over jacket
Hera peg inside rear of hakama
Himo cord, lace
Iaido way of drawing the sword
Iaijutsu art of drawing the sword
Juban under garment
Kaicho dojo president
Kakemono calligraphy roll
Kamae guard posture
Kamishimo formal dress: armless upper garment with hakama
Kami no ashi foot closest to kamiza
Kamiza highest place of honour, to the right of shinzen
Kancho dojo leader
Kata training form or set of forms
Keiko training
Keikogi training jacket
Kenjutsu art of sword-fighting (with partner)
Kihon basic techniques
Kohai one's junior
Koryu traditional school
Koshiita board at back of hakama
Kumitachi training with partner
Kyoshi (see: kyo) teacher (middle shogo)
Kyu beginner's ranking
Matadachi split at side of hakama
Mon family crest
Montsuki wide sleeve top with mon on chest, sleeve and back
Motodachi defending side in a technique
Mudansha person without Dan ranking
Obi belt
Okuden secret level (in koryu curriculum)
Reigi etiquette
Reiho method of bowing
Renshi (see: ren) assistent teacher (lowest shogo)
Renshu training hard by trial and error
Ritsurei standing bow
Saho method of etiquette
Seiteikata established series of forms
Seiza no shisei sitting posture
Sempai one's senior
Sensei one who has gone before, teacher, master
Shiai match, competition
Shiaijo match area
Shidachi defending and following side
Shihan highest teacher in dojo
Shimo no ashi foot farthest from kamiza
Shimoseki side of students, opposing teachers
Shimoza lower place of honour, to the left of shinzen
Shinpan referee
Shinpan cho tournament supervisor
Shinsa grading
Shinzen shinto shrine
Shisei posture
Shitagi under garment
Shiteiwaza set form in grading or competition
Shizentai natural posture
Shoden first level (in koryu curriculum)
Shogo title
Shomen straight ahead
Shusin head referee
Tabi formal soft footwear for inside the dojo
Tachirei standing bow with the sword
Taikai competition, tournament
Tameshigiri cutting test
Tanome sleeve of montsuki
Tori attacking side of a technique
Uchidachi attacking side
Uke receiving side of a technique
Uwagi iaido jacket
Waza technique
Yudansha person with Dan ranking
Zarei sitting bow
Zekken chest identity patch
Zori sandals for outside the dojo

Phrases in the dojo

Ato back, backwards
Domo arigato gozaimasu / gozaimashita thank you (very formal)
Gogi referee break in a match
Hajime begin
Hajime no saho begin etiquette
Hante end of a match
Iai kisogeiko practice basic forms
Junbitaiso o hajimemasu start warming up
Junbitaiso o owarimasu stop warming up
Kamiza ni rei bow to kamiza
Katana o motte get your swords
Kiritsu Stand up
Koi come here
Kotai change (partner)
Matte wait
Mawatte turn around
Menokotai change roles
Mo-ikkai again
Mokosu silence (meditation)
Osame to place sword in obi
Otagai ni rei bow to eachother
Owari no saho end etiquette
Rei bow
Seiretsu stand in line
Sensei (-gata) ni rei bow to the sensei
Shinzen ni rei bow to the shinza
Shobu ari result of a match
Shomen ni rei bow to the front side
Shugo come together for instruction
Torei bow to the sword
Yame stop

