Shin-Ryu Aikido

at

UBC Okanagan


   

Vocabulary

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The word "Aikido" is written with three characters of Kanji.  The first is "Ai" which means to harmonize, unite or come together.  The second, "Ki" means energy, spirit, and mind.  "Ki" may refer to one's own spirit, and in the largest sense, to the spirit of the universe.  The last character is "Do" which means path, or way.  This signifies that Aikido is a way to live one's life.  Aikido therefore means "the way of harmonizing with the spirit of the universe".  Aikido is more than a system of self-defense, it is a total discipline for physical and spiritual growth.  Aikido is a martial art founded in Japan by Master Morihei Ueshiba.  As a youth Ueshiba Sensei, or O-Sensei (great teacher) as he was called, developed an intense interest in Budo or Japanese martial arts.  He began training in Jujutsu, quickly mastering a variety of styles.  He also mastered the sword, staff, and spear.  He soon had a reputation as a martial artist of extraordinary powers.  Although he had mastered a number of styles he felt that he still did not understand the essence of Budo.  He then delved deeply into Zen Buddhism and Shinto, and undertook intense spiritual training.  Finally he realized that the true essence of Budo was not winning over others, but winning over the discord in ourselves.  The spirit of Budo is the spirit of loving, protection for all things.  The unique feature of Aikido is that one is never in conflict with one's opponent or training partner.  The founder stressed that the goal of Aikido was not to defeat another, but to win over the discord within oneself.  To train one's mind and body, to discover and fulfill one's purpose in life, to harmonize oneself with the spirit of the universe, and to realize that all people are members of one human family are the higher goals of Aikido.  Aikido teaches an effective, positive way to handle situations, physical and psychological, without resorting to aggressive, competitive, or destructive tactics.  Through the physical practice of Aikido the students comes to appreciate and understand the spiritual aspects.  During practice sessions the partners work in harmony with each other, learning when and how to yield, how to lead and guide another's movements, and how to take another person down through non-resistive techniques.  The movements of Aikido are based on O-Sensei's study of the spear and sword.  This together with his philosophy of blending with and leading the opponent's energy resulted in the characteristic flowing, spherical movements of Aikido.  The basic principle of Aikido movement is turn when pushed, enter when pulled.  All movement originates from Hara.  Stability, flexibility, and calm control of mind and body are emphasized.  Mind and body should be relaxed and alert.  The founder stressed two important points concerning movement.  "In Aikido one is not in dualistic opposition with one's partner, both are one unit in which both elements are under the control of one person.  There is no form and no style in Aikido.  The movement of Aikido is the movement of nature whose secret is profound and infinite.


 

 

 

AGURA WO KAKU:     CROSS LEGGED SITTING POSITION.  THIS AND SEIZA ARE THE ONLY ACCEPTABLE SEATED POSITIONS WHILE ON THE MAT.  THEY ARE THE MOST SAFE POSITIONS WHILE OTHERS ARE TRAINING ON THE MAT.  MORE IMPORTANTLY THEY ARE POSITIONS OF ATTENTIVENESS.

 

AI:     HARMONY, THE PRINCIPLE OF HARMONY AND INTEGRATION. 

 

AI-HANMI:      SITUATION IN WHICH OPPONENTS FACE EACH OTHER IN SAME POSTURE.  MAY ALSO BE REFERRED TO AS AI-GAMAE.

  AIKI:      HARMONY WITH SPIRIT,  OR NATURE.  "HARMONY MEETING" OR "SPIRIT MEETING".  THE AIKIDO PRINCIPLE OF INTEGRATING ONE'S ATTITUDE WITH THAT OF AN OPPONENT AND THUS BECOMING ONE WITH THE OPPONENT'S MOVEMENTS IN ORDER TO CONTROL HIM OR HER.

AIKIDOKA:     ONE WHO PARTICIPATES IN AIKIDO.

AIKI TAISO:      THE BASIC EXERCISES OF AIKIDO. 

ASHI:     LEG OR FOOT.

ASHI SHIBUMI:     MAT WALKING (GLIDING STEP).  FEET CROSS EACH OTHER. 

ATEMI:     STRIKING TECHNIQUES.  BLOWS DELIVERED AGAINST VULNERABLE POINTS OF THE BODY.  ALSO CALLED ATE-WAZA.

BOKKEN:    WOODEN SWORD.

BUDO:      MILITARY WAY OR WAY OF FIGHTING.

BUJUTSU:     A COLLECTIVE TERM FOR ALL OF THE JAPANESE JUTSU (ARTS) EXTANT BEFORE THE MID-18TH CENTURY AND PRACTICED ALMOST EXCLUSIVELY BY THE SAMURAI WARRIOR.  THESE COMBATIVES, WHOSE MAIN USE WAS TO OVERCOME A FOE IN COMBAT, WERE THE FORERUNNERS OF THE MODERN DO (WAY) SYSTEMS.  THUS, JUDO EVOLVED FROM JUJUTSU, KENDO FROM KENJUTSU, AND ETC.

BUSHI:     WARRIOR.

