Glossary of Terms in Kendo

Stephen Quinlan
April 26, 2022

Pronunciation Aids. Many Japanese terms have been artificially hyphenated to aid in pronunciation, and some
common rules for writing terms in English have been replaced, e.g., writing a Latin ō vs. an ou for a long oh
sound. Also, the IPA convention for indicating a silent or voiceless vowel, e.g., u̥ for a voiceless u, is used. This is
not normally done when writing Japanese terms in English and is purely a convention used here.
Any errors are solely those of the author.

DOJO COMMANDS Sonkyo

(蹲踞) Assume sonkyo.
H
T
Hajime
(始め) Begin/start. Tai-tō
(帯刀) Bring your weapon to the ready position at your
K hip.

Kamae-tō Y
(構え刀) Assume your stance.
Yame
M (止め) Stop.
Yasume
Men (w)o tore
(休め) Break/rest period.
(面を取れ) Take off your men.
Men (w)o tsu̥ke
(面を付け) Put on your men. SHIAI TERMS & COMMANDS
Moku̥sō
C
(黙想) Begin meditation.
Chūken
O (中堅) Third player on a team match.
Osame-tō E
(納め刀) Put away your weapon.
Enchō
Otagai ni rei (延長) “Extension.” Enchō is an extension of a tied
(お互いに礼) Bow to your peers. match when the time runs out; the next point wins.

S F
Seiretsu Fukushin
(整列) Line up. (副審) A sub-referee in a court during shiai.
Seiza Fukushō
(正座) Assume seiza. (副将) Fourth player on a team match.
Sensei ni rei Fusen-gachi
(先生に礼) Bow to the sensei. (不戦勝ち) Player wins a match by default or disquali-
Shōmen ni rei fication.
(正面に礼) Bow to the shōmen.
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G (審判主任) The court specific referee director.

Gōgi Shōbu
(合議) “Conference.” Players osame-tō, step back to the (勝負) Begin final round of a match.
edge of the court and assume sonkyo until over.
Shōbu-ari
H (勝負あり) Match point. Players assume sonkyo,
osame-tō, ritsu-rei, and exit the court.
Hajime
Shushin
(始め) Begin a match. (主審) The lead judge during a match.
Hansoku
(反則) A “foul/penalty” (in sports). Match stops, and T
players return to their starting positions. Taishō
Hansoku ikkai (大将) Fifth player on a team match.
(反則一回) “First foul.” Tasu̥ki
Hansoku nikai See Mejirushi.
(反則二回) “Second foul.” A second foul results in one
point awarded to the opponent; the foul counter is W
reset. Wakare
Hantei (分かれ) Players separate to issoku ittō no maai, but
(判定) “Judgment, decision.” maintain relative court positions.

