is purely a convention used here.

Any errors are solely those

of the author.

Glossary of A Dojo Commands

Hajime : 始め Begin/start.
Kamae-tō : 構え刀 Assume your stance.

Terms in Kendo Men (w)o tore : 面を取れ Take off your men.
Men (w)o tsu̥ke : 面を付け Put on your men.
Moku̥sō : 黙想 Begin meditation.

Stephen Quinlan
Osame-tō : 納め刀 Put away your weapon.
Otagai ni rei : お互いに礼 Bow to your peers.
Seiretsu : 整列 Line up.
Seiza : 正座 Assume seiza.

May 21, 2021 Sensei ni rei : 先生に礼 Bow to the sensei.

Shōmen ni rei : 正面に礼 Bow to the shōmen.
Sonkyo : 蹲踞 Assume sonkyo.
Tai-tō : 帯刀 Bring your weapon to the ready position at
your hip.
Yame : 止め Stop.
Yasume : 休め Break/rest period.
Shiai TeRms & Commands
Pronunciation Aids. Many Japanese terms have been Chūken : 中堅 Third player on a team match.
artificially hyphenated to aid in pronunciation, and some Enchō : 延長 Overtime. Enchō is “sudden death”, i.e.,
common rules for writing terms in English have been the first point wins. There is usually no time limit during
replaced, e.g., writing a Latin ō vs. an ou for a long oh enchō.
sound. Also, the IPA convention for indicating a silent or Fukushin : 副審 A sub-referee in a court during shiai.
voiceless vowel, e.g., u̥for a voiceless u, is used. This is not Fukushō : 副将 Fourth player on a team match.
normally done when writing Japanese terms in English and Fusen-gachi : 不戦勝ち Player wins a match by default
or disqualification.
Gōgi : 合議 Judges conference. Players osame-tō, step sonkyo, osame-tō, ritsu-rei, and exit the court.
back to the inner edge of the court and assume sonkyo in Shushin : 主審 The lead judge during a match.
tai-tō until the gōgi is over. Taishō : 大将 Fifth player on a team match.
Hajime : 始め Begin a match. Tasu̥ki : See mejirushi.
Hansoku : 反則 Penalty. Match stops, and players return Wakare : 分かれ Players separate to issoku ittō no
to their starting positions. maai, but maintain relative court positions.
Hansoku ikkai : 反則一回 First penalty. Yame : 止め Stop the match. Players return to center.
Hansoku nikai : 反則二回 Second penalty. A second GeneRal TeRms
penalty results in one point being awarded to the opponent Age-tō : (上げ刀) “Raised sword”. A katate variant of
and the penalty count is reset. jōdan no kamae.
Hantei : 判定 Judges decision. Ai : (1) (prefix) 相“Mutual, balanced, joint.” (2) (suffix)
Hiki-wake : 引き分け Match is a draw. 合い“Union, integration, match (together).”
Jihō : 次鋒 Second player on a team match. Ai-chūdan : 相中段“Mutual chūdan”. Both opponent’s
Jikan desu̥ : 時間です The time keeper’s signal to indicate face each other in chūdan no kamae.
to the shushin “time-up”. Players return to starting Ai-kakari geiko : 相掛稽古“Mutual attack practice.”
positions. Two kendōka do kakari geiko simultaneously.
Mejirushi : 目印 Colored flag worn on the backs of the Ai-te : 相手“Opponent.”
players. Also termed a tasu̥ki. Ai-uchi : 相打ち“Mutual strike.” Commonly translated
Nihonme : 二本目 Begin round two. as “simultaneous strike(s).”
Senpō : 先鋒 First player on a team match. Ashi : 足“Foot” or “leg.”
Shinpan : 審判 A judge or referee in a tournament. Ashi-gamae : 足構え“Foot Position.”
Shinpan-chō : 審 判 長 The referee director of the Ashi-sabaki : 足捌き(lit.) “Handle” or “deal with” the
tournament; “foot/leg”, i.e., “footwork”. See also ayumi-ashi, fukumiashi,
the head referee. fumi-komi, hiraki-ashi, nusumi-ashi, okuri-ashi,
Shinpan-shunin : 審判主任 The court specific referee suri-ashi, and tsugi-ashi.
director. Ayumi-ashi : 歩み足“Walking foot.” A normal walking
Shōbu : 勝負 Begin final round of a match. motion where the feet cross.
2 stephen inlan Bokken : 木剣“Wooden sword.” See boku̥tō.
Shōbu-ari : 勝負あり Match point. Players assume Boku̥tō ni yoru kendō kihon waza keiko hō :
木刀による剣道基本技稽古法“Practice of fundamental used to refer to small strikes.
kendo techniques with a boku̥to.” See boku̥tō waza. Chi̥ ka-ma : 近間“Short interval.” A distance that is
Boku̥tō waza : 木 刀 技 “ Wooden sword techniques.” shorter than issoku ittō no maai.
Abbreviation Chōtan–itchi–mi : (長短一身) “Strong point, weak
for boku̥tō ni yoru kendō kihon waza keiko point, one body.” The concept that everything has both
hō. A series of forms created to practice fundamental strengths and weaknesses in the same package.
shinai kendō techniques with boku̥tō. Chūdan hanmi no kamae : 中段半身の構え A variant
Boku̥tō : 木刀“Wooden sword.” The boku̥to, tachi and of chūdan no kamae used in the kodachi kata. See
kodachi, are primarily used to practice nihon kendō no hanmi kamae.
kata. The tachi is also used in the boku̥tō waza and can Chūdan no kamae : 中段の構え“Mid level stance.”
also be used to practice shinai kendō basics. Chūdan is known as the “kamae of water” due to its
Bōgu : 防具“Kendō armor.” Consisting of the men, kote, adaptability for offensive and defensive waza. Chūdan is
dō, and tare. See kendō-gu. the fundamental kamae in kendō.
Budō : 武道“Martial art” or “martial way.” Budō are Connection : En in Japanese, meaning a “bond, link,
martial arts where the focus is placed on bettering oneself relationship,
instead of pure combative victory. or connection.” In kendō this implies a mental
Bujutsu : 武術“Martial art” or “military art.” Bujutsu and physical connection to the opponent. The mental
is a martial art where the focus is placed on effective connection implies one has a perception as to how the
combat skills for defeating an opponent. opponent will act, their intents, their level of focus, ki–
Bushi : 武士“War/military gentleman.” A samurai. Often ken–tai–itchi, and zanshin. The physical connection
translated simply as warrior however this translation allows one to respond to physical movements, maintain
overlooks the meaning of the character shi 士: one who distance, adjust kamae, etc… A connection is essential to
serves or does in a polite context. understanding the rhythm.
Bushidō : 武士道“The way of the samurai”. A code of Daitō : 大刀 The name used to refer to the “long sword”
ethics, morals, and conduct for samurai. when using nitō.
Chi no kamae : 地の構え The “kamae of earth.” See Dan : 段“Step” or “level.”
gedan no kamae. Dan-i : 段位“Rank.” This refers to the set of dan ranks
Chiisai : 小さい“Small.” in kendō, commonly equated with the rank of “black
Chiisai waza : 小さい技“Small techniques.” A term belt”. Dan ranks range from first to eighth.