CHIBURI:     IN IAIDO (WAY OF THE SWORD), A SHARP DOWNWARD STROKE OF THE SWORD DONE IN SUCH A WAY AS TO SHAKE OFF THE BLOOD ACCUMULATED FROM PREVIOUS CUTTING ACTIONS.  THIS ACTION IS TRADITIONALLY DONE BEFORE RETURNING THE BLADE TO ITS SCABBARD.

CHIKARA:     PHYSICAL, EXTRINSIC STRENGTH.

CHUDAN NO KAMAE:     MID SWORD POSTURE.

DAISHO:     "BIG AND SMALL"  TWO SWORDS, ONE LONG AND THE OTHER SHORT, WORN BY THE SAMURAI CLASS IN FEUDAL JAPAN.  THE LONGER (DAI) WAS THE FIGHTING SWORD, (THE KATANA), AND THE SHORTER (SHO) THE WAKIZASHI WHICH WAS USED AS A SUPPLEMENTARY WEAPON.

DAITO:     A LONG SWORD, WHOSE CUTTING EDGE WAS OVER 24 INCHES IN LENGTH, AS CONTRASTED WITH SUCH SHORTER SWORDS AS THE WAKIZASHI  (18 INCHES).

DESHI:     STUDENT.

DO:     "WAY" OR "PATH".  WHEN THIS TERM IS USED AS A SUFFIX TO A PARTICULAR STYLE OF THE JAPANESE MARTIAL ARTS, IT IS INDICATIVE OF MORE THAN JUST A MEANS OF COMBAT.  DO INDICATES A DISCIPLINE AND  PHILOSOPHY WITH MORAL AND SPIRITUAL CONNOTATIONS, THE ULTIMATE AIM BEING ENLIGHTENMENT AND PERSONAL DEVELOPMENT.

DOGI:    PRACTICE UNIFORM.

DOJO:     TRAINING HALL, LITERALLY WAY PLACE.  A TRAINING HALL WHERE THE MARTIAL ARTS ARE PRACTICED.  IN ZEN MONASTERIES, THE HALL OF SPIRITUAL EXERCISES, MEDITATION, AND CONCENTRATION.

DOJO-CHO:     HEAD INSTRUCTOR OF A DOJO.

DOMO ARIGATO GOZAIMASU:     "THANK YOU VERY MUCH".

DORI:    TAKE, GRAB, GRASP.

FUDO SHIN:   THE IMMOVABLE MIND.

FUNE KOGI UNDO:    ROWING EXERCISE, STANDING.  

GAIESHI:      OUTWARD TURNING.                                                     

GASSHUKU:    TRAINING CAMP.           

GEDAN NO KAMAE:     LOW SWORD POSTURE.

GOKYO:    LITERALLY 5TH TECHNIQUE. 

GOMEN NASAI:     "I APOLOGIZE."

GO-NO-SEN:   ATTACKING AFTER YOU HAVE BEEN ATTACKED; A COUNTER-ATTACK.

GOSHI:      THE LATERAL PELVIS; HIPS.

GYAKU:     REVERSE OR OPPOSITE.

GYAKU-HANMI:     SITUATION IN WHICH PARTNERS FACE EACH OTHER IN DIFFERENT POSTURES.

GYAKU NO KAMAE:     REVERSE SWORD POSTURE.

GYORETSU:    FOOTWORK, ALSO CALLED UNSOKU.

HA:     THE EDGE.  THE CUTTING EDGE OF THE KATANA.

HADAKA-JIME:    A CHOKE WHERE THE RIGHT HAND ENCIRCLES YOUR PARTNER'S THROAT FROM BEHIND WITH THE LEFT HAND (PALM UP) GRIPPING THE RIGHT HAND (PALM DOWN) AND RIGHT KNEE IN THE MIDDLE OF YOUR PARTNER'S BACK.

HAI:     YES.

HAI DOZO:     LIT.  "YES PLEASE".  "PLEASE TRAIN NOW".

HAJIME:     THE COMMAND TO BEGIN.

HAKAMA:     PLEATED SAMURAI TROUSERS. 

HAKU SHU:     PURIFICATION BY HAND CLAPPING IS MEANT TO QUICKLY CLEAN OUT HEAVILY STAGNATED VIBRATIONS MANIFESTED AS DELUSIONAL THINKING, UNBALANCED MOTION, AND INHARMONIOUS MOVEMENT.  TWO CLAPS REPRESENT THE PRIMARY DIFFERENTIATION'S OF THE INFINITE ONENESS OF THE UNIVERSE; IN AND YO, FEMALE AND MALE, MATTER AND ENERGY, SPACE AND TIME.  HAKU SHU BEGINS AND ENDS EACH CLASS.

HANMI:    TRIANGULAR STANCE, INHERITED FROM THE YAGYU  SHINKAGE RYU.  THIS IS A POSTURE IN WHICH ONE FOOT IS ADVANCED.  IN AIKIDO WE USE THE TRIANGULAR STANCE CALLED "SANKAKUTAI".  HAN MEANS (HALF), AND MI MEANS (BODY), HALF BODY STANCE. 

HANMI HANDACHI:    NAGE IN SEIZA, UKE STANDING.

HANTAI:    OPPOSED. 

HAPPO GIRI:    SWORD KATA (8 DIRECTION CUT).

HAPPO UNDO:      EIGHT DIRECTION EXERCISE.