Hiki-wake Y
(引き分け) “Draw, tie.” Yame
(止め) Stop the match. Players return to center.
J
Jihō
(次鋒) Second player on a team match. GENERAL TERMS
Jikan desu̥
A
(時間です) The time keeper’s signal to indicate “time-
up”. Players return to starting positions. Age-tō
(上げ刀) “Raised sword.” A katate variant of jōdan no
kamae.
M
Ai
Mejirushi (1) (prefix) (相) “Mutual, balanced, joint.” (2) (suffix)
(目印) Colored flag worn on the backs of the players. (合い) “Union, integration, match (together).”
Ai-chūdan
N
(相中段) “Mutual chūdan.” Both opponent’s face each
Nihonme other in chūdan no kamae.
(二本目) Begin round two. Ai-kakari geiko
(相掛稽古) “Mutual attack practice.” Two kendōka do
S kakari geiko simultaneously.
Senpō
Ai-te
(先鋒) First player on a team match. (相手) “Opponent.”
Shinpan Ai-uchi
(審判) A judge or referee in a tournament. (相打ち) “Mutual strike” or “simultaneous strike(s).”
Shinpan-chō Ashi
(審判長) The referee director for a tournament. (足) “Foot” or “leg.”
Shinpan-shunin Ashi-gamae
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(足構え) “Foot Position.” (地の構え) The “kamae of earth.” See gedan no kamae.
Ashi-sabaki Chiisai
(足捌き) (lit.) “Control” the “foot/leg”, i.e., “footwork”. (小さい) “Small.”
See ayumi-ashi, fukumi-ashi, fumi-komi, hiraki-ashi,
nusumi-ashi, okuri-ashi, suri-ashi, and tsugi-ashi. Chiisai waza
(小さい技) “Small techniques.” A term used to refer to
Ayumi-ashi small strikes.
(歩み足) “Walking foot.” A normal walking motion Chi̥ ka-ma
where the feet cross one another. However in kendō
ayumi-ashi is still done as suri-ashi. (近間) “Short interval.” A distance that is shorter than
issoku ittō no maai.
B Chōtan-itchi-mi
Bokken ((長短一身)) “Strong point, weak point, one body.” The
(木剣) “Wooden sword.” See boku̥tō. concept that everything has both strengths and weak-
nesses in the same package.
Boku̥tō
Chūdan hanmi no kamae
(木刀) “Wooden sword.” The boku̥to, tachi and kodachi,
are primarily used to practice nihon kendō no kata. (中段半身の構え) A variant of chūdan no kamae used
The tachi is also used in the boku̥tō waza and is often in the kodachi kata. See hanmi kamae.
used to practice shinai kendō basics such as suburi. Chūdan no kamae
Boku̥tō ni yoru kendō kihon waza keiko hō (中段の構え) “Mid level stance.” Chūdan is known as
the “kamae of water” due to its adaptability for offen-
(木刀による剣道基本技稽古法) “Practice of fundamen- sive and defensive waza. Chūdan is the fundamental
tal kendō techniques with a boku̥tō.” See boku̥tō waza. kamae in kendō.
Complimentary stepping
Boku̥tō waza Complimentary stepping is the generalized method of
(木刀技) “Wooden sword techniques.” Abbreviation for footwork in kendō. Beginning with the feet in their
boku̥tō ni yoru kendō kihon waza keiko hō. A series starting positions, when taking a single step both the
of forms created to practice fundamental shinai kendō forward and rear feet are moved consecutively, in
techniques with boku̥tō. quick succession, to re-assume the starting positions
upon completion, e.g., okuri-ashi is commonly a right-
Bōgu left motion. Exceptions are found in the kata or during
(防具) “Kendō armor.” Consisting of the men, kote, dō, specialized waza.
and tare. Also called kendō-gu.
Connection
Budō En in Japanese, meaning a “link, relationship, or con-
(武道) “Martial art” or “martial way.” Budō are mar- nection.” In kendō this implies a mental and physical
tial arts where the focus is placed on bettering oneself connection to the opponent. Mentally this implies one
instead of pure combative victory. perceives how the opponent will act, their intents, level
of focus, ki-ken-tai-itchi, and zanshin. Physically this
Bujutsu allows one to respond to movement, maintain distance,
(武術) “Martial art” or “military art.” A bujutsu is a adjust kamae, etc… A connection is essential to under-
martial art where the focus is specifically placed on standing the rhythm.
learning effective combat skills for defeating an oppo-
nent.
Bushi D
(武士) “War/military gentleman.” A samurai. Often Daitō
translated simply as warrior however this translation (大刀) The name used to refer to the “long sword” when
overlooks the meaning of the character shi (士): one using nitō.
who serves or does in a polite context.
Dan
Bushidō (段) “Step” or “level.”
(武士道) “The way of the samurai.” A code of ethics, Dan-i
morals, and conduct for samurai.
(段位) “Rank.” This refers to the set of dan ranks in
C kendō, commonly equated with the rank of “black
belt”. In modern kendō dan ranks range from first to
Chi no kamae eighth.
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Datotsu Dōmo-arigato-gozai-mashi̥ ta
(打突) A “strike” or “thrust.” Shinai kendō is a datotsu (どうも有賀とご座いました) “Thank you” (polite).
style of fencing as compared to a zantotsu style if a
katana were used. E
Datotsu-bu En
(打突部) “Striking section.” The portion of the shinai (縁) A “link, relationship, connection.” See connection.
strikes are made with; the mono-uchi.
Enbu
Datotsu-bui (演武) A “martial arts demonstration.”
(打突部位) “Striking position.” Portion of the bōgu
where one may strike. Enzan no metsu̥ke
De (遠山の目付け) “Fixing your eyes on a distant mountain.”
See metsu̥ke.
(出) From the verb deru, “start, begin, (just) coming out”,
i.e., just as something is being initiated or started. F
Dead Four sicknesses
See dead sword and dead hands. The four sicknesses (shi-kai), or admonitions, are ku
Dead hands (恐怖) “fear”, gi (疑) “doubt”, kyu (驚) “surprise”, and
Similar to a dead sword, however in this case it is waku (惑) “confusion.”
caused specifically by the hands or forearms being in Fukumi-ashi
an improper position to control one’s weapon or strike/ (含み足) “Hidden” footwork. This is when one moves
cut effectively. forward unnoticed by the opponent while maintaining
Dead sword ashi-gamae. It’s done by, e.g., curling and uncurling
A term describing one’s weapon when the ability for the toes to slowly pull oneself forward. This is an ad-
offensive and defensive techniques is gone as a result vanced application of footwork.
of being effectively parried or redirected; shinitachi. Fumi-komi
Debana (踏み込み) The shortened term for fumi-komi-ashi
(出ばな) From de “Come out, start, begin.” and bana meaning “stepping” or “rushing into” footwork. Fumi-
“moment, situation”, i.e., the moment something begins. komi is a lunging okuri-ashi style step that momentarily
forgoes suri-ashi as the leading foot leaves the ground
Debana waza during the step. This footwork is known for the stomp-
(出ばな技) Techniques used to strike as the opponent’s ing sound as the foot claps the floor on landing.
attack is being initiated. Furi-kaburi
Dō (振り被り) “To hold aloft (e.g. a sword); to brandish.” This
(1) (道) “The way”, i.e. a way of enlightenment, or of refers to raising one’s weapon overhead in preparation
bettering oneself, e.g., kendō. (2) (胴) The abdominal to strike; the upswing prior to striking.
protector worn in kendō. See kendō-gu. (3) The name
of the target when striking the abdomen. G
Gedan no kamae
Dō-chikawa (下段の構え) The “low level” kamae, also known as the
(胴乳皮) Leather loops on the dō-kawa used to attach “kamae of earth.” Gedan can be considered a kamae of
the dō-himo. waiting, inviting the opponent, but it also applies seme
Dō-himo from below by threatening a thrust.
(胴紐) The strings used to tie the dō. Gedan hanmi no kamae
Dōjō (下段半身の構え) A variation of gedan no kamae used
in the kodachi kata. See hanmi kamae.
(道場) “Practice hall.” A place or location where one
practices budō. Geiko
(稽古) See keiko.
Dō-kawa
(胴皮) The lower portion of the dō covering the ab- Gi
domen, the left and right sides of which makes up the (着) The traditional practice jacket worn in kendō. Also
striking area of the dō. known as a kendō-gi, dō-gi, or keiko-gi.
Dō-mune Go no sen
(胴胸) The chest portion of the dō. Also called go sen no sen. See mitsu no sen.
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Gyaku Hassō no kamae