Technical terms and techniques in iaido

Aiuchi strike together
Ashisabaki foot work
Ate strike
Ayumi-ashi 'moving foot forward,' footwork when walking
Batto draw the sword, iai
Chiburi movement of blood shake
Chikama-ai short distance
Chinugui blood wipe, sword on or above right knee
Chudan no kamae middle level guard posture
Datto remove sword from obi
Debanawaza attack using the initial technique of the opponent
Fumikomi moving forward with stamping foot
Fumikomi-ashi stamping front or adjusting rear foot
Furikaburi raising the sword to cut
Gedan no kamae lower level guard posture
Gyakukesagiri diagonal upward cut
Hammi posture with one foot in front, back foot lightly turned
Hasso no kamae guard posture with left foot forward, sword above right shoulder
Hayanuki all MSR chuden kata performed without break
Henkawaza alternative interpretation of a technique
Hidari jodan no kamae left foot forward jodan
Hikitaoshi pulling down technique
Hiraki-ashi rear foot moves to front under new angle, front foot becomes rear foot
Hitoemi body turned in halfways towards opponent
Hitokokyu in one breath
Iai 'vigilance,' 'flexibility,' drawing the sword
Iaigoshi lowered hip, ready posture
Iaihiza seated posture with right knee raised, sitting on left foot
Iaihiza no bu section (of kata series) sitting in iaihiza
Ichihyoshi cutting without a pause
Jiku-ashi foot turning on the spot on toes and heel
Jodan no kamae upper level guard posture
Kaewaza alternative form of a technique
Kamae o toku kamae with lowered, slightly turned sword (of conquered opponent)
Karuma waki no kamae with horizontal sword
Katate with one hand
Katate-uchi one hand cut
Keitoshisei left hand on sword at hip, thumb on tsuba, 45°, kashira in front of solar plexus
Kesagiri diagonal downward cut
Kime 'decision,' sharpness of movement in cutting
Kiri-age upward cut
Kirigaeshi diagonal cut ending in waki no kamae
Kirioroshi vertical, forward cut
Kiriotoshi kirioroshi
Kiriorosu to cut from above
Kirite cutting ('living') hand
Kiritsuke decisive cut
Kirukudashi decisive cut
Koiguchi no kiri gata 'method of cutting the carp's mouth,' co-ordination of hands at start of draw
Koiguchi o kiru 'method of cutting the carp's mouth,' co-ordination of hands at start of draw
Kokyu breath control
Komekami through the temple
Ma timing interval, distance in time
Ma-ai position, distance in space (to the opponent)
Mamorite covering, protecting hand
Metsuke direction of looking
Migi jodan no kamae right foot forward jodan
Morote with both hands
Morote-uchi two hand cut
Noto resheathing the sword
Nukitsuke drawing and cutting
Ochiburi large chiburi
Okuri-ashi kendo footwork (sliding step of both feet)
Osiwaza attacking when the opponent retreats
Renzokuwaza training consecutive techniques
Ryu school, curriculum
Sei without movement, inactive
Sagetoshisei sword carrying posture at ease
Saya-ate collision between the sayas of two persons
Sayabanare to leave the saya
Sayabiki saya control, usually pulling back
Saya no uchi inside the saya
Seichushin through the centre
Seigan natural walk
Seiza kneeling posture
Seiza no bu sitting section (of kata series)
Seme-ashi pressing, pushing foot
Semete pressing, pushing hand
Shibori wringing movement of the hands on tsuka while cutting
Shinite 'dead' hand
Shinkenshobu drawing and cutting with a live blade, serious match
Shomenuchi cut or attack straight to the front of the opponent
Soete supporting hand
Soetetsuki no kamae guard posture before thrusting in the abdomen
Sonkyo half-crouching posture
Suburi cutting excercise with the sword
Suki weak, vulnerable point, opening, chance
Sunegakoi block defending the lower leg
Suri-ashi sliding foot
Suwariwaza sitting techniques
Tachi iai no bu standing section (of kata series)
Tachiwaza standing techniques
Taisabaki body movement (while turning)
Tategiri standing, stable cut
Tateha drawing with cutting edge upwards
Tatehiza iaihiza
Tatenoto noto with cutting edge upwards
Teitoshisei left hand on sword in obi, thumb on tsuba, tsuba on centreline
Teki opponent
Te no uchi control of hands, correct grip, timing of shibori
Toma-ai large distance
Tomete stopping hand
Tsubazeriai tsubas pressing, 'feeling' together
Tsugi-ashi rear foot toes move to front heel line
Tsuki thrust
Uchi strike
Ukenagashi block and deflect
Waki no kamae guard posture with sword hidden behind the body
Yogi meaning of a performance
Yohogiri horizontal cut
Yokochiburi chiburi to the side
Yokomenuchi cut to the side of the head