HARA:     VITAL CENTER.  LITERALLY BELLY.  LOCATED APPROXIMATELY 2 INCHES BELOW THE UMBILICUS.

 HASSO KAMAE:    SWORD POSTURE WHERE THE GUARD OF THE SWORD IS NEAR THE MOUTH AND THE ELBOWS ARE HELD NEARLY HORIZONTAL.

HIDARI:     LEFT, OR LEFT SIDE.

HIDARI-HANMI:    LEFT NATURAL POSTURE.

HIJI TORI:     ELBOW GRAB.

HIKI-TAOSHI:    THE 8TH TECHNIQUE OF THE JU-NANA HON. 

HIKITATE -GEIKO:     ENERGETIC PRACTICE.  UKE OFFERS SMALL AMOUNT OF RESISTANCE TO NAGE, BUT ALLOWS HIM TO FINISH WAZA.  A WAY TO OBJECTIFY ABILITY.

 

IAI-JUTSU:    AN ANCIENT METHOD OF COMBAT CENTERED UPON THE PERFECTION OF THE INITIAL MOVEMENT OF THE SWORD.

 

IDORYOKU:   LOCOMOTIVE POWER; THE

POWER OF MOVEMENT.

IKKYO:    FIRST TECHNIQUE.  ALSO CALLED OSHI-TAOSHI.                                                                                       

IN:     YIN. EXPANSIVE QUALITY, CENTRIFUGAL, FEMALE PRINCIPLE.

INYOITTAI:    YIN AND YANG TOGETHER.

 

IRIMI:    LINEAR ENTERING.  AN ENTERING MOTION.  LITERALLY "PUTTING IN THE BODY", MOVING INTO AND THROUGH THE LINE OF ATTACK WITH NO THOUGHT OF ESCAPE.  THERE ARE THREE MOVEMENTS OF IRIMI;  EN NO IRIMI-CIRCULAR.  SANKAKU NO IRIMI- TRIANGULAR, AND CHOKUSEN NO IRIMI- SQUARE FORM ENTERING.

 

IRIMI NAGE:  OUTWARD SPIRALING ARM THROW.  ALSO CALLED SAYO NAGE.

JIYU WAZA:    FREE-STYLE PRACTICE OR TECHNIQUE.  

JO:    SHORT STAFF DEVELOPED BY MUSO GUNNUSUKE.  48" TO 51".  USUALLY 3/4"- 1" THICK.  THE MOST COMFORTABLE MEASUREMENT IS FROM FLOOR TO AXILLA (ARMPIT).

JO DORI:    STAFF TAKING.

JODAN NO KAMAE:    HIGH SWORD POSTURE.

JU:    SUPPLENESS.

JUDO:    THE "WAY OF SUPPLENESS, ADAPTING, AND ALSO NONRESISTANCE", FROM THE ANCIENT JUJUTSU TECHNIQUE AND BUDO ETHICS BY COUNT JIGORO KANO, 1860-1938.

JUMONJI NAGE:    'X' THROW.  JU IS THE NUMBER TEN IN JAPANESE AND IS REPRESENTED BY A CROSS  (+).

JU-NANA HON NO KATA:     THE l7 RANDORI TECHNIQUES.

JUTSU:    MEANS "ART" AS IN BUJUTSU, MILITARY ART.

KAESHI:    COUNTERING TECHNIQUE.

KAESHI-WAZA:    REVERSAL TECHNIQUE (S).  SOMETIMES REFERRED TO AS URA-WAZA.

 

KAITEN-NAGE:   ROTARY THROW.  1.  UCHI KAITEN NAGE (INSIDE ROTARY THROW.  2.  SOTO KAITEN NAGE (OUTSIDE ROTARY THROW).  IS SAME AS UDE-HINERI, THE 9TH TECHNIQUE OF THE JU-NANA HON.

 

KAKARI-GEIKO:     APPLICATION PRACTICE.  NO RESISTANCE IS OFFERED NAGE DURING WAZA.  A FORM OF KATA PRACTICE.

KAMAE:    SWORD POSTURE.             

KANSETSU-WAZA:    JOINT TECHNIQUES, LOCKING TECHNIQUES.  TECHNIQUES OF DISLOCATION.

KASHIRA:    SWORD POMMEL.

KATA:    SHOULDER.  ALSO REFERS TO THE FORMAL ARRANGED PRACTICES FOUND IN MOST MARTIAL SETTINGS.  LITERALLY MEANS "FORMS" AND CONSTITUTES A PRACTICE OF PRE-ARRANGED MOVES THAT THE PARTIES MASTER THROUGH NUMEROUS REPETITIONS.                                                   

KATA DORI:   SHOULDER GRAB.                                        

KATANA:   LONG SWORD CARRIED BLADE UP.

KATATE DORI:    WRIST TAKING.

 

KATE:   THE ACTUAL THROWING MOTION OF AIKIDO WAZA.  THE FIRST PRINCIPLE OF WAZA IS KUZUSHI, TO UNBALANCE, TSUKURI, TO MOVE INTO POSITION; AND FINALLY KATE, THE ACTUAL THROWING.  ALL PARTS OF THE WAZA ARE DONE AS ONE SMOOTH MOVEMENT.