(逆) “Reversed” or “opposite.” (八相の構え) The “eight position stance.” Also known as
the “kamae of wood” and sometimes in no kamae, it is a
Gyaku-dō variant of jōdan no kamae.
(逆胴) “Reverse dō.” This refers to the left datotsu-bui Haya suburi
of the dō. Formerly a non-standard target, with the
popularization of san-pō-mamori awarding ippon for (速素振り) “Quick/swift” suburi, or “jumping” suburi,
gyaku-dō is now common. is a common warm-up exercise.
Gyo Heijōshin
(行) “Stream.” See yuku and shin-gyo-so. (平常心) “Common” or “everyday mind.” A basic defi-
nition of this is keeping one’s mind in a normal state,
H unaffected by things around you; your mindset during
regular or common situations.
Ha
(刃) The “blade/edge” of a sword. Hi no kamae
(火の構え) The kamae of “fire.” See jōdan no kamae.
Hajime
(始め) “Begin/start.” Hidari
(左) “Left”. Relative direction, e.g., right & left.
Hakama
(袴) The traditional practice pants, worn with a gi, in Hidari shizentai
kendō. See shizentai.
Half-step Hidari-te
A half-step is when a kendōka only moves one of their (左手) “Left-hand(ed).”
feet instead of the usual complimentary stepping. Half- Hiki
steps are relatively uncommon but can be found in the
kata, boku̥tō waza, or specialized waza. (引き) (lit.) “Pull.”

Hanmi Hiki-age
(半身) “Half body.” (引き上げ) (lit.) “Pulling rise.” Hiki-age refers to
pulling up the hands upon hitting a target. This is
Hanmi kamae considered improper as the shinai is no longer in the
(半身構え) “Half body stance.” When assuming a position to emulate a cut. A subtle exception is striking
hanmi kamae the torso is turned so it is only half ex- men via hiki-waza. The zanshin for this strike brings
posed to the opponent. the shinai up into migi jōdan no kamae however this
is done after the kendōka moves backward with the
Hara shinai in the proper cutting position first and assuming
(腹) The “intestines” or “gut.” Located three fingers jōdan as they move back during zanshin.
width below the navel.
Hiki-tsuke
Harai (引き付け) “Pull into place; to draw near.”
(払い) “Sweep away” or “brush off.”
Hiki-waza
Harai waza (ひき技) “Pulling (away) techniques.” Techniques where
(払い技) “Sweeping aside” waza. A waza where one one strikes while moving backward. Also called hik-
pushes the opponents weapon aside, breaking their ibana waza.
kamae, to create a su̥ki.
Himo
Harai-ageru (紐) “String”, “cord”, or “strap.”
(払い上げる) “Sweep and knock upward.” A specific
version of harai waza where the opponent’s kamae is Hiraki
swept to diagonal up-left or up-right. (開き) “To open” or “unfold.”
Harai-otoshi Hiraki-ashi
(払い落とし) “Sweep and knock downward.” A specific (開き足) “Opening foot.” This is a semi-circular step to
version of harai waza where the opponent’s kamae is the left or right.
pushed to the down-left or down-right.
Hira-seigan no takai
Hasaki (平正眼の高い) A “high, tall” variant of “flat, common,
(刃先) A swords “cutting edge.” ordinary” seigan no kamae. The variant of seigan writ-
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ten as (正眼) is equivalent to chūdan no kamae. This Ippon

term then refers to altering one’s chūdan to be higher. (一本) “One point” or “one strike.”
Specifically this kamae is used against an opponent
that assumes hidari jōdan no kamae. Iri-mi
Hira-uchi (入り身) (lit.) “Entering body”, often translated as
“entering directly.” This is the intent while using the
(平打ち) Strike with the flat side of a blade. In kendō, kodachi. The action of spiritually threatening and
striking with the side of the shinai. physically moving into your opponents maai to attack.
Honshō Iri-mi no kamae
(1) (本勝) (lit.) “Base victory”, (2) (lit.) (本生) “born in (入り身の構え) (lit.) “Entering body stance.” The kamae
the present”, (3) (lit.) (本正) “true base.” A term used in taken when invading the maai through iri-mi; the ko-
the ittō-Ryū school to describe certain types of attack dachi is in chūdan no kamae, blade downward, kensen
methods related to the kata. directed toward the opponent’s throat.
Hyō-hō Ire-zuki
(兵法) “Strategy, tactics, art of war.” Also hei-hō. (入れ突き) “Entering thrust.” See nayashi ire-zuki.
Issoku ittō no maai
I
(一足一刀の間合) The “one step, one sword distance.”
Iaidō The distance where one can launch, or evade, an attack
(居合道) (lit.) “The way of the state of being present.” by taking one step; the fundamental maai of kendō.
Interpreted as “the way of mental presence and immedi- While there are approximations, often described as the
ate reaction”. As an oversimplification, iaidō is a kata distance where opponents’ sword tips cross, each indi-
based martial art focused on the drawing of, striking vidual has their own unique issoku ittō no maai due to
with, and sheathing of a real sword in an optimal way, the fact that each person’s physique defines a different
while maintaining focus and zanshin. length for “one-step”.
Issun no seme
Ichi byōshi
(一寸の攻め) “One sun” seme. Sun is an old Japanese
(一拍子) “One [musical] time; beat.” A term used to unit of measurement, approximately three centimeters
indicate a motion or action that is to be done as one long. Issun no seme refers to applying seme by consis-
smooth motion, without pauses. Also translated as “in tently moving forward toward the opponent one sun
one breath.” For example, in kendō the movements of at a time, i.e., slowly but surely creeping forward while
an attack, i.e., lifting the shinai or boku̥tō overhead and threatening a strike.
swinging to attack the target, should be done as one
motion without pause. Ittō-Ryū
(一刀流) “One cut school/style.” Ittō-Ryū was a sword
Ichidan suburi school founded by Ito Ittōsai Kagehisa which branched
(一段素振り) “One step” suburi. into several sub-schools. This school has heavily influ-
In no kamae enced modern kendō.
(陰の構え) “Waiting/still” kamae. The antithesis of yō
no kamae. See hassō no kamae.
J
Insō
Ji-geiko
(印相) “Hand sign.” See mudrā.
(地稽古) “Foundation practice.” Free sparring practice
Invading the maai allowing the student to work on their own strengths,
The act of physically moving into the striking range weaknesses, and spirit. See keiko.
of the opponent with the purpose of (1) pressuring
them, (2) crowding them making attacks awkward, Jin-bu
or (3) making them feel exposed. The end result is to (刃部) “Blade part.” The side of a shinai designated as
cause their spirit of attack to collapse. This is used in the blade.
the nihon kendō no kata in tachi kata #3 & #6 and is
the intent behind iri-mi in the kodachi kata. See kurai- Jishū-geiko
zume. (自習稽古) (lit.) “Self-learning practice.” To actively
learn by watching, reading, contemplating what was
In-yō taught, etc…
(陰陽) The Japanese reading for the individual char-
acters for yin-yang. The term as a whole is correctly Jōdan no kamae
pronounced as onmyō, meaning “dual cosmic forces.” (上段の構え) The “high level/positioned” kamae. As
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jōdan is spiritually aggressive, the terms ten no kamae Kane