Datotsu : 打突 A “strike” or “thrust.” Shinai kendō is a Dō-chikawa : 胴乳皮 Leather loops on the dō-kawa
datotsu style of fencing as compared to a zantotsu style used to attach the dō-himo.
if a katana were used. Dō-himo : 胴紐 The strings used to tie the dō.
glossaRy of teRms in Kendo 3 Dōjō : 道場“Practice hall.” A place where one practices
Datotsu-bu : 打突部“Striking section.” The portion of budō.
the shinai strikes are made with; the mono-uchi. Dō-kawa : 胴皮 The lower portion of the dō covering
Datotsu-bui : 打突部位“Striking position.” Portion of the abdomen, the left and right sides of which makes up
the bōgu where one may strike. the striking area of the dō.
De : 出 From the verb deru, “start, begin, (just) coming Dō-mune : 胴胸 The chest portion of the dō.
out”, i.e., something is being initiated or started. Dōmo-arigato-gozai-mashi̥ta :
Dead : A term used to describe one’s weapon when the どうも有賀とご座いました“Thank you” (very polite).
ability for offensive and defensive techniques has been En : 縁 A “bond, link, relationship, connection.” See
eliminated. This can be the result of improper grip or connection.
striking technique, but most commonly this is caused by Enbu : 演武 A “martial arts demonstration.”
one’s strike being effectively parried via some type of Enzan no metsu̥ke : 遠山の目付け“Fixing your eyes on
defensive technique. a distant mountain.” See metsu̥ke.
Dead hands : Similar to your weapon becoming dead, Four sicknesses : The four sicknesses (shi-kai), or
however in this case it is caused specifically by your admonitions,
hands or forearms being in an improper position to control are ku 恐怖“fear”, gi 疑“doubt”, kyu 驚
one’s weapon or strike/cut effectively. “surprise”, and waku 惑“confusion.”
Debana : 出ばな From de “Come out, start, begin.” and Fukumi-ashi : 含み[ふくみ]足“Hidden” footwork.
bana “moment, situation”, i.e., the moment something This type of footwork is where one advances forward
begins. unnoticed by their opponent, while maintaining their
Debana waza : 出ばな技 Techniques used to strike as ashi-gamae. It is done by slowly creeping toward the
the opponent’s attack is being initiated. opponent by, e.g., curling and uncurling the toes, to
Dō : (1) 道“The way”, i.e. a way of enlightenment, or pull oneself forward. This is an advanced application of
of bettering oneself, e.g., kendō. (2) 胴 The abdominal footwork.
protector worn in kendō. See kendō-gu. (3) The name of
the target when striking the abdomen.
Fumi-komi : 踏 み 込 み The shortened, and almost awarded ippon. However with the popularization of
exclusively san-pō-mamori awarding ippon for gyaku-dō is now
used, term for fumi-komi ashi meaning “stepping” common.
or “rushing into footwork.” Fumi-komi is a large, lunging Gyo : 行“Stream.” See yuku and shin–gyo–so.
okuri-ashi style step where one momentarily forgoes using Ha : 刃 The “blade/edge” of a sword.
suri-ashi as the leading foot leaves the ground near Hajime : 始め“Begin/start.”
the end of the fumi-komi step. This type of footwork is Hakama : 袴 The traditional practice pants in kendō.
well known as the one that makes the stomping sound as Hanmi : 半身“Half body.”
the foot claps the floor. Hanmi kamae : 半身構え“Half body stance.” When
Furi-kaburi : 振り被り“To hold aloft (e.g. a sword); to assuming a hanmi kamae the torso is turned so it is only
brandish.” This refers to raising one’s weapon over one’s half exposed to the opponent.
head in preparation to strike; the upswing prior to a Hara : 腹 The “intestines” or “gut.” Located three fingers
strike. width below the navel.
Gedan hanmi no kamae : 下段半身の構え A variation Harai : 払い“Sweep away” or “brush off.”
of gedan no kamae used in the kodachi kata. See hanmi Harai waza : 払い技“Sweeping aside” waza. A waza
kamae. where one pushes the opponents weapon aside, breaking
Gedan no kamae : 下段の構え The “low level” kamae, 4 stephen inlan
also known as the “kamae of earth.” Gedan is considered their kamae, to create a su̥ki.
a physically defensive kamae but a strong and aggressive Harai-ageru : 払い上げる“Sweep and knock upward.”
spirit is required for it’s success. A specific version of harai waza where the opponent’s
Geiko : 稽古 See keiko. kamae is swept to diagonal up-left or up-right.
Gi : 着 The traditional practice jacket worn in kendō. Harai-otoshi : 払い落とし“Sweep and knock downward.”
Also known as a kendō-gi, dō-gi, or keiko-gi. A specific version of harai waza where the opponent’s
Go no sen : Also termed go sen no sen. See mitsu no kamae is pushed to the down-left or down-right.
sen. Hasaki : 刃先 A swords “cutting edge.”
Gyaku : 逆“Reversed” or “opposite.” Hassō no kamae : 八相の構え Known as the “kamae of
Gyaku-dō : 逆胴“Reverse dō.” Specifically this refers to wood”, the “eight position stance”, and sometimes in no
the left datotsu-bui of the dō. Formerly this was considered kamae, it is a variant of jōdan no kamae.
a non-standard target and strikes to it were rarely Haya suburi : 速素振り“Quick/swift” suburi, also
known as “jumping” suburi, is a common warm-up and/ step to the left or right.
or endurance exercise. Hira-seigan no takai : (平正眼の高い) A “high, tall”
Heijōshin : 平常心“Common” or “everyday mind.” A variant of “flat, common, ordinary” seigan no kamae. The
basic definition of this is keeping one’s mind in a normal variant of seigan written as 正眼 is equivalent to chūdan
state, unaffected by things around you; your mindset no kamae. This term then refers to altering one’s chūdan
during regular or common situations. to be higher. Specifically this kamae is used against an
Hi no kamae : 火の構え The “kamae of fire.” See jōdan opponent that assumes hidari jōdan no kamae.
no kamae. Hira-uchi : 平打ち Strike with the flat side of a blade. In
Hidari : 左“Left” (direction). kendō, striking with the side of the shinai.
Hidari shizentai : See shizentai. Honshō : (1) 本勝(lit.) “Base victory”, (2) (lit.) 本生
Hidari-te : 左手“Left-hand(ed).” “born in the present”, (3) (lit.) 本正“true base.” A term
Hiki : 引き(lit.) “Pull.” used in the ittō ryu school to describe certain types of
Hiki-age : 引き上げ(lit.) “Pulling rise.” Hiki-age refers attack methods related to the kata.
to somebody pulling up their hands upon hitting a target. Hyō-hō : 兵法“Strategy, tactics, art of war.” Also written
This is considered improper as the shinai is no longer in as hei-hō.
the correct position to emulate a cut. A subtle exception Iaidō : 居合道(lit.) “The way of the state of being
is a hiki-waza men; the zanshin for hiki-men brings present.” Interpreted as “the way of mental presence and
the shinai up into migi jōdan no kamae. However, this immediate reaction”. As an oversimplification, iaidō is a
is done after the kendōka has made their cut, i.e., one kata based martial art focused on the drawing, striking
moves backward with the shinai in the proper cutting with, and sheathing of a real sword, in an optimal way,
position first, then assumes jōdan as they continue their while maintaining focus and zanshin.
zanshin. Ichi byōshi : 一拍子“One [musical] time; beat.” A term
Hiki-tsuke : 引き付け“Pull into place.” used to indicate a motion or action that is to be done as
Hiki-waza : ひき技“Pulling (away) techniques.” Techniques one smooth motion, without pauses. Also translated as
where one strikes while moving backward. Also “in one breath.” For example, in kendō the movements
called hikibana waza. of an attack, i.e., lifting the shinai or boku̥tō overhead
Himo : 紐“String”, “cord”, or “strap.” and swinging to attack the target, should be done as one
Hiraki : 開き“To open” or “unfold.” motion without pause.