KATSU-JIN-KEN:    THE SWORD THAT GIVES LIFE.

KEIKO:    TRAINING, STUDY OR PRACTICE.  TRAINING IN A GENERAL SENSE.  KEI=SURPASSING, KO=ANCIENT, ANCESTRAL.  KEIKO ALSO MEANS BECOMING AWARE OF THE TOTALITY OF THE PAST.

KEIKO GI:    TRAINING CLOTHING.

KEN:   JAPANESE SWORD.

KENJUTSU:    SWORD TECHNIQUES.

KI:   NATURE, ENERGY, SPIRIT. 

KIAI:   SOUND ORIGINATING FROM HARA.  LITERALLY SPIRIT UNION.

KIHON DOSA:    FUNDAMENTAL MOVEMENT.

KIHON WAZA:   BASIC TECHNIQUE.  KIHON WAZA IS THE FOUNDATION OF AIKIDO.  THE   MOVEMENTS AND ENERGIES OF AIKIDO CAN BE FOUND IN THESE MOVEMENTS.

KIME:    FOCUS.  THE FOCUS OF POWER IN A ATTACK OR BLOCK.  THE PROPER APPLICATION OF STRENGTH, SPEED, AND SHOCK ALL DELIVERED AT THE RIGHT MOMENT PRODUCES KIME.

KI NO NAGARE:    KI LIKE A STREAM (CONTINUOUS OUTPOURING).

KI NO TSUNAMI:    KI LIKE A WAVE.

KISSAKI:    SWORD POINT.

KODOSURU:    ACTING, GOING FIRST, TO GET INVOLVED WITHOUT HESITATION, PURPOSEFUL FORTHRIGHT ACTION.

KOHO TENTO:    ROLLING EXERCISE, BACK AND FORTH.

KOHO UKEMI:    BACK FALL.  ALSO CALLED USHIRO UKEMI.

KOKYU:    LITERALLY "BREATH".                                                       

KOKYU DOSA:    SEATED KOKYU TRAINING WITH PARTNER.

KOKYU NAGE:    TIMING THROW (TWENTY YEAR THROW).  IN DAITO-RYU THIS TECHNIQUE IS CALLED AIKI NAGE.

KONGO NO KAMAE:    VERTICAL SWORD ATTITUDE.  THIS RELATES TO AME NO BASHIRA NO OMI KAMI, THE SPIRIT OF THE HEAVEN SUPPORTING PILLAR.

 

KOSHI WAZA:   HIP TECHNIQUES.  THROWING TECHNIQUES EMPLOYING PRINCIPALLY THE HIPS OR WAIST.   NAGE LIFTS UKE FROM THE MAT WITH THE MOVEMENT OF KOSHI.

 

KOTE:    WRIST; ALSO CALLED TEKUBI.

 

KOTE GAESHI:    OUTER WRISTLOCK THROW.  WRIST TWIST.           

 

KOTE GIRI:    WRIST CUT.

KUBI:   NECK.

KUBI-SHIME:    A NECK CHOKE.

KUMITACHI:   PARTNER PRACTICE WITH SWORD.  PAIRED SWORD PRACTICE IN WHICH BOTH PARTNERS BEGIN WITH THEIR SWORDS ALREADY DRAWN. 

KUZUSHI:    BALANCE.  MEANS TO UPSET OR BREAK BALANCE.  THIS IS THE FIRST PRINCIPLE OF ALL AIKIDO TECHNIQUE, UNBALANCING BEFORE MOVING INTO POSITION (TSUKURI) AND THE ACTUAL THROW ( KATE).

KUZUSHI NO RI:    THE PRINCIPLE OF BREAKING BALANCE.  CONCERNS THE METHOD OF ATTACK:  CREATE A CHANCE OF WINNING BY TAKING ADVANTAGE OF BREAKING YOUR OPPONENT'S BALANCE OR OF HIS TEMPORARY IMMOBILITY.

KYU:    GRADES PRECEDING YUDANSHA RANK.  MUDANSHA ARE PRACTITIONERS OF KYU RANKING.

 

MA: yes">  FROM THIS POSITION, NEITHER PARTY CAN ATTACK THE OTHER WITHOUT STEPPING IN ONE STEP.  MEANS "HARMONY OF SPACE."  IN KUMITACHI PRACTICE THERE ARE THREE DISTINCT KINDS OF MA-AI: 

            1.    ITTO ISSOKU MA-AI.  PARTNERS ARE SEPARATED BY ABOUT A THIRD OF A METER.  ONE STEP FORWARD BY EITHER WILL BRING THEM BOTH INTO STRIKING DISTANCE.  THIS IS IMPLIED BY THE NAME ITSELF-ITTO ISSOKU MEANS "ONE SWORD; ONE STEP."

            2.    TOI MA-AI, WHEREIN THE KISSAKI (TIPS) OF THE SWORD JUST TOUCH.

            3.    CHIKAMA MA-AI, WITH THE TOP THIRD OF THE SWORD CROSSING THE OPPONENT'S.  IT IS AT THIS DISTANCE THAT THE OUTCOME OF THE ENCOUNTER, SHOULD IT BE A REAL BATTLE, WILL ALREADY HAVE BEEN DECIDED.

MAE:    FORWARD.