and hi no kamae are used to describe the spirit and (金) “Metal.”
intent required to be effective.
Kane no kamae
Jō-ge buri (金の構え) The “kamae of metal.” See waki-gamae.
(上下振り) “Up-down swing.” A basic form of swing
practice to teach beginners how to swing in large mo- Kata
tions along their centerline. It is also often used as a (形) See nihon kendō no kata.
warm-up to help loosen up the shoulders.
Katana
K (刀) “Sword.” Also pronounced as tō.
Kaeshi Katate
(返し) “Return, reversal.” (片手) “One hand(ed).”
Kaeshi waza Katate waza
(返し技) “Return” waza. Techniques where one mo- (片手技) “One handed” techniques.
mentarily receives the opponent’s strike and then,
changing the direction of the weapon, immediately Katsugi waza
counter-attacks. (担ぎ技) “Shouldering the sword” technique. The sword
is brought over the shoulder before striking. The overt
Kakari geiko motion is to create a su̥ki in your opponent while still
(掛稽古) “Attack practice.” This drill is very common being in a position to attack.
as it builds endurance and spirit. Kendōka attempt
to attack quickly and continuously, flowing from one Katsujin-ken
strike to the next, while still maintaining proper form (活人剣) “The life-giving sword.” In sword arts “life-
and zanshin. With kakari geiko the zanshin can some- giving” does not refer to not killing the opponent, but
times be more spiritual than physical, depending on to not kill their attacking spirit, i.e., allowing the op-
the situation. ponent to act (attack). By manipulating the opponent
Kakari-te and allowing them to feel free to attack, opportunities
for ōji waza can be created. Using a katsujin-ken then
(掛手) (lit.) “Attacking hand.” (1) Kakari-te is the one refers to a particular type of strategy for defeating the
who attacks during drill practice. (2) The person per- opponent. “Katsujin-ken… involves a sophisticated ma-
forming waza during the boku̥tō waza. nipulation of the opponent and his actions by means of utter
Kakegoe selflessness; properly conducted it is virtually undefeat-
able”, Friday (1997). This is a central strategy in Yagyū
(掛け声) “Yell.” Although having very different mean- Shinkage-Ryū and other descendants of Shinkage-Ryū.
ings this is often interchanged with kiai. The antithesis of katsujin-ken is setsunin-tō.
Kamae Keiko
(構え) “Stance” or “position.” In kendō, this term has
an obvious physical meaning, but it also has mental or (稽古) “Practice”, “training”, or “study.” Often used by
spiritual implications. kendōka to imply sparring practice in bōgu.

Kamae-tō Ken
(構え刀) Literally “stance sword”, this is the term used (1) (剣) “Sword”, (2) (懸) “Be trapped, begin, attack.”
to indicate one should bring the sword into kamae if in Kendō
a relaxed position. It also refers to drawing the sword
from the tai-tō position. (剣道) “The way of the sword.”

Kamae (w)o toku Kendō-gu

(構えを解く) Kamae “untie, unfasten, undo.” This term (剣道具) “Kendō protective equipment”, see bōgu.
is used to refer to the breaking of kamae at the end of
each of the nihon kendō no kata or boku̥tō waza. Kendōka
(剣道家) A kendō practitioner.
Kan-kyū-kyō-jaku
(緩急強弱) “Slow-quick-strong-soft.” The timing, power, Kenjutsu
tension, speed, etc…, that come together to give a (剣術) “Sword art/technique.”
waza it’s rhythm. This is not an artificially imposed
rhythm as each technique has it’s own unique rhythm Kensen
in accordance with the opponent, their attack, and the (剣先) “Tip/point of a sword.” The tip of the shinai or
waza being used. boku̥tō; also called the kissaki.
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Ken-tai-itchi (基本木刀技) See boku̥tō waza.