Philosophical concepts in iaido

Dai kyo soku kei big, strong, fast, smooth (in katana technique)
Enzan no metsuke gazing at distant mountains
Fudoshin imperturbable ('unfettered,' 'unstopped') mind
Fukaku 'deeply,' depth of personal character through training, elegance
Fushin conscious thought, stopped mind
Go no sen (no waza) five rules to conquer the opponent before he decides to attack
Heijoshin normal state of mind, without distractions
Hingurai appearance
Ichi go, iche e one encounter, one mind
Itsuki interference of the mind or body
Jikishin 'direct mind,' honesty
Ji ri ichi praxis and theory are one
Jo ha kyu soft, smooth, sharp (in timing)
Junanshin malleable mind
Kakegoe cry adding energy to a technique
Kankyu kyojaku rhythm: slow, fast, strong, weak
Kassoteki logical movement opposing an imaginary adversary
Katsu jin ken life giving sword
Ken i ichi kendo and iaido go together
Ki breath power, inner strength
Kiai cry adding energy to a technique
Kigurai bearing, demeanour
Kihaku being focused with the mind
Kihin kigurai
Ki ken tai ichi spirit, sword and body are one, in harmony
Kimochi expression, bearing
Kiryoku vitality, energy, willpower
Kokoro (-gamae) attitude of spirit, heart, honour, respect, confidence
Kuraidori performing a realistic (inner) fight
Muga without 'I' or ego
Muga mushin empty mind
Munen without thought
Muso without rational mind
Mushin without rational mind
Ri-ai meaning, logic, principles, harmony of theory and praxis
Satsu jin ken life-taking sword
Saya no uchi no kachi victory in the saya
Sei to do 'action, no action,' calmness in movement
Seme pushing, pressing (mental and physical control of the opponent)
Sen forestall, take initiative
Sen no sen attacking between the opponent's decision to attack and his movement
Sen no waza attacking faster than your opponent
Sen sen no waza attacking between the opponent's decision to attack and his movement
Shi gi tai ichi spirit, sword and body are one, in harmony
Shin Chinese concept of kokoro
Shishin 'stopping heart,' opposed to fudoshin
Shu ha ri budo learning curve of imitation (absorbing), understanding (breaking) and
consolidation (leaving)
Sutemi receiving an attack with a counter-attack in mind
Tachikaze 'sword wind,' sound or focus of cut
Tai chi tai bun hear with your body, think with your body
Tan seki den 'forge in the morning, polish in the evening,' hard training
Yoyu 'the margin,' only what is absolutely necessary
Zanshin total awareness, composure and preparedness after the action

The Japanese sword

Boken, bokuto wooden sword
Boshi hamon from yokote to kissaki
Bu 0,3 cm
Bukuro sword bag
Chu kissaki middle form kissaki
Chuo middle third of blade
Daisho katana and wakizashi
Daito long sword, worn cutting edge upwards
Fuchigane metal band between tsuba and ito
Fukuro sword bag
Fukusa curved edge leading to kissaki
Gendaito sword made after 1868
Gunto military sword (WWII)
Ha cutting edge
Habaki collar against tsuba
Habuchi border of yakiba
Hamachi 'step' where ha meets habaki
Hamon line of tempered section
Hanami cutting line from mune to ha
Hasuji pointing line from munemachi to kissaki
Hi groove for weight reduction
Hira face of blade from shinogi to ha
Hiraji face of blade from shinogiji to hamon
Hitoe top of tang at munemachi
Iaito metal training sword
Iorimune mune with two surfaces
Jigane 'skin steel,' very hard outer layer
Kashira end of tsuka
Katahaba thickest measure of blade
Katana Japanese long sword since the 15th century, worn edge up
Katana kake sword stand
Kensen point of the sword
Kissaki point
Koiguchi open end of saya ('carp's mouth')
Kojiri closed end of saya
Kokissaki small kissaki
Koshinogi shinogi in kissaki
Koshirae fittings and saya of a sword
Koto sword made between 806 - 1595
Kurigata attachment of sageo to saya
Maki-ito material of tsuka binding
Marimune mune with rounded surface
Mei signature on tang
Mekugi bamboo pin through tsuka and tang
Mekugi-ana hole for mekugi
Menuki tsuka decorations for better grip
Mitsukado point where shinogi, yokote and ko shinogi meet
Mitsumune mune with three surfaces
Monouchi upper, cutting part of blade
Mune back edge of blade
Munemachi 'step' where mune meets habaki
Musubi way of tying a knot (sageo, sword bag)
Nagasa length of blade from munemachi to kissaki
Nakago tang
Nakagojiri end of tang
Nishikibukuro ornamental, lined sword bag
Okissaki large kissaki
Sageo braid from saya, tied to hakama himo
Same ray skin under tsuka-ito, reducing play
Sashi-omote outer side of katana, away from hip
Sashi-ura inner side of katana, towards hip
Saya scabbard
Seppa washers either side of tsuba
Shaku 30,2 cm
Shigane 'heart steel,' soft inner layer
Shinken 'new sword,' modern made live blade
Shinto sword made between 1596 - 1803
Shinogi ridge at widest point along blade
Shinogiji face of blade from shinogi to mune
Shinshinto blade made between 1804 - 1867
Shoto wakizashi
Sori curve of the blade from mune to nagasa line
Suburito heavy wooden sword
Sun 3,02 cm
Tachi Japanese long sword between the 8th an 15th century, worn edge down
To curved, one-edged sword
Toshi blade and tang
Tsuba hand guard
Tsubamoto part of blade near tsuba
Tsukamaki tsuka binding
Tsuka-ito material of tsuka binding
Uchiko cleaning powder for the sword
Wakizashi short sword from daisho
Yasurimei file marks left on tang
Yokote line between kissaki and rest of the blade