MAKIWARA:    LITERALLY TARGET.  STRIKING APPARATUS IN AIKIDO, KARATE, KYUDO, ETC.

MATE:    THE COMMAND TO WAIT.  TO STOP YOUR ACTION AT THAT MOMENT.  SEE YAME.

MEN:   HEAD.

MICHI:   IN A SPIRITUAL CONTEXT, THE MEANING OF THE WORD IS AKIN TO "THE WAY";  IN OTHER CONCEPTS, IT MAY MEAN "FIELD," AS IN THE FIELD OF LITERATURE, AND "ART", AS IN THE ART OF PAPER MAKING.

MIGI:   RIGHT.

MIGI-HANMI:    RIGHT NATURAL POSTURE.

 

MISOGI-NO-JO:    IS KAGURA (DIVINE MOVEMENT).  O-SENSEI SAID HE WAS GIVEN THE MOVEMENTS OF MISOGI-NO-JO BY SARUDAHIKO-NO-O-KAME (GUARDIAN SPIRIT OF AIKIDO).

MOCHI:    TO GRASP OR HOLD WITH THE HAND(S).  TO GRIP.

MOKUSO:   CONCENTRATION EXERCISE IN WHICH YOU INHALE THROUGH THE NOSE, DRAWING THE BREATH INTO YOUR LOWER ABDOMEN AND THEN EXHALING THROUGH THE OPEN MOUTH. 

MOROTE:    DOUBLE OR TWO-HANDED.  USE OF TWO HANDS TO PERFORM A TECHNIQUE.

MUDANSHA:   ONE WITHOUT DAN RANKING.

MUNE:    BACK OF THE BLADE.  ANATOMICALLY REFERS TO THE CHEST OR ABDOMEN.

MUNE-TSUKI:    LOW BLOW TO ABDOMEN OR MIDDLE BODY.

MUSHIN NO SHIN:    THE MIND OF NO MIND.  THE MIND UNCONSCIOUS OF ITSELF.  ALSO REFERRED TO AS MUNEN, "NO THOUGHT".  MUNEN AND MUSHIN ARE SYNONYMOUS.  ALSO THE "TRUE MIND" IN BUDDHISM.

MUSUBI:    OPPOSITES ARE BUT DIFFERENT IMAGES OF THE SAME REALITY.  MUSUBI IS THE PROCESS OF THEIR UNIFICATION.  IT IS THE MOVEMENT OF THE SPIRAL.  EXPANSION, CONTRACTION, EVOLUTION.  A CORNERSTONE OF AIKIDO UNDERSTANDING.  THE POWER OF BECOMING.

NAGE:    THROW, OR ONE WHO THROWS.  NAGE CAN ALSO BE CALLED TORI. ALSO SHITE.

NAGE WAZA:    THROWING TECHNIQUES.

NAKAIMA:    THIS MOMENT IN REAL TIME;  THE ETERNAL PRESENT.  THE IDEA IN JAPANESE THOUGHT THAT CURRENT GENERATIONS ARE ONE LINK IN THE CONTINUING CHAIN OF HUMAN EXISTENCE.  ACCORDING TO THE PRINCIPLES OF NAKAIMA, TO BE GRATEFUL FOR THE EFFORTS OF PREVIOUS GENERATIONS IS BEST DEMONSTRATED BY BEING RESPONSIBLE FOR THE WELL-BEING OF THOSE THAT WILL FOLLOW.

NIKYO:    SECOND TECHNIQUE.  ALSO CALLED KOTE-MAWASHI, (WRIST IN-TURN).      

 

NIS-SHO:    THE JAPANESE NATIONAL EMBLEM, THE SUN.

 

O:     MEANS MAJOR, BIG OR GREAT.

OBI:    BELT.

OKURI-ERI-JIME:    SITUATION WHERE YOUR OPPONENT GRASPS YOUR RIGHT WRIST AND TRIES TO CHOKE FROM BEHIND BY GRASPING YOUR RIGHT LAPEL WITH THE LEFT HAND.

OMOTE:    TO THE FRONT.

ONEGAI SHIMASU:  "PLEASE COME SHARE YOUR TRAINING WITH ME."

OSAE-WAZA:    CONTROLLING TECHNIQUE.  TECHNIQUES OF IMMOBILIZATION.

OSAERU:   TO CONTROL A OPPONENT.

O'SENSEI:    TITLE AFFECTIONATELY GIVEN TO UESHIBA MORIHEI, THE GREAT AIKI SAGE.  BORN DECEMBER 14, 1883, IN THE MOTOMACHI DISTRICT OF THE CITY OF TANABE, WAKAYAMA PREFECTURE, JAPAN.

OSHIBORI:    INWARD HAND TWISTING ON SWORD HANDLE.

OTOSHI:    "DROP".

RANDORI:    SITUATION WHERE AIKIDOKA DEFENDS AGAINST ANY NUMBER OF OPPONENTS IN A FLUID AND CONTINUOUS FASHION.

REI:    A COMMAND TO BOW.  OTHER EXPRESSIONS WITH REI ARE:  SHOMEN NI REI (BOW TO THE FRONT); SENSEI NI REI (BOW TO THE TEACHER); AND OTAGAI NI REI (BOW TO EACH OTHER).