(懸待一致) (lit.) “Attack and waiting in unison.” This
covers many ideas that relate to the application of seme Kikai
toward the opponent to set up an opportunity to strike. (気海) “The sea of energy.”
Simply put, one pressures the opponent through seme Ki-ken-tai-itchi
(attack) and then holds to see their reaction (waiting),
calmly preparing to attack or counter depending on the (気剣体一致) “Spirit, sword, body, in unison.” Ki-ken-
result, i.e., seme-tame. Ken in this instance translates tai-itchi is a modern umbrella term for several ideas,
to “attack; oppose”, but it also can mean “to begin” or e.g. shin-ki-ryoku-itchi and shin-gi-tai-itchi, each of
to “be trapped”. This implies forcing the opponent, via which are specific instances of the more general mean-
threat of attack, into a situation they must respond to. ing. As such, ki-ken-tai-itchi takes on more meaning as
See sente. one gains experience in kendō. The most basic mean-
ing, unified action of a kendōka’s intent/sprit, sword,
Ken (w)o korosu and body is a fundamental tennet of kendō regardless
(剣を殺す) “Kill their sword.” See san-sappō. of rank or experience.
Kera Kiri-kaeshi
(けら) Horizontal padding on the fist of the kote. (切り返し) “Returning cuts.” A partnered practice of
men, tai-atari, and sayū-men. One of the most impor-
Ki tant drills in kendō, it’s often done as the initial and
(気) “Mind”, “spirit”, or “energy.” final drill of a practice.
Ki (w)o mite Kiri-oroshi
(機を見る) “To see the opportunity [to strike], seizing (切り下ろし) “To cut downward” (with a sword). This is
the [correct] moment [to strike].” In the nihon kendō the basic, large overhead cut used in iaidō which aims
no kata, tachi kata #1–7, uchidachi strikes shidachi at to cut the opponent from the head down to the navel.
the correct moment, defined as “…the chance coming This cut is also used in the nihon kendō no kata.
from the shifts in the opponent’s spirit, body, and tech-
nique”, AJKF (2002) and “the instant separating mental Kiri-otoshi
and physical transformation on the verge of an attack. In (切り落とし) “Knock down while cutting.” A waza for
other words, the opening that is created as a result of the when two strikes occur in a potential ai-uchi, one strike
shifts in body, spirit, and technique”, Y. Inoue (2003). pushes the other aside, by the act of cutting, and lands
on the opponent.
Kiai
(気合い) “Energy integration.” The vocal expression Kiri-tsuke
of a unified mental & physical intent. Although one’s (切り付け) “Cut or slash” (at something).
“fighting spirit” can be expressed through kakegoe,
kiai and kakegoe are not the same. Kissaki
(切先) See kensen.
Kiarasoi
Ki (w)o korosu
(気争い) “Spirit of mutual combat.” Overcome an op-
ponent through a vigorous spirit, pressing forward to (気を殺す) “Kill their spirit.” See san-sappō.
break their guard. Kōbō
Ki-atari (攻防) “Offense & defense.” This term is used to de-
(気当たり) (lit.) “Spirit/energy hit/prediction.” Dis- scribe the general combative aspects of chūdan no
playing an offensive stance or intent to strike, then kamae, specifically referring to the ease with which
observing or anticipating the opponent’s reactions. both offensive and defensive waza can be used.

Kigurai Kōbō-itchi
(攻防一致) “Unified offense & defense.” This is often
(気位) “Presence, bearing, pride, dignity.” AJKF (2011) translated the same as ken-tai-itchi: ken means to “at-
defines kigurai as “the strength or commanding pres- tack” while tai has the meaning of “wait” which AJKF
ence derived from confidence acquired through repeated (ibid.) indicates means to “wait while observing the op-
training.” ponent’s movement calmly”, i.e., being ready to defend
Kihaku while attacking and vice versa. Kōbō is made up of
(気迫) “Spiritual force.” the characters kō (攻), “aggression, attack”, and bō (防),
“ward off, defend, protect”. Kōbō implicitly has a more
Kihon physical or waza oriented meaning for offense and de-
(基本) “Fundamental.” fense, e.g., actively striking and parrying. The inferred
meaning here is that kōbō-itchi refers to a waza or ac-
Kihon boku̥tō waza tion that is used to simultaneously attack and defend.
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(位詰め) (lit.) “Level (of) rebuke.” Pressure the op-