Hiraki-ashi : 開き足“Opening foot.” This is a semicircular Ichidan suburi : 一段素振り“One step” suburi.
In no kamae : 陰の構え“Waiting/still kamae.” The glossaRy of teRms in Kendo 5
antithesis of yō no kamae. See hassō no kamae. one sword distance.” The distance where one can launch,
Insō : 印相“Hand sign.” See mudrā. or evade, an attack by taking one step. This is the
Invading the maai : The act of physically moving well fundamental
into the striking range of the opponent with the express maai of kendō. While there are approximations
purpose of (1) pressuring the opponent, (2) crowding to what this maai is, usually described as the distance
the opponent making attacks awkward, or (3) making where you and your opponents sword tips cross, each
the opponent feel exposed. The end result is to cause individual will have their own unique issoku ittō no
the opponent’s spirit of attack to collapse. This is used maai simply due to the fact that each person will have a
in the nihon kendō no kata in tachi kata #3 & #6 and different “one-step” distance.
is the intent behind iri-mi in the kodachi kata. See also Issun no seme : 一寸の攻め“One sun” seme. Sun is
kurai-zume. an old Japanese unit of measurement, approximately
In–yō : 陰陽 The Japanese reading for the individual three centimeters long. Issun no seme refers to applying
characters for yin–yang. The term as a whole is correctly seme by consistently moving forward toward the opponent
pronounced as onmyō, meaning “dual cosmic forces”. one sun at a time, e.g., slowly but surely creeping
Ippon : 一本“One point” or “one strike.” forward while threatening a strike.
Iri-mi : 入り身(lit.) “Entering body”, often translated Ittō ryu : 一刀流“One cut school/style.” Itto ryu was
as “entering directly.” This is the fundamental intent and a sword school founded by Ito Ittosai Kagehisa which
mindset while using the kodachi. The action of spiritually branched into several sub-schools. This school has heavily
threatening and physically moving into your influenced modern kendō.
opponents maai to attack. Ji-geiko : 地稽古“Foundation practice.” Free sparring
Iri-mi no kamae : 入り身の構え(lit.) “Entering body practice allowing the student to work on their own
stance.” This is the position taken when invading the strengths, weaknesses, and spirit. See keiko.
opponent’s Jin-bu : 刃部 The “blade edge” of the shinai.
maai through iri-mi; the kodachi is in chūdan Jishū-geiko : 自習稽古(lit.) “Self-learning practice.” To
no kamae, blade downward, and the kensen directed actively learn by watching, reading, contemplating what
toward the opponent’s throat. was taught, etc…
Ire-zuki : 入れ突き“Entering thrust.” See nayashi irezuki. Jōdan no kamae : 上段の構え The “high level” kamae,
Issoku ittō no maai : 一足一刀の間合 The “one step, jōdan is known as the “kamae of fire.” As jōdan is very
spiritually aggressive, the terms ten no kamae and hi no Kamae-tō : 構え刀 Literally “stance sword”, this is the
kamae are used to describe the spirit required. term used to indicate one should bring the sword into
Jō-ge buri : 上下振り“Up-down swing.” A basic form of kamae if in a relaxed position. It also refers to drawing
swing practice to teach beginners how to swing in large the sword from the tai-tō position.
motions along their centerline. It is also often used as a Kamae (w)o toku : 構えを解く Kamae “untie, unfasten,
warm-up to help loosen up the shoulders. undo.” This term is used to refer to the breaking of kamae
Kaeshi : 返し“Return, reversal.” at the end of each of the nihon kendō no kata or boku̥tō
Kaeshi waza : 返し技“Return” techniques. Techniques waza.
where one momentarily receives the opponent’s strike Kan–kyū–kyō–jaku : 緩急強弱“Slow–quick–strong–
and, changing the direction of their weapon, immediately soft.” The timing, power, tension, speed, etc…, that come
counter attacks. together to give a waza it’s rhythm. This is not an artificially
Kakari geiko : 掛稽古“Attack practice.” This drill is imposed rhythm as each technique has it’s own
very common as it builds endurance and spirit. Kendōka unique rhythm in accordance with the opponent, their
attempt to attack quickly and continuously, flowing from attack, and the waza being used.
one strike to the next, while still maintaining proper Kane : 金“Metal.”
form and zanshin. With kakari geiko the zanshin can Kane no kamae : 金の構え The “kamae of metal.” See
sometimes be more spiritual than physical, depending on waki-gamae.
the situation. Kata : 形 See nihon kendō no kata.
Kakari-te : 掛手(lit.) “Attacking hand.” (1) Kakari-te is Katana : 刀“Sword.” Also pronounced as tō.
the one who attacks during drill practice. (2) The person Katate : 片手“One hand(ed).”
performing waza during the boku̥tō waza. Katate waza : 片手技“One handed” techniques.
Kakegoe : 掛け声“Yell.” Although having very different Katsugi waza : 担ぎ技“Shouldering the sword” technique.
meanings this is often interchanged with kiai. The sword is brought over the shoulder before
Kamae : 構え“Stance” or “position.” In kendō, this term striking. The overt motion is to create a su̥ki in your
has an obvious physical meaning, but it also has mental opponent while still being in a position to attack.
or spiritual implications. Kamae doesn’t mean to just Katsujinken : 活人剣“The life-giving sword.” In sword
hold your weapon in a certain position but that you must arts “life-giving” does not refer to not killing the opponent,
also assume a certain spiritual attitude; both together is but to not kill their attacking spirit, i.e., allowing
what makes an effective kamae. the opponent to act (attack). By manipulating the opponent
and allowing them to feel free to attack, opportunities of ken in this instance adds complexity as it translates
for ōji waza can be created. Using a katsujinken then to “attack”, but it also can mean “to begin” or to “be
refers to a particular type of strategy for defeating the trapped”. This could imply forcing the beginning the
opponent. “Katsujin-ken… involves a sophisticated encounter or trapping the opponent into a situation they
manipulation must respond to and that they do not control.
of the opponent and his actions by means of utter Ken (w)o korosu : 剣を殺す“Kill their sword.” See
selflessness; properly conducted it is virtually undefeatable”, san-sappō.
Friday (1997). This is a central strategy in Yagyū Kera : けら Horizontal padding on the fist of the kote.
Shinkage-ryū and other descendants of Shinkage-ryu. Ki : 気“Mind”, “spirit”, or “energy.”
The antithesis of katsujinken is setsunin-tō. Ki (w)o mite : 機を見る“To see the opportunity [to
Keiko : 稽古“Practice”, “training”, or “study.” Often used strike], seizing the [correct] moment [to strike].” In the
by kendōka to imply sparring practice in bōgu. nihon kendō no kata, tachi kata #1–7, uchidachi strikes
Ken : (1) 剣“Sword”, (2) 懸“Be trapped, begin, attack”. shidachi at the correct moment, defined as “…the chance
Kendō : 剣道“The way of the sword.” coming from the shifts in the opponent’s spirit, body, and
Kendō-gu : 剣道具“Kendō protective equipment”: See technique”, AJKF (2002) and “the instant separating mental
bōgu. and physical transformation on the verge of an attack.