REISHIKI:    DOJO ETIQUETTE.  MAY ALSO BE CALLED REIGI.

REPPAKU:    THE VERTICAL EXCHANGES OF ENERGY BETWEEN HEAVEN AND EARTH.  THE PRIMARY FUNCTION OF THE AIKI O KAME IS THE REGULATION OF REPPAKU.

RIAI:   COMMON, UNIFIED PRINCIPLES OF SWORD, STAFF AND BODY TECHNIQUES. RITSU

REI:    STANDING BOW.

RYOKATA-TORI:    BOTH SHOULDERS GRASPED.

RYOTE:    BOTH HANDS.

RYOTE-MOCHI:    TWO-HAND GRAB (TWO HANDS GRABBING ONE HAND).

RYOTE-DORI:    TWO HANDS GRABBING TWO HANDS.

RYU:     "WAY", "SCHOOL", "STYLE", OR "METHOD".  A TERM USED AS A SUFFIX AFTER ALMOST ALL STYLES OF JAPANESE MARTIAL ARTS.  BUDO TRADITION PASSED ON BY FAMILY SUCCESSION.  "RYU" SHARES GENEALOGY WITH THE VERB "NAGARE" (TO FLOW LIKE A STREAM).  AS THE STREAM FLOWS THROUGH SPACE THE RYU FLOWS THROUGH TIME.

RYU-HA:    NON-FAMILY LINEAGE TRADITION.

SANKAKUTAI NO IRIMI:     THE GEOMETRICAL FIGURE OF STABILITY AND POTENTIAL MOTION ADOPTED IN AIKIDO AND OTHER MARTIAL ARTS, WITH THE FEET IN A TRIANGULAR POSITION.  TRIANGULAR ENTRY.  ONE ENTERS TO THE SIDE AND THEN TO THE REAR OF ONE'S PARTNER IN A TRIANGULAR PATTERN

SANKYO:    INWARD ARM TURN, 3RD THROW.  ALSO CALLED TENKAI-KOTE-HINERI. 

 

SATSU-JIN-KEN:    (THE SWORD THAT TAKES LIFE). 

 

SAYA:    THE SCABBARD OF A JAPANESE SWORD, USUALLY MADE OF WOOD.

SAYO NAGE:    OUTWARD SPIRALING ARM THROW.  ALSO CALLED IRIMI NAGE. ALSO GYAKUGAMAE-ATE.

SEICHU-SEN:   THE CENTER LINE OF YOUR BODY.  IF YOU PLACE YOUR HANDS TOGETHER IN FRONT OF YOU AS IN PRAYER, THIS IS YOUR SEICHU-SEN.

SEIZA:    SITTING IN A KNEELING POSITION KEEPING ONES BACK STRAIGHT.  IT IS PERFORMED TO ATTAIN PEACE, CALM AND DEEP CONCENTRATION.  WHEN SEIZA IS PERFORMED WITH THE EYES CLOSED, IT IS CALLED MOKUSO.

SENSEI:     INSTRUCTOR.  SEN MEANS "BEFORE", AND SEI MEANS "BORN".  THE LITERAL MEANING OF THE WORD IS "ONE WHO IS BORN BEFORE"; THUS, THE ONE WHO IS BORN BEFORE YOU IS YOUR TEACHER.  THIS REFERS LESS TO CHRONOLOGICAL AGE THAN TO THE TEACHER'S WISDOM;  IN SPIRITUAL TERMS HE OR SHE IS MY ELDER, AND THUS MY TEACHER.

SEN-NO-SEN:    SENSING AND PREPARING FOR YOUR OPPONENT'S ATTACK BEFORE YOUR OPPONENT MOVES OR PERHAPS EVEN KNOWS HIS MANNER OF ATTACK. 

SETTSUKU:    LITERALLY, "CONNECTION."  SETTSUKU IN THE MARTIAL ARTS REFERS TO THE CONNECTION BETWEEN ALL PARTS OF THE BODY WHEN MOVING TO ATTACK OR DEFEND ONESELF.

SHEDE:    PAPER FOLDED INTO HELICAL STRANDS.  THEY REPRESENT THE PERIPHERAL PROCESSES OF NATURE.  

SHIAI:    CONTESTS OR COMPETITION.  ALSO CALLED SHOBU.

SHIHO GIRI:    FOUR DIRECTION CUT.  RELATES TO THE AIKI CROSS.  THE BASIC AIKIDO SWORD MOVEMENT.

SHIHO NAGE:    OUTWARD ARM ROTATION.  FOUR CORNER THROW.     

 

SHIKAKU:    THE OPTIMUM ENTERING ANGLE.  OUR PARTNER'S BLIND SPOT.

 

SHIKKO:    KNEE WALKING.  THE KNEE WALK EXERCISE FOR MOVING FROM A SEIZA POSITION.

SHIME:    TO CHOKE.