ponent into disadvantage through physical and/or
Kobushi spiritual intimidation. Pressuring and invading the
(拳) “Fist.” maai of the opponent through the strength of one’s
spirit, posture, kamae, etc… Used by shidachi in tachi
Kodachi kata #3.
(小太刀) The “short sword” used in the nihon kendō no
kata. Ku̥sa
Kodachi kata (草) “Grass, weeds.” Ku̥sa is an alternate reading of so.
(小太刀形) A subset of the nihon kendō no kata using Kyo-jitsu
the kodachi. (虚実) (lit.) “Truth and illusion.” A complex term with
Ko-dare many interpretations, but the most basic is that when
(小垂) Small inner flaps on the tare. one is in a state of jitsu̥ (実), “truth, preparedness, real-
ity” they are prepared, and when unprepared they
Kohai are in a state of kyo (虚), “unpreparedness, falsehood,
(後輩) A “junior.” This is a relative term relating to fake.” Opportunities to strike occur when one is in a
experience and not necessarily ones age. state of jitsu and the opponent is in that of kyo. A more
complex situation of kyo-jitsu is that one can present
Kōken-chiai a weakness or expose an opening purposely as a lure
(交剣知愛) (lit.) “Mixing swords–know love/compassion.” to the opponent (kyo) but the true intent is to strike
Translated as bettering oneself by learning compassion as they react (jitsu). Or one can have their outward
and understanding of humanity through kendō. This kamae or posture be in a state of kyo, again as a lure or
is one of the ideals underlying the “Mindset of Kendō deception, but keep their mind in a state of jitsu̥ in or-
Instruction”. der to take advantage of the opponent’s actions. These
complex examples are directly linked to seme, tame,
Kokoro ken-tai-itchi, and the mitsu no sen. Both the basic and
(心) “Spirit” or “mind.” advanced use of kyo-jitsu requires a connection to the
opponent.
Kokoro no kamae
(心の構え) A “spiritual” or “mental stance”; a mindset Kyū
or attitude. (級) “Rank”, “class.” In kendō this is used as a ranking
system for beginners, i.e., those who are below the
Komono dan ranks. Kyu ranks usually begin at sixth kyu ad-
(小物) (lit.) “Small part.” This refers to the small piece vancing up to first kyu, however in some dōjō younger
of leather sometimes attached to the tsuru which is kendōka may begin at tenth kyu.
used in attaching the tsuru to the tsu̥ka-gawa of a shi-
nai. M
Koshi Ma
(腰) “Hips, waist, or lower back.” Often translated sim- (間) “Space.” Used in terms referring to distance or
ply as “hips”, a broader translation is the term “core.” spacing.
Maai
Koshiita (間合) “Spacial integration.” Often interpreted simply
(腰板) “Back” or “waist plate.” The firm plate on the as “distance”, maai includes many variables from both
back of the hakama. oneself and the opponent: speed, reaction time, power,
Kote distance, kamae, etc…
(小手) “Forearm.” (1) The protective gloves worn in Mae
kendō, see kendō-gu. (2) The name of the forearm (前) “Front” or “forward.” Mae refers to a direction,
target. e.g., moving forward.
Kote-gashira Mae-obi
(小手頭) (lit.) “Top/head of the kote.” The hand portion (前帯) “Front belt.” See tare-obi.
of the kote. Maki
Kurai (巻き) (v) To “roll up”, “hoist”, “lift up.”
(位) “Rank” or “level” of something. Also an “amount”
of something. Maki-kaeshi
(巻き返し) The kaeshi waza used in the fourth nihon
Kurai-zume kendō no kata. The boku̥tō is lifted upward from un-
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derneath the incoming thrust; the boku̥tō begins on the Mitsu no sen
right side of the thrust and ends on the left, at which (三つの先) “The three sens.” This refers to the three ini-
point the counter strike is made. tiatives giving your attack an advantage. The first, sen
Maki-osae sen no sen (先々の先), refers to having prior knowl-
edge of your opponents intentions and, using this
((捲き押さえ)) From maki, “to roll, wind”, and osae, “to knowledge, draw out their attack capitalizing on it.
hold down, suppress”. Maki-osae tsu̥ki is the technique
uchidachi uses in the fourth tachi kata to suppress The second, sen no sen (先の先), refers to attacking
shidachi’s boku̥tō, take center, and thrust. at the very moment your opponent is about to attack.
Third is go no sen (後の先). This refers to counter-
Men striking your opponent after they have made their
(面) (1) “Mask; face guard”; the helmet worn in kendō, attack. The opponent is countered as in sen sen no sen,
see kendō-gu. (2) The name of the head target. but knowledge of the opponents intentions are not
known beforehand.
Men-buton
(面ぶとん) The pressed cotton portion of the men Mizu no kamae
covering the top and sides of the head. (水の構え) The “kamae of water.” See chūdan no ka-
mae.
Men-chikawa
(面乳皮) The small leather loops used to attach the Mogitō
men-himo onto the men. There are two types of men- (模擬刀) “Practice sword.” Mogitō are blunt metal
chikawa used depending on the method used for swords with a sheathe used in formal demonstrations
wearing the men. of the nihon kendō no kata.
Men-dare Moku̥ no kamae
(面垂) The large flaps of the men-buton which protect (木の構え) The “kamae of wood.” See hassō no kamae.
the shoulders.
Moku̥sō
Men-gane
(黙想) The “meditation” done at the beginning and end
(面金) The metal grill that covers the face in the men. of a kendō practice.
Men-himo Mono-uchi
(面紐) Strings used to tie the men. (物打) “Hitting part.” The upper 1⁄4 length of a shinai
Men-tate-gane measured from the kensen down, see datotsu-bu. For a
(面縦金) The large vertical bar of the men-gane. boku̥tō (tachi) it is “the part of the blade of a sword which
cuts best, said to be about 10cm from the tip”, AJKF (2002).
Men-yoko-gane Morote
(面横金) The horizontal bars of the men-gane. (諸手) “Two handed.”
Metsu̥ke Motodachi
(目付け) “Point of observation.” The full term is “enzan (元立ち) (lit.) Moto, “origin or cause”, tachi, “standing.”
no metsu̥ke” or “fixing your eyes on a distant moun- The motodachi is the one who attacks or creates an
tain”. This refers to where one looks while engaging opening for the kakari-te to practice striking or some
an opponent, likening looking at the opponent to look- type of waza.
ing at a mountain, the opponent’s eyes being the peak.
Focusing directly at the peak limits the view to just the Motodachi geiko
peak, look toward the peak and the entire mountain can (元立ち稽古) Also termed uchi-komi geiko, this is
be viewed. when a kendōka strikes targets offered by an oppo-
Migi nent.
(右) “Right.” Relative direction, e.g., right & left. Mu
(無) “Not” or “no.” A prefix indicating a negation.
Migi shizentai
See shizentai. Mudrā
(Sanskrit: मुद्र, “gesture”, Japanese: insō) The mudrā
Migi-te (International Phonetic Alphabet: /muˈdrɑ:/, Inter-
(右手) “Right-hand(ed).” national Alphabet of Sanskrit Transliteration: mudrā)
are hand positions used to symbolize various Bud-
Mitori geiko dhist concepts and meanings. There are a number of
(見取り稽古) “Observational practice.” Quite literally, such hand positions, however in kendō we only use
learning by watching. one: zenjō-in, the mudrā of meditation during moku̥sō
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before and after practice. (日本剣道の形) “The Japanese kendō forms.” In a formal
context, the Nippon Kendō no Kata, informally kata.
Mu-gamae These are the official standardized set of partnered,
(無構え) “No kamae” or the “void kamae.” This stance predetermined encounters designed to teach tech-
expresses independence from a rigid kamae; one able niques and, in particular, the principles of swordsman-
to freely adapt and use any kamae as needed. ship derived from several traditional Japanese sword
schools. These principles form the basis of modern
Mune shinai kendō.
(1) (棟) “Ridge.” The back of a katana, also “mine.” (2)
(胸) “Chest.” The chest of the dō; dō-mune. Nitō
(二刀) “Two sword(s).” A common term referring to
Mune-chikawa nitō kamae.
(胸乳皮) The leather loops on the dō-mune used when
tying the upper set of himo. Nitō kamae
(二刀構え) “Two sword stance” where one uses a long
Mushin and a short sword, (daitō) and (shōtō) respectively.
(無心) “No mind.” In very basic terms, mushin is acting
with a natural, calm state of mind, i.e., not distracted Nuki
by over thinking. Mushin is directly related to the (抜き) To “escape.”
concept heijōshin.
Nuki waza
Mutō no kokoro (抜き技) Waza where you simultaneously dodge a
((無刀の心)) “Heart of no sword.” The idea that the strike and execute a counter-attack.
strength of one’s ability doesn’t depend on the type of Nusumi
weapon or kamae used, but on one’s spirit.
(盗み) “Stealing.” From nusumu, “to steal.”
N Nusumi-ashi
(盗み足) “Stealing/stealthy footwork.” Positioning the
Nafuda feet for an unexpected style of footwork, e.g., position-
(名札) The name tag worn on a kendōka’s ō-dare. Also ing for tsugi-ashi, without alerting the opponent. See H.
known as a zekken. Inoue (2003).
Nagasu
(流す) “Drain, pour, set adrift.” See uke-nagashi. O