Frequently used terms in practice

Age lift, raise
Arigato thank you (informal)
Ashi foot
Ashikubi ankle
Asoko over there
Atama head
Atode after
Chigau different
Chi-isai small
Chikaku near
Chokkaku right angles
Chushin centre
Dame don't, bad, not like that
Do (soft) side of the torso, also: degrees (angle)
Domo thanks (informal)
Domo arigato thank you (formal)
Dozo please (go ahead)
Eguru scoop out, gouge
Ganmen centre of face
Gokai grand, brash, intrepid, robust
Gomen nasai excuse me (apology)
Gyaku reverse, opposite, inverted
Hai yes
Han example
Hammi turned in
Hantai the other way around
Hara abdomen
Hayaku quick, fast
Heiko parallel
Hetta unskillful, bad
Hidari left
Hiji elbow
Hiki to pull
Hira flat
Hiza knee
Ichi mon jo straight line
Iie no
Jinchu centre of upper lip
Jozu skillful, good
Kaiten to turn
Kakato heel
Kakudo angle
Kata shoulder
Katate single handed
Kesa lapel of monk's costume, hanging from left shoulder
Kimochi feeling, sensation
Kiri, kiru to cut
Ki o tsukette be careful
Koshi hip, waist
Kote forearm
Kubi neck
Kyoju to teach
Machigai mistake
Mae in front
Massugu straight ahead
Mawari to swing around
Me eye
Men face
Migi right
Mimi ear
Miru to look
Mo more
Motto more
Mune chest
Nakazumi centre line of the body
Naname diagonal
Nanken 'bad sword,' wrong way
Naze why?
Ninode upper arm
Nodo throat
Ogesa big form
Oki big, large
Omote outside, front side
Onegai shimazu please (asking)
Oshiete kudasai please, teach me
Otoshu falling, cutting downwards
Owari end of training
Ren to polish
Sabaki movement
Seitei established
Semeru push, press, 'attack'
Shamen side of head including temple
Shita down, under
Shizuka ni shitekudasai quiet please
Shomen front side of head
So like that (the right way)
Sode sleeve
Soto outside
Suigetsu solar plexus
Suihei horizontal
Sukoshi a little, small amount
Sumimasen excuse me (to attract attention)
Sunden point between the eyes
Tanden lower abdomen
Tate upright, vertical
Tate ichi mon ji vertical line
Tatte kudasai stand upright please
Te hand
Tekubi wrist
Te no uchi handpalm
Tsumasaki tips of the toes
Uchi inside
Ude arm
Ue up
Ura inside, back side
Ushiro behind
Wakarimasen I don't understand
Wakarimasu I understand
Warui bad
Yatte mimasu I will try
Yawarakaku softly
Yoi good
Yoko flat, horizontal, to the side
Yoko ichi mon ji horizontal line
Yokomen upper part of head
Yubi finger, toe
Yukkuri slow