SHIMENAWA:    BRAIDED STRAW ROPE, THREE STAND UMBILICUS SYMBOLIZING MAN'S LINK TO THE UNIVERSAL.  THE STRANDS OF STRAW ARE TWISTED INTO A HELIX.  THE STRAW ENDS EXTEND VISIBLY AT BOTH ENDS.  THE "ROOTS" ARE THE STREAMS OF INFINITY SPLITTING INTO YIN AND YANG, GIVING RISE TO THE RESONANCE OF MATERIALIZATION.  ALL THINGS, PHENOMENA, AND BEINGS EMERGE FROM AND RETURN TO THIS SOURCE.  ROPE SURROUNDING SACRED PLACES OR THINGS IN SHINTO.  FROM OKINAWA: HENCE THE GREAT KNOT, BECAUSE IT IS THE FIRST LARGE ISLAND ONE ENCOUNTERS ON ARRIVING IN JAPAN.  ATTACHED TO THE SHIMENAWA ARE THE "SHEDE".

    A POSITION ASSUMED FOR DEFENSE OR COUNTER-ATTACK. IT CAN BE NATURAL (SHIZEN-TAI), OR DEFENSIVE (GIGO-TAI)

SHIZEN-TAI:    LITERALLY NATURAL POSTURE.  MEANING AN UNOBSTRUCTED STATE OF BEING THAT IS IN FLUX OR DYNAMIC HARMONY WITH THE UNIVERSAL.  TRUE NATURAL POSTURE IS THE ATTITUDE OF MUSHIN.  ALSO CALLED SHIZEN-TAI NO RI, THE PRINCIPLE OF NATURAL BODY.  NATURAL STANDING POSITION WITH THE LEGS PARALLEL AND FEET SHOULDER WIDTH APART, THE KNEES SLIGHTLY BENT, WEIGHT ON THE BALLS OF THE FEET, BACK STRAIGHT AND ARMS RELAXED AT THE SIDE.

SHODAN:     HOLDER OF THE FIRST DEGREE BLACK BELT.  LITERALLY BEGINNING RANK.  FIRST LEVEL.  THE FUNDAMENTAL TECHNIQUES OF A RYU.

SHOMEN:    THE HEAD OF THE DOJO.

SHOMEN UCHI:    STRIKE TO THE CROWN OF THE HEAD.

SHOTE-AWASE:    THE CONCENTRATION EXERCISE WHICH FOCUSES ONE'S ENERGY  ON THE BASE OF THE PALM.

SHUCHU-RYOKU:    IS THE CONCENTRATION OF THE WHOLE OF ONE'S POWER AT A GIVEN INSTANT AT A GIVEN POINT.

SHUGYO:    TRAINING OR PRACTICE.

SODE:   SLEEVE.

SOKE:    HEAD MASTER OF A TRADITIONAL MARTIAL ART.

SOKUHO UKEMI:    SIDE FALL.

SUBURI:    TO SWING THE SWORD, SWORD PRACTICE.

SUDORI:    NAGE DROPS TO THE MAT CREATING A VACUUM WHICH DRAWS UKE FORWARD. (TIMING IS ESSENTIAL).

SUKI:    THE MIND STOPS, AN OPENING (A BREAK IN TIMING).

SUKUI NAGE:   SCOOPING THROW.

SUMI MASEN:   "EXCUSE ME".

SUWARI WAZA:    NAGE AND UKE ARE BOTH IN SEIZA.  TECHNIQUE(S) PERFORMED IN SEIZA AND SHIKKO.

TACHI DORI:    SWORD TAKING.

TACHI WAZA:    STANDING TECHNIQUES.

TAIKO:    THE DRUM USED IN SOME JAPANESE DOJO TO CALL ALL SESSIONS TO ORDER OR TO CONCLUDE THEM.

TAI NO HENKO:    BODY TURNING METHOD.  ALSO REFERRED TO AS TENKAN. 

TAI-JUTSU:    BODY ART.  TECHNIQUES PERFORMED WITHOUT WEAPONS.

TAI-SABAKI:     LITERALLY BODY EVASION.  BODY MOVEMENT.  THE TURNING ACTION OF THE BODY.  AN IMPORTANT PRINCIPLE IN AIKIDO RELATING TO ONE'S POSITION IN RELATION TO YOUR PARTNER.  MOVING THE BODY OUT OF THE WAY.

TANDEN:    ANOTHER WORD FOR "CENTER", "HARA", YOUR CENTER OF BEING.

TANDOKU-UNDO:     THE FOOTWORK (GYORETSU), COMBINED WITH THE VARIOUS HAND MOVEMENTS.

TANTO:    A JAPANESE DAGGER.

TANTO DORI:    KNIFE TAKING.

TATAMI:    RICE STRAW MATS (3' x 6' ) STANDARD.

TE:    HAND.

TE-GATANA:     HAND BLADE.  THE USE OF TE-GATANA AS DEVELOPED BY PRINCE TEIJUN FUJIWARA IN THE NINTH CENTURY IS CONSIDERED TO BE THE BEGINNING OF AIKI.

TE-GATANA AWASE:     THE CONCENTRATION EXERCISE THAT USES THE TE-GATANA.

TE-KUBI KOSA UNDO:     WRIST CROSSING EXERCISE .

TE-KUBI KOSA JOHO UNDO:     WRIST CROSSING UP EXERCISE.

TE-MOTO:     SWORD GRIPPING MANNER.  THE IDEAL TE-MOTO IS THE UNOBSTRUCTED GRIP OF THE INFANT.