Nakayui Obi
(帯) “Belt.” The belt that is worn (optionally) with the
(中結) The leather tie on the shinai 1⁄4 the length of the hakama and gi to hold a sword and saya at the waist.
shinai from the top.
Naname buri Ō-dare
(大垂) The large outer flaps on the tare.
(斜め振り) “Diagonal swing.” Similar to jō-ge buri but
with the strikes angled at about 30°– 45°. Ōji
Nayashi (応じ) “To respond.”
(萎し) “Wither, droop; to be lame.” Ōji waza
Nayashi ire-zuki (応じ技) Counter-attacking waza, i.e., techniques used
(萎し入れ突き) Shidachi’s parry and counter in the in response to your opponent’s attack.
third tachi kata. Shidachi deflects uchidachi’s thrust Okuri-ashi
(nayashi) and counters with a thrust (ire-zuki).
(送り足) “Sending out (the) feet.” The standard foot-
Nidan work used in kendō where one makes complimentary
(二段) “Two step” or “two level.” steps, most commonly a “right–left” motion, using
suri-ashi, without crossing the feet.
Nidan suburi
Omote
(二段素振り) “Two step” suburi.
(表) “Front”, “outside”, or “visible side.” This refers to
Nidan waza the left side of the shinai or boku̥tō.
(二段技) “Two step” waza. Onegai-shimasu
Nihon kendō no kata (御願いします) “Please” (do me the said favor).
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Orishiki (冴え) “Clearness, clarity.” With correct te-no-uchi a

(折り敷き) “Kneeling.” shinai strike with sae has a characteristic “pop” on
landing while appearing effortless.
Orishiki dō
Sage-tō
(折り敷き胴) “Kneeling dō.” In the seventh tachi kata a
nuki dō is followed by kneeling. This style of zanshin (下げ刀) “Hanging sword.” The relaxed standing posi-
is unused in modern kendō. tion with one’s weapon held at their side.
Osae Saki-gawa
(押さえ) “To hold down, suppress.” (先革) The leather cap on the tip of the shinai.

R Saki-gomu
(先ゴム) The insert in the tip of the shinai.
Rei
(礼) (1) “Bow”, or the act of bowing. (2) “Manners; Samurai
etiquette” A term referring to general etiquette. (侍) See bushi.
Rei-gi Sandan
(礼儀) “Bow/thanks rule/ceremony.” Rei-gi refers to the (三段) “Three step” or “three level.”
reasons behind rei, i.e., “why”, “who”, and “when” we
are to perform the actions of rei-hō. Sandan suburi
(三段素振り) “Three step” suburi.
Rei-hō
(礼法) “Bow/thanks law/principle.” The formal system- San-pō-mamori
atization of the movements and actions of etiquette (三方守り) “Three point defense.” A position, made
and formality. popular in shiai, used to block attacks to men, kote,
and migi dō simultaneously. San-pō-mamori leaves
Renzoku gyaku-dō and tsu̥ki open to attack.
(連続) “Continuous, repeating.”
San-sappō
Renzoku waza (三殺法) (lit.) “Three killing laws.” Three methods for
(連続技) “Repeated/continuous techniques.” This usually overwhelming an opponent using a sword; (1) ken (w)o
implies striking multiple times in succession. korosu: kill their sword, (2) ki (w)o korosu: kill their
Rhythm spirit, and (3) waza (w)o korosu: kill their techniques.
The basic idea is that killing the opponent’s spirit im-
A term frequently used to describe the unique flow plies overwhelming them with your own, causing
and/or timing(s) associated with multiple aspects of hesitation and doubt. See four sicknesses. Killing the
an encounter. “There are a variety of rhythms in strat- opponent’s sword implies controlling their ability to
egy. First of all, understanding the matching rhythm and manipulate their weapon for offensive or defensive
distinguishing from the rhythm which does not match, and purposes. Finally, killing the opponent’s techniques
from among rhythms large and small, slow and fast, un- implies countering or anticipating the opponent’s in-
derstanding the rhythm of hitting the mark, understanding tentions, removing their ability to make an effective
the rhythm of intervals, and understanding the rhythm that attack.
goes against rhythm – these are the most essential things
in strategy. If you do not get how to discern the rhythm of Saya
opposition, your strategy will never be certain”, Musashi (鞘) “Sword sheathe.”
(2012).
Sayū-men
Riai
(理合) “Principles behind.” The condition under which (左右面) (lit.) “Left and right” men. An angled strike to
an action or actions are rational, purposeful. the upper left or right men.