Kendōka : 剣道家 A kendō practitioner. In other words, the opening that is created as a result of the
6 stephen inlan shifts in body, spirit, and technique”, Y. Inoue (2003).
Kenjutsu : 剣術“Sword art/technique.” Kiai : 気合い“Energy integration.” The vocal expression
Kensen : 剣先“Tip/point of a sword.” The tip of the of a unified mental & physical intent. Although one’s
shinai or boku̥tō; also called the kissaki. “fighting spirit” can be expressed through kakegoe, kiai
Ken–tai–itchi : 懸待一致(lit.) “Attack and waiting in and kakegoe are not the same.
unison.” This notion includes many complicated ideas Kiarasoi : 気争い“Spirit of mutual combat.” Overcome
that relate to the application of seme toward the opponent an opponent through a vigorous spirit, pressing forward
in order to set up an opportunity to strike. Simply to break their guard.
put, one pressures the opponent through seme (attack) Ki-atari : 気当たり(lit.) “Spirit/energy hit/prediction.”
and then holds to see their reaction (waiting), calmly Displaying an offensive stance or intent to strike, then
preparing to either counter attack or initiate an attack observing or anticipating the opponent’s reactions.
depending on the result, i.e., seme–tame. The meaning Kigurai : 気位“Presence, bearing, pride, dignity.” AJKF
(2011) defines kigurai as “the strength or commanding no kamae, specifically referring to the ease with which
presence derived from confidence acquired through both offensive and defensive waza can be used.
repeated Kōbō-itchi : 攻防一致“Unified offense & defense.” This is
training.” usually translated the same as ken–tai–itchi: ken means
Kihaku : 気迫“Spiritual force.” to “attack” while tai has the meaning of “wait” which
Kihon : 基本“Fundamental.” AJKF (2011) indicates means to “wait while observing
Kihon boku̥tō waza : 基本木刀技 See boku̥tō waza. the opponent’s movement calmly”, i.e., being ready to
Kikai : 気海“The sea of energy.” defend
Ki–ken–tai–itchi : 気剣体一致“Spirit, sword, body, as while attacking and vice versa. Kōbō is made up of
one.” The unified action of the spirit, sword, and body of the characters kō (攻), “aggression, attack”, and bō (防),
a kendōka is a fundamental principle in kendō. “ward off, defend, protect”. Kōbō then implicitly has a
Kiri-kaeshi : 切り返し“Returning cuts.” A partnered more physical or waza oriented meaning for offense and
practice of men, tai-atari, and sayū-men. One of the defense, e.g., actively striking and parrying. The inferred
most important drills in kendō, it’s often done as the meaning taken here then is that kōbō-itchi refers to a
initial and final drill of a practice. waza or action that is used to simultaneously attack and
Kiri-oroshi : 切り下ろし“To cut downward” (with a defend.
sword). This is the basic, large overhead cut used in iaidō Kobushi : 拳“Fist.”
which aims to cut the opponent from the head down to Kodachi : 小太刀 The “short sword” used in the nihon
the navel. This cut is also used in the nihon kendō no kendō no kata.
kata. Kodachi kata : 小太刀形 A subset of the nihon kendō
Kiri-otoshi : 切り落とし“Knock down while cutting.” A no kata using the kodachi.
waza for when two strikes occur in a potential ai-uchi, Ko-dare : 小垂 Small inner flaps on the tare.
one strike pushes the other aside, by the act of cutting, Kohai : 後輩 A “junior.” This is a relative term relating
and lands on the opponent. to experience and not necessarily ones age.
Kiri-tsuke : 切り付け“Cut or slash” (at something). Kōken–chiai 交剣知愛: (lit.) “Mixing swords–know love/
Kissaki : 切っ先 See kensen. compassion.” Translated as bettering oneself by learning
Ki (w)o korosu : 気を殺す“Kill their spirit.” See sansappō. compassion and understanding of humanity through
Kōbō : 攻防“Offense & defense.” In kendō this term is kendō. This is one of the ideals underlying the “Mindset
used to describe the general combative aspects of chūdan of Kendō Instruction”.
Kokoro : 心“Spirit” or “mind.” they are in a state of kyo 虚, “unpreparedness, falsehood,
Kokoro no kamae : 心の構え A “spiritual” or “mental fake.” Opportunities to strike occur when one is in a
stance”; a mindset or attitude. state of jitsu and the opponent is in that of kyo. A more
glossaRy of teRms in Kendo 7 complex situation of kyo–jitsu is that one can present
Komono : 小物(lit.) “Small part.” This refers to the small a weakness or expose an opening purposely as a lure to
piece of leather sometimes attached to the tsuru used in the opponent (kyo) but the true intent is to strike as they
tying the tsuru to the tsu̥ka-gawa of a shinai. react (jitsu). Or one can have their outward kamae or
Koshi : 腰“Hips, waist, or lower back.” Often translated posture be in a state of kyo, again as a lure or deception,
simply as “hips”, a broader translation is the term “core”. but keep their mind in a state of jitsu̥ in order to take
Koshiita : 腰板“Back” or “waist plate.” The firm plate on advantage of the opponent’s actions. These complex
the back of the hakama. examples
Kote : 小手“Forearm.” (1) The protective gloves worn in are directly linked to seme, tame, ken–tai–itchi,
kendō, see kendō-gu. (2) The name of the forearm target. and the mitsu no sen. Both the basic and advanced use
Kote-gashira : 小手頭(lit.) “Top/head of the kote.” The of kyo–jitsu requires a connection to the opponent.
hand portion of the kote. Kyū : 級 “ ____Rank”, “class.” In kendō this is used as a
Kurai : 位“Rank” or “level” of something. Also an ranking
“amount” of something. system for beginners, i.e., those who are below the
Kurai-zume : 位詰め(lit.) “Level (of) rebuke.” Pressure dan ranks. Kyu ranks usually begin at sixth kyu advancing
the opponent into disadvantage through physical and/ up to first kyu, however in some dōjō younger
or spiritual intimidation. Invading an opponent’s maai kendōka may begin at tenth kyu.
through strength of spirit, posture, kamae, etc…alone; no Ma : 間“Space.” Used in terms referring to distance or
specific waza is needed. spacing.
Ku̥sa : 草“Grass, weeds.” Ku̥sa is an alternate reading of Maai : 間合“Spacial integration.” Usually interpreted
the term so. as “distance”, maai takes into account many different
Kyo-jitsu : 虚実(lit.) “Truth and illusion.” A complex factors than just distance. Your speed, opponent speed,
term with many interpretations, but the most basic is reaction time, power, distance to opponent, kamae, etc…
that when one is in a state of jitsu̥ 実, “truth, preparedness, are all factors.
reality” they are prepared, and when unprepared Mae : 前“Front” or “forward.” Mae refers to a direction,
e.g., moving forward.
Mae-obi : 前帯“Front belt.” See tare-obi. engaging an opponent. In essence you liken looking at
Maki : 巻き(v) To “roll up”, “hoist”, “lift up.” your opponent to looking at a mountain with the opponents
Maki-kaeshi : 巻き返し The kaeshi waza used in the eyes being the peak. Focus directly on just one
fourth nihon kendō no kata. The boku̥tō is lifted upward point and that is all you see, look toward the peak the
from underneath the incoming thrust; the boku̥tō begins entire mountain comes into view.
on the right side of the thrust and ends on the left, at Migi : 右“Right” (direction).
which point the counter strike is made. Migi shizentai : See shizentai.