TEN:     HEAVEN.  ONE OF THE FOUR ELEMENTS.                                   

 

TEN-CHI:     HEAVEN AND EARTH.

 

TEN-CHI NAGE:     HEAVEN AND EARTH THROW.      

TENKAN:     CIRCULAR ENTERING.  TURNING TO DISSIPATE FORCE.

TE WAZA:     HAND TECHNIQUES.

TOKUI-NO-WAZA:    A PRACTITIONER'S FAVORITE TECHNIQUE.  WHEN VISITING ANOTHER DOJO HE MAY BE ASKED TO TEACH HIS "TOKUI-NO-WAZA".

TORI:    LITERALLY "TAKER".  MEANS SAME AS NAGE.  THE DEFENDER; THE PERSON WHO APPLIES THE TECHNIQUES. ALSO CALLED SHITE.

TORII:     LITERALLY GATE.  REPRESENTING THE INTERSECTION OF MATTER AND SPIRIT WHERE THE ORIGINAL VIBRATION OF ALL PHENOMENON SPRING.

TSUBA:     SWORD GUARD.

TSUGI-ASHI:     "FOLLOWING FOOT".  A METHOD OF WALKING OR MANEUVERING IN WHICH ONE FOOT FOLLOWS THE OTHER BUT NEVER PASSES IT.

TSUKA:     SWORD HANDLE.

TSUKI:     PUNCH OR THRUST.  A STRAIGHT PUNCH OR A THRUST WITH A WEAPON.  SEE UCHI.

TSUKURI:   MOVING INTO POSITION.  THIS IS THE SECOND ACTION INVOLVED WHEN DOING WAZA.  THE FIRST IS KUZUSHI, OR UNBALANCING, THEN THIRD KATE, OR THE ACTUAL THROWING.  ALL PARTS ARE PERFORMED AS ONE SMOOTH MOVEMENT.

UCHI:    STRIKE WITH THE EDGE OF THE OPEN HAND OR CUT WITH A WEAPON FROM OVER THE HEAD.

UCHI DESHI:     "APPRENTICE"  AN OLD JAPANESE PRACTICE WHERE A STUDENT WAS APPRENTICED TO A MARTIAL ARTS MASTER IN ORDER TO BECOME AN INSTRUCTOR IN TURN.  LIVE IN STUDENT; PERSONAL STUDENT OR DISCIPLE.

UDE:    ARM.

UDE FURI UNDO:     ARM SWING EXERCISE.

UDE FURI CHOYAKU UNDO:     TURNING ARM SWING EXERCISE.

UKE:     ONE WHO FALLS.  LITERALLY PARTICIPANT, OR RECEIVER.

UKEMI:     THE ART OF FALLING.  1).  MAE-UKEMI:  FRONT FALL.

                                                            2). USHIRO-UKEMI: BACK FALL.                                                 

                                                            3). SOKUHO-UKEMI:( YOKO-UKEMI):  SIDE FALL.

UNDO:     EXERCISE.

URA:    LITERALLY MEANS BEHIND OR BACK.

URA KEN UCHI:     BACK FIST STRIKE.

USHIRO:     BEHIND, BACK.  MEANS SAME AS URA.

USHIRO KATATE TORI:     WRIST TAKING FROM BEHIND.

USHIRO KATATE TORI KUBI-SHIME:     WRIST TAKING FROM BEHIND WITH CHOKE.

UWAGI:    JACKET OF THE DOGI.

WAKI-GAMAE:    SWORD POSTURE IN WHICH THE LEFT HAND IS IN FRONT AND JUST BELOW THE BELT, THE KISSAKI IS POINTING BACKWARDS AND SLIGHTLY DOWN TO DISGUISE THE LENGTH OF THE KATANA.

WAZA:     TECHNIQUE.

YAMABIKO NO MICHI:     LITERALLY PATH OF THE MOUNTAIN ECHO.  SLIPPING ATTACKS.

YAME:     MEANS TO HALT OR STOP.  SEE "MATE"                                                                                                        

YARI:     THE JAPANESE SPEAR.

YOKO:     SIDE OR LATERAL.

 

YOKO MEN UCHI:     STRIKE TO SIDE OF HEAD.  OBLIQUE STRIKE.

 

YONKYO:    FOURTH TECHNIQUE.  ALSO CALLED TEKUBI-OSAE (WRIST PIN).  

YUBI:     FINGERS.                                       

YUBI WAZA:     FINGER TECHNIQUES.

YUDANSHA:     BLACK BELT HOLDERS.

ZANSHIN:     CONTINUING MIND.  COMPLETION OF THE TECHNIQUE IN WHICH AWARENESS OF OPPONENT AND SURROUNDINGS IS MAINTAINED.  ZANSHIN IS THE FOLLOW THROUGH OF A TECHNIQUE; ONE IS CONNECTED TO ONE'S PARTNER EVEN AFTER THE THROW IN AN UNBROKEN FLOW OF ENERGY, SIMULTANEOUSLY READY TO RECEIVE ANY NEW ATTACK.  THE (REMAINING MIND).

ZAREI:     BOW FROM SEIZA. 

ZEMPO UNDO:     FORWARD ROLL EXERCISE.

ZUBON:     THE WHITE COTTON UNIFORM PANTS.