Men : 面(1) “Mask; face guard”; the helmet worn in Migi-te : 右手“Right-hand(ed).”
kendō, see kendō-gu. (2) The name of the target when Mitori geiko : 見取り稽古“Observational practice.”
attacking the head. Quite literally, learning by watching.
Men-buton : 面ぶとん The pressed cotton portion of the Mitsu no sen : 三つの先“The three sens.” This refers
men covering the top and sides of the head. to the three initiatives giving your attack an advantage.
Men-chikawa : 面乳皮 The small leather loops used to The first, sen sen no sen 先々の先, refers to having prior
attach the men-himo onto the men. There are two types knowledge of your opponents intentions and, using this
of men-chikawa used depending on the method used for knowledge, draw out their attack capitalizing on it. The
wearing the men. second, sen no sen 先の先, refers to attacking at the very
Men-dare : 面垂 The large flaps of the men-buton moment your opponent is about to attack. Third is go
which protect the shoulders. no sen 後の先. This refers to counter-striking your opponent
Men-gane : 面金 The metal grill that covers the face in after they have made their attack. The opponent
the men. is countered as in sen sen no sen, but knowledge of the
Men-himo : 面紐 Strings used to tie the men. opponents intentions are not known beforehand.
Men-tate-gane : 面縦金 The large vertical bar of the 8 stephen inlan
men-gane. Mizu no kamae : 水の構え The “kamae of water.” See
Men-yoko-gane : 面横金 The horizontal bars of the chūdan no kamae.
men-gane. Mogitō : 模擬刀“Practice sword.” Mogitō are blunt metal
Metsu̥ke : 目付け“Point of observation.” The full term swords with a sheathe used in formal demonstrations of
is “enzan no metsu̥ke” or “fixing your eyes on a distant the nihon kendō no kata.
mountain”. This refers to where one should look while Moku̥ no kamae : 木の構え The “kamae of wood.” See
hassō no kamae.
Moku̥sō : 黙想 The “meditation” done at the beginning also referred to as “mine”. (2) 胸“Chest.” The upper chest
and end of a kendō practice. portion of the dō; the dō-mune.
Mono-uchi : 物打“Hitting part.” The upper ¹⁄₄ length of a Mune-chikawa : 胸乳皮 The leather loops on the dōmune
shinai measured from the kensen down. See datotsu-bu. used when tying the upper set of himo.
For a boku̥tō (tachi) it is “the part of the blade of a sword Mushin : 無心“No mind.” In very basic terms, mushin
which cuts the best, said to be about 10cm from the tip.” is acting with a natural, calm state of mind, i.e., not
Morote : 諸手“Two handed.” distracted
Motodachi : 元立ち(lit.) Moto, “origin or cause”, tachi, by over thinking. Mushin is directly related to
“standing.” The motodachi is the one who attacks or creates the concept heijōshin.
an opening for the kakari-te to practice striking or Mutō no kokoro : (無刀の心) “Heart of no sword.” The
some type of waza. concept that the strength of one’s sword doesn’t depend
Motodachi geiko : 元立ち稽古 Also termed uchi-komi on the type of weapon or kamae used, but on the
geiko, this is when a kendōka strikes targets offered by strength of one’s heart or spirit.
an opponent. Nafuda : 名札 The name tag worn on a kendōka’s ōdare.
Mu : 無“Not” or “no.” A prefix indicating a negation. Also known as a zekken.
Mudrā : (Sanskrit: मद्र
ु , “gesture”, Japanese: insō) The Nagasu : 流す“Drain, pour, set adrift.” Japanese words
can be converted between a noun form and a verb form
mudrā (International Phonetic Alphabet: /muˈdrɑ:/,
according to the suffix. Nagasu is the verb form, nagashi
International
the noun. See uke-nagashi.
Alphabet of Sanskrit Transliteration: mudrā)
Nakayui : 中結 The leather tie on the shinai ¹⁄₄ the
are hand positions used to symbolize various Buddhist
length of the shinai from the top.
concepts and meanings. There are a number of such
Naname buri : 斜め振り“Diagonal swing.” Similar to
hand positions, however in kendō we use but one: zenjōin,
jō-ge buri but with the strikes angled at about 30°–45°.
the mudrā of meditation during the brief period of
Nayashi : 萎し“Wither, droop; to be lame.”
moku̥sō before and after practice.
Nayashi ire-zuki : 萎し入れ突き Shidachi’s parry
Mu-gamae : 無構え“No kamae” or the “void kamae.”
and counter thrust in the third tachi kata. Shidachi first
This stance expresses independence from a rigid kamae;
deflects uchidachi’s thrust, nayashi and then counter
one able to freely adapt and use any kamae as needed.
attacks with an immediate thrust of their own, ire-zuki
Mune : (1) 棟 The top (blunt) side of a Japanese sword,
with the intent of invading uchidachi’s maai.
Nidan : 二段“Two step” or “two level.” verb okuru, “to send out” or “to see off.” The standard
Nidan suburi : 二段素振り“Two step” suburi. footwork used in kendō where one makes complimentary
Nidan waza : 二段技“Two step” waza. steps, most commonly a “right–left” motion, using
Nihon kendō no kata : 日本剣道の形“The Japanese suri-ashi, without crossing the feet.
kendō forms.” These are the formal set of techniques Omote : 表“Front”, “outside”, or “visible side.” This refers
designed to express the technical principles of glossaRy of teRms in Kendo 9
swordsmanship to the left side of the shinai or boku̥tō.
which form the basis of modern shinai kendō. Onegai-shimasu : 御願いします“Please” (do me the
Nitō : 二刀 A common term referring to nitō kamae. said favor).
Nitō kamae : 二刀構え“Two sword stance” where one Orishiki : 折り敷き“Kneeling.”
holds a long and a short sword. Orishiki dō : 折り敷き胴“Kneeling dō.” In the seventh
Nuki : 抜き To “escape.” tachi kata, a nuki dō is followed by kneeling vs. the
Nuki waza : 抜き技 Waza where you simultaneously usual okuri-ashi zanshin. This style of zanshin is unused
dodge a strike and execute a counter attack. in modern kendō.
Nusumi : 盗み“Stealing.” From nusumu, “to steal.” Rei : 礼(1) “Bow”, or the act of bowing. (2) “Manners;
Nusumi-ashi : 盗み足“Stealing/stealthy footwork.” etiquette” A term referring to general etiquette.
There are several methods for performing nusumi-ashi, Rei-gi : 礼儀“Bow/thanks rule/ceremony.” Rei-gi refers to
H. Inoue (2003). A simple variation of tsugi-ashi, however the reasons behind rei, i.e., “why”, “who”, and “when” we
the feet are moved such that one puts the feet in are to perform the actions of rei-hō.
the position to cover a large distance as in tsugi-ashi, Rei-hō : 礼法“Bow/thanks law/principle.” The formal
however it is done without the opponent noticing. systematization of the movements and actions of etiquette
Obi : 帯“Belt.” The obi is a belt that is worn (optionally) and formality.
with the hakama and gi. The obi is the belt that held the Renzoku : 連続“Continuous, repeating.”
samurai’s sword at their waist. Renzoku waza : 連続技“Repeated/continuous techniques.”
Ō-dare : 大垂 The large outer flaps on the tare. This usually implies striking multiple times in
Ōji : 応じ“To respond.” succession.
Ōji waza : 応じ技 Counter attacking waza, i.e., techniques Rhythm : A term frequently by Musashi to describe the
used in response to your opponent’s attack. unique flow and/or timing associated with an encounter.
Okuri-ashi : 送り足“Sending out (the) feet” From the He uses the term to refer to individual actions of oneself
or the opponent, e.g., a specific waza, an interaction Saki-gawa : 先革 The leather cap, attached to the tsuru,
between on the end of the shinai.
opponents, e.g., adjusting or balancing maai, to Saki-gomu : 先ゴム The insert in the tip of the shinai.
the more abstract of deciphering the intentions of the Samurai : 侍 See bushi.
opponent. “There are a variety of rhythms in strategy. Sandan : 三段“Three step” or “three level.”
First of all, understanding the matching rhythm and Sandan suburi : 三段素振り“Three step” suburi.
distinguishing San-pō-mamori : 三方守り“Three point defense.” A
from the rhythm which does not match, and position, popularized in shiai, used to block attacks toward
from among rhythms large and small, slow and fast, men, kote, and migi dō simultaneously. While
understanding potentially effective, san-pō-mamori leaves gyaku-dō
the rhythm of hitting the mark, understanding and tsu̥ki open for attack.
the rhythm of intervals, and understanding the rhythm San-sappō : 三殺法(lit.) “Three killing laws.” Three
that goes against rhythm – these are the most essential methods for overwhelming an opponent using a sword;
things in strategy. If you do not get how to discern the (1) ken (w)o korosu: kill their sword, (2) ki (w)o korosu:
rhythm of opposition, your strategy will never be certain”, kill their spirit, and (3) waza (w)o korosu: kill their techniques.
Musashi (2012). The basic idea is that killing the opponent’s spirit
Riai : 理合“Principles behind.” The condition under implies overwhelming them with your own, causing
which an action or actions are rational, purposeful. hesitation and doubt. See four sicknesses. Killing the
Ritsu-rei : 立礼 A “standing bow” which is done at 15° opponent’s sword implies controlling their ability to
or 30°, depending on context. manipulate their weapon for offensive or defensive
Ryoku : 力“Strength, power, proficiency, ability.” purposes.
Sae : 冴え(n) “Clearness, clarity.” Also referred to as the Finally, killing the opponent’s techniques implies
sharpness or skillfulness of a strike. When done with countering or anticipating the opponent’s intentions,
correct te-no-uchi a shinai strike that has sae is often removing their ability to make an effective attack.
accompanied Saya : 鞘“Sword sheathe”.
by a characteristic “pop” upon landing while Sayū-men : 左右面(lit.) “Left and right” men. An angled
appearing effortless. strike to the upper left or right men.
Sage-tō : 下げ刀“Hanging sword.” The relaxed standing Seigan no kamae : Most commonly written as
position with one’s weapon held at their side. 正眼の構え(lit.) “Correct eye stance” or 晴眼の構え
(lit.) “clear eye stance.” Often translated as “aiming at during the second kodachi kata.
the eyes”. There are several variations of seigan, each a Seme-kuzushi : 攻め崩し An “unbalancing” or a “disruptive
slightly different kamae with respect to the position of pressure.” While pressuring the opponent, semekuzushi
the kensen, and each written with different characters, can be likened to the final nudge inducing the
Shigeoka (1977) and Imafuji (2019). Previously in the opponent to react.
nihon kendō no kata the term seigan was common and Sen : 先(1) “First move”, is synonymous with sente. (2)
the variant used was to be understood from the context, “Previous; former.”
in modern kendō the term has been eliminated from the Sen no sen : See mitsu no sen.
official kata descriptions. One specific variant is still used Sen sen no sen : See mitsu no sen.
in response to jōdan no kamae and is often called seigan Senpai : 先輩“Senior.” Literally “previous people.” In
or hira-seigan no takai, H. Inoue (2003), but in the kata kendō this is a relative term relating to experience in
descriptions it is referred to as “a chūdan position”, AJKF something, not necessarily age.
(2002), with notes on how to adjust it correctly. Sensei : 先生(lit.) “Born previous”, usually interpreted
Seiza : 正座“Correct sitting” (position). The Japanese as “teacher”, i.e., somebody older than you and hence has
formal seated position. more experience. In kendō experience and rank are also
Seme : 攻め(n) An “attack” or “offense.” From the verb taken into account regarding this term.
semeru meaning “to attack” or “to assault”, seme is most Sente : 先手(n) “First move, initiative.” Sente in kendō
often interpreted as “pressure”, e.g., a spiritual pressure refers specifically to an attack used to seize the initiative
put on the opponent, the intent of which is to make them against the opponent.
focus on your (perceived) imminent attack resulting in a Setsunin-tō : 殺人刀“The killing sword.” In sword arts
momentary loss of composure creating various opportunities this does not refer to killing the opponent, but to killing
to strike. their attacking spirit. By overwhelming the opponent’s
Seme-ai : 攻め合い“Union of pressure.” Seme-ai is spirit they are unable to attack or cope with attacks.
the point where two opponents actively pressure one Setsunin-tō is then a specific strategy for facing an
another in an attempt to create an opening. Seme-ai, opponent.
10 stephen inlan “Setsunin-to is an egoistic and risky approach
realistically, only occurs when in combative range. to combat–the slightest miscalculation will result in the
Seme-komu : 攻め込む“To invade; to attack.” The forward swordsman walking straight into the opponent’s
step taken by shidachi to invade uchidachi’s maai counterattack”,
Friday (1997). Setsunin-tō is the antithesis of shidachi embodies in the kodachi kata. From the ittō
katsujinken. ryu school, these correspond to three different methods
Shi : 仕“To serve” or “to do” in a polite context. of attack. These also correspond to the ideas of three
Shiai : 試合“Match, game, bout, contest.” A match where phases or transitions, for example formal, semi-formal,
points are scored to determine a winner. informal. Another example refers to shapes or forms
Shiai-jō : 試合場“Match area.” The court for a shiai. where shin is the true shape, so is the essence of the
Shidachi : 仕太刀“The doing/serving sword.” The role of shape, and gyo is the transition between the two. These
the “student” in the nihon kendō no kata. feelings also correspond to shu–ha–ri.
Shi-kai : 四戒“Four admonitions.” See four sicknesses. Shinogi : 鎬 The thick, raised ridge on either side of a
Shikake : 仕掛け“Start, begin, commence.” katana. The shinogi is used for deflecting or manipulating
Shikake waza : 仕掛け技 Techniques to initiate a strike. the opponent’s sword. In general, this should also
Shin–ki–ryoku–itchi : 心気力一致“Mind, spirit, and transfer to deflections in modern kendō with boku̥tō or
action as one.” The shin, a heart or mind able to predict shinai.
an opponent’s action through a state of mushin, guides Shinogi (w)o kezuru : 鎬を削る“Shaving/scraping
one’s ki, the dynamic mental state of one’s spirit, which the shinogi.” This is done in the fourth tachi kata after
in turn dictates one’s ryoku, physical actions in the form uchidachi and shidachi’s ai-uchi. Keeping a sense of
of technique. combative tension while lowering to chūdan no kamae
Shimoza : 下座“The lower seat” or “seat at the bottom.” each fights for center to prevent a su̥ki their opponent
In a modern dōjō the shimoza refers to two areas: where can take. This is the essence of tsuba-zeriai.
the entrance/exit is located, and opposite the shōmen. Shinpan : 審判“Referee, judge.” A shiai referee.
Both are “low rank” positions. Shinsa : 審査“Judging, inspection, examination.” A
Shin : (1) 心“Mind”, “heart”, or “spirit.” (2) 真“Truth”. grading/examination done before a panel of judges.
See shin–gyo–so. Shisei : 姿勢“Position.” Shisei refers to a physical position,
Shinai : 竹刀“Bamboo sword.” e.g., tai-tō shisei indicates a position often shortened
Shin–gi–tai–itchi : 心技体一致“The mind and one’s to tai-tō.
ability as one.” The ability to put one’s intent into effective Shishin : 止心“Stopped mind.” This refers to the mind
action. becoming focused on one thing inhibiting free action.
Shin–gyo–so : 真行草‘Shin’, (lit.) “truth”, ‘Gyo’, (lit.) Focusing on the opponent’s weapon, plans to find an
“stream”, and ‘So’, (lit.) “grass.” The three feelings which opening, not wanting to get hit or countered, etc…
Shizentai : 自然体 The “natural body.” This posture the student is able to leave their teachings behind them
is one where the kendōka stands with natural (proper) as the “specific machinery” is no longer overtly needed;
posture, i.e., standing straight and extending the spine, all is natural. The nihon kendō no kata embody shu–ha–
shoulders back, arms hanging naturally at ones side, ri in tachi kata #1–3, and in kodachi kata #1–3.
feet shoulder width, and the core engaged via a pelvic So : 草“Grass.” See ku̥sa and shin–gyo–so.
tilt. Migi and hidari shizentai is when the right or left Sonkyo : 蹲踞(lit.) “Crouching”. The formal crouching
foot is forward respectively and the opposite shoulder position in kendō.
is pulled slightly backward. This is not to be confused Suburi : 素振り“Elementary swing.” A fundamental part
with a hanmi kamae; the body is turned slightly in a of basic kendō. Kendōka will easily perform many
migi/hidari shizentai whereas it is turned much more in a thousands
hanmi kamae. of practice strikes in their training, learning proper
Shi̥tsurei-shimasu : 失礼します“Excuse me.” Usually technique through repetition.
said prior to taking jōdan no kamae, in particular against Su̥ki : 隙“Interval”, “gap”, “opportunity.” Referring to
glossaRy of teRms in Kendo 11 an opening in either your own or in your opponent’s
a senior. defense. It also refers to an opening or gap in ones
Shōmen : 正面(lit.) “Front.” (1) The frontal target area of thoughts or actions.
the men. (2) The symbolic head/front of the dōjō. Suri-age : すり上げ(lit.) “Sliding rise.”
Shoshin : 初心“Beginners Mind.” The idea of not letting Suri-age waza : すり上げ技 A “rising slide” waza. Used
experience dilute the vigor one has for even simple to deflect an attack by sliding your weapon along the
things when inexperienced. opponent’s making a small, half-circle motion as you lift
Shōtō : 小刀 The “short sword” used in nitō. your weapon into the path of the attack. This rising-slide
Shu–ha–ri : 守破離‘Shu’, (lit.) “protect”, “obey”, ‘Ha’, motion is not to be confused with hitting or knocking
(lit.) “detach”, “digress”, and ‘Ri’, (lit.) “leave”, “separate.” the opponent’s weapon out of the way.
In brief, shu–ha–ri is a term used to describe the various Suri-ashi : 摺り足(lit.) “Sliding foot/leg.” Kendōka,
stages of learning or progress in many arts. The first regardless of the type of footwork, will most often be
stage, ‘Shu’, has the practitioner obeying the teachers sliding their feet as they step. There are exceptions but
method and ideals in every detail. The second, ‘Ha’, is the fundamentals of kendō always use sliding footwork.
when the student has learned enough that they are able Suri-komi : すり込み(lit.) “Sliding step.” This waza is
to incorporate their own ideas. The third, ‘Ri’, is when used during the third kodachi kata. Shidachi slides their
blade along the uchidachi’s, controlling it, as they step “suicide attack.” A technique used by kendōka to create
into uchidachi’s maai. a su̥ki in their opponent by upsetting their balance via a
Suri-nagashi : すり流し(lit.) “Slide and ward off.” The push. It is crucial to understand the difference between
motion is often likened to allowing water to “pour off” of tai-atari and simple pushing or shoving.
something. This waza is used during the third kodachi Tai-sō : 体操“Gymnastics, calisthenics”, i.e., a warm-up.
kata. Tame : 溜め(lit.) To “store, amass, accumulate.” AJKF
Suri-otoshi : すり落とし(lit.) “Slide and knock down.” (2011) defines tame as “the condition of being composed
This waza is used during the third kodachi kata. Shidachi both mentally and physically and maintaining a spiritually
pushes their blade down and to the left, sliding it replete state despite the tense situation.” Tame is a
along uchidachi’s blade, pushing their strike down and complex idea, however in a very basic sense tame is the
away. continuation of seme. When applying seme, one waits to
Su̥temi : 捨て身(lit.) “Sacrifice/abandon body/self”, often see the opponent’s reactions while maintaining their
translated as “body abandoning.” Usually interpreted attacking
as “all or nothing” this term refers to the mentality, derived spirit. It also has a broader meaning that applies
from combat with actual swords, needed in order to over the duration of a match. A kendōka is to amass
make effective strikes. That is that one will either kill or their spirit throughout, constantly building it, but also
be killed during the strike attempt. Only by placing one’s having the willpower to face the opponent at their own
life on the line and giving their all can a strike become pace, e.g., not rushing or being pushed into reacting to
truly effective. the opponent at a pace they set.
Tachi : 太刀 The “long sword” used in the nihon kendō Tanden : 丹田“Energy farm/field.” In Eastern martial
no kata. arts this is where one develops ki. Also termed kikaitanden,
Tachi kata : 太刀形 A subset of the nihon kendō no ge-tanden, or sei-tanden, it’s a point about three
kata using the tachi. fingers width below the navel, at the center of gravity of
Tachi-ai no maai : 太刀合いの間合 The distance the human body.
kendōka are separated before engaging in each of the Tare : 垂(lit.) “Hang, suspend.” The “skirt of a coat.” The
nihon kendō no kata or boku̥tō waza; approximately waist/groin protector worn in kendō.
nine steps apart. Tare-himo : 垂紐 The thin, long belts attached to either
Tai : (1) 体“Body.” (2) 待“Wait.” (3) 帯“Belt’/sash”. side of the tare-obi.
Tai-atari : 体当り“Body blow”, “ramming attack”, or Tare-obi : 垂帯 The waistband of the tare. Also known
as the mae-obi. attempting to create an opening to strike.
Ten : 天“Sky”, “heaven” or “point.” Tsu̥chi no kamae : 土の構え The “kamae of earth.” See
12 stephen inlan gedan no kamae.
Ten no kamae : 天の構え The “kamae of heaven.” See Tsugi : 継ぎ(lit.) “Patch, join, successor.”
jōdan no kamae. Tsugi-ashi : 継ぎ足“Adding/extending/elongating”
Te-no-uchi : 手の内“Palm, skill.” In kendō this is how footwork. This style of footwork is a variation of okuriashi,
one handles their shinai or boku̥tō upon striking. Te-nouchi where the kendōka brings both feet side by side
allows one to transfer power to the kensen while before taking the okuri-ashi step. This motion helps to
maintaining control over the strike during the moment it build momentum and is often used to cover very large
impacts the target. distances.
Te-no-uchikawa : 手の内皮 The palms of the kote. Tsu̥ka : 柄“Handgrip.” This refers to the handle of the
Tenugui : 手拭い“Hand towel.” The cloth towel worn shinai or boku̥tō.
underneath the men. Tsu̥ka-gashira : 柄頭“Top/head of the tsu̥ka.” This refers
Tō : 刀“Sword.” A Japanese sword; katana. to end of tsu̥ka.
Tobi-komi : 飛び込み“Burst into.” Tsu̥ka-gawa : 柄革 Literally “tsu̥ka-leather”, the tsu̥kagawa
Tobi-komi waza : 飛び込み技. Making a powerful is the leather sheath covering the handle of the
attack the moment the opponent’s spirit falters. shinai.
Toku : 解く To “untie, unfasten, undo.” See kamae (w)o Tsu̥ka-himo : 柄紐 The small leather “cord” at the top of
toku. the tsu̥ka-gawa the tsuru attaches to.
Tokui waza : 得意技“Strong point” or “specialty technique”, Tsu̥ki : 突き(1) (lit.) “Thrust.” (2) The name of the target
refers to one’s strongest waza. when thrusting to the throat.
Tō-ma : 遠間 A distance longer than issoku ittō no Tsu̥ki-dare : 突き垂 The throat protector on the men,
maai. Also called tōi-maai. see kendō-gu, for receiving tsu̥ki attacks.
Tsuba : 鍔 The “sword guard” on a shinai or boku̥tō. Tsuru : 弦 The string connecting the saki-gawa and
Tsuba-dome : 鍔止め“Stopper” holding the tsuba in tsu̥ka-himo on the top side of the shinai.
place. Tsu̥tsu : 筒“Cylinder, pipe, tube” . Area of the kote one
Tsuba-zeriai : 鍔迫り合い(lit.) “Urging/forcing (while) may strike. Also called the kote-tsu̥tsu.
tsubas are joined together.” The position when two Uchi : 打(1) “To hit; strike”, (2) “to present something.”
kendōka are in close proximity, tsuba against tsuba,
Uchi-ma : 打ち間“Striking distance.” The spatial distance Waza (w)o korosu : 技を殺す“Kill their Waza.” See
at which one can strike the opponent. While ma san-sappō.
has a distinct meaning from maai, uchi-ma is implicitly Yagyū Shinkage-ryū : 柳生新陰流 Yagyū Shinkage-ryū
related to the three general maai: issoku ittō no maai, is one of the oldest kenjutsu schools in Japan. Descendant
chik̥ a-ma, and tō-ma. from Shinkage-ryū, founded by Kamiizumi Nobutsuna,
Uchidachi : 打太刀“The striking sword” or “the presenting the Yagyū Shinkage-ryū was founded by Yagyū
sword.” Uchidachi assumes the role of the “teacher” Munetoshi and is still practiced today.
in the nihon kendō no kata. Yin–yang : 陰陽 Individually the characters are read
Uchi-komi : 打ち込み Striking practice using fumikomi. as in–yō in Japanese, this term is from Chinese Taoism
Uchi-otoshi : 打ち落とし To “knock/hit down.” dealing with opposites and/or duality; the definition of
Uchi-otoshi waza : 打ち落とし技. Techniques for striking glossaRy of teRms in Kendo 13
the opponents weapon downward, midway through one is dependent on the definition of its opposite. The
their attack, redirecting it. idea of yin–yang also embodies the idea of a dynamic
Uke : 受け“Accept, take, receive.” (1) One who is receiving balance of opposites or opposing aspects throughout nature,
strikes during practice drills. (2) Momentary block of e.g., still/moving, negative/positive, defense/attack,
an incoming strike prior to a counter attack. etc…
Uke-nagashi : 受け流し“Receive and ward off.” This Yoko-men : 横面“Sideways” or “horizontal” men. A
waza is used during the first and second kodachi kata. sideways katate strike to the right or left side of the men.
The uchidachi’s attack is received using the kodachi Some use this term to refer to a sayū-men strike.
while at the same time redirecting it by making it slide Yokote : 横手 The area on a katana where the tip ends
off the kodachi via the shinogi and hiraki-ashi. and the blade proper begins.
Ura : 裏(lit.) “Inside.” The right side of the shinai or Yokote-kōsa : 横手交差“Intersection of the yokote.” The
boku̥tō. position kendōka meet at when they will perform formality
Ushiro : 後“Backward.” Ushiro refers to a direction. based motions, e.g., kamae (w)o toku or sonkyo,
Waki-gamae : 脇構え“Side stance.” Known as the “kamae in the nihon kendō no kata and boku̥tō waza.
of metal”, sometimes yō no kamae, it is a variant of Yō no kamae : 陽の構え“Attacking kamae”. The antithesis
gedan no kamae. of in no kamae. See waki-gamae.
Waza : 技“Technique(s).” Fencing techniques used Yūkō-datotsu : 有効打突“Effective strike.” In kendō,
against an opponent. yūkō-datotsu is an accurate, i.e., made in the same direction
as the jin-bu, strike or thrust (1) onto the datotsubui . 2011. Japanese–English Dictionary of Kendo. 2nd ed. All
of the opponent’s kendō-gu with the shinai at the Japan Kendo Federation.
datotsu-bu, (2) in high spirits and correct posture, and Friday, Karl F. 1997. Legacies of the Sword: The Kashima-
(3) followed by zanshin. Shinryū and Samurai Martial Culture.
Yuku : 行“To proceed, to flow.” Yuku is another reading University of Hawai’i Press. isbn: 0-8248-1847-4.
of the term gyo. Imafuji, Masahiro. 2019. Kendo Study: 5 Points to Put
Zanshin : 残心“Remaining mind.” In the context of Pressure (5 Seigan). YouTube video. Posted by Hiro Imafuji,
kendō this is, simply put, interpreted as sustaining both March. https://www.youtube.com/watch?v=5eCVyEtm610.
mental and physical readiness with every action in order Inoue, Hidekatsu. 2003. Progress in Kendo Book (剣道上達
to be able to respond or cope with the opponent; a Book). Narumi Hall Publishing. isbn: 4-415-01915-3.
sustained alertness. Inoue, Yoshihiko. 2003. Kendo Kata: Essence and
Zantotsu : 斬突“Cut” or “thrust.” Similar to datotsu, Application. Translated by Alex Bennett. Kendo World
however zantotsu applies to cutting, e.g., with a sword, Productions.
where as datotsu refers to hitting, e.g., with a shinai. isbn: 4-9901694-1-7.
Modern kendō is a datotsu style, however the mentality “International Phonetic Alphabet.” 2017. International
and intent should mimic that of a zantotsu style. This is Phonetic Alphabet.
made explicit in the Concept & Purpose of Kendō by “… http://www.internationalphoneticalphabet.org/.
application of the principles of the katana.” Musashi, Miyamoto. 2012. The Five Rings, Miyamoto
Za-rei : 座礼“Seated bow” from the seiza position. Musashi’s Art of Strategy. Translated by David K. Groff.
Za-zen : 座禅“Seated Zen” (meditation). Watkins Publishing. isbn: 978-0785834007.
Zekken : ぜッケソ Name tag worn on the tare. Also Shigeoka, Noboru. 1977. Detailed Explanation of Nippon
termed a nafuda. Kendo Kata (詳解日本剣道形). Ski Journal Limited.__
Zen : 禅. See za-zen.
Zenjō-in : 禅定印“Zen meditation hand position.” See
mudrā.
References
All Japan Kendo Federation. 2002. Nippon Kendo Kata
Instruction Manual. All Japan Kendo Federation.