Ritsu-rei Seigan no kamae

(立礼) A “standing bow” which is done at 15° or 30°, Most commonly written as (正眼の構え) (lit.) “Correct
depending on context. eye stance” or (晴眼の構え) (lit.) “clear eye stance.” Of-
ten translated as “aiming at the eyes.” There are several
Ryoku variations of seigan, each a slightly different kamae
(力) “Strength, power, proficiency, ability.” with respect to the position of the kensen, and each
written with different characters, Shigeoka (1977) and
S Imafuji (2019). Previously in the nihon kendō no kata
the term seigan was common and the variant used
Sae was to be understood from the context. In modern
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kendō the term has been eliminated from the official sente refers to an attack or action used to seize the
kata descriptions. One specific variant is still used in initiative against the opponent. This then forces the op-
response to jōdan no kamae and is often called sei- ponent to have to react, in particular they must act at a
gan or hira-seigan no takai, H. Inoue (2003), but in the pace they do not set. See also sen and sen (w)o toru.
kata descriptions it is referred to as “a chūdan position”,
AJKF (2002), with notes on how to assume it correctly. Setsunin-tō
(殺人刀) “The killing sword.” In sword arts this does not
Seiza refer to killing the opponent, but to killing their attack-
(正座) “Correct sitting” (position). The Japanese formal ing spirit. By overwhelming the opponent’s spirit they
seated position. are unable to attack or cope with attacks. Setsunin-
tō is then a specific strategy for facing an opponent.
Seme “Setsunin-to is an egoistic and risky approach to combat–
(攻め) An “attack” or “offense.” From the verb semeru the slightest miscalculation will result in the swordsman
meaning “to attack” or “to assault”, seme is most often walking straight into the opponent’s counter-attack”, Friday
interpreted as “pressure”, e.g., a spiritual pressure put (1997). Setsunin-tō is the antithesis of katsujin-ken.
on the opponent, the intent of which is to make them
focus on your (perceived) imminent attack resulting Shi
in a momentary loss of composure creating various (仕) “To serve” or “to do” in a polite context.
opportunities to strike.
Shiai
Seme-ai (試合) “Match, game, bout, contest.” A match where
(攻め合い) “Union of pressure.” Seme-ai is the point points are scored to determine a winner.
where two opponents actively pressure one another in
an attempt to create an opening. Seme-ai, realistically, Shiai-jō
only occurs when in combative range. (試合場) “Match area.” The court for a shiai.
Seme-komu Shidachi
(攻め込む) “To invade; to attack.” The forward step (仕太刀) “The doing/serving sword.” The role of the
taken by shidachi to invade uchidachi’s maai during “student” in the nihon kendō no kata.
the second kodachi kata.
Shi-kai
Seme-kuzushi (四戒) “Four admonitions.” See four sicknesses.
(攻め崩し) An “unbalancing” or a “disruptive pressure.”
Seme-kuzushi can be likened to the final nudge induc- Shikake
ing the opponent to react. (仕掛け) “Start, begin, commence.”
Sen Shikake waza
(先) (1) “First move”, is synonymous with sente and sen (仕掛け技) Techniques to initiate a strike.
(w)o toru. (2) “Previous; former.”
Shin-ki-ryoku-itchi
Sen (w)o toru
(先を取る) “Take the lead” (initiative) and attack by (心気力一致) “Mind, spirit, and action as one.” The shin,
anticipating the opponent. a heart or mind able to predict an opponent’s action
through a state of mushin, guides one’s ki, the dynamic
Sen no sen mental state of one’s spirit, which in turn dictates one’s
See mitsu no sen. ryoku, physical actions in the form of technique.
Sen sen no sen Shimoza
See mitsu no sen. (下座) “The lower seat” or “seat at the bottom.” In a mod-
ern dōjō the shimoza refers to two areas: where the
Senpai entrance/exit is located, and opposite the shōmen.
(先輩) “Senior.” Literally “previous people.” In kendō Both are “low rank” positions.
this is a relative term relating to experience in some-
thing, not necessarily age. Shin
(1) (心) “Mind”, “heart”, or “spirit.” (2) (真) “Truth.” See
Sensei shin-gyo-so.
(先生) (lit.) “Born previous”, usually interpreted as
“teacher”, i.e., somebody older than you and hence has Shinai
more experience. In kendō experience and rank are (竹刀) “Bamboo sword.”
also taken into account regarding this term. Shin-gi-tai-itchi
Sente (心技体一致) “The mind and one’s ability as one.” The
(先手) “Forestalling; (seizing the) initiative.” In kendō ability to put one’s intent into effective action.
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Shin-gyo-so 8th dan; age, and expereince. The titles, listed in as-
(真行草) ‘Shin’, (lit.) “truth”, ‘Gyo’, (lit.) “stream”, and cending order, are renshi ((錬士)), kyōshi ((教士)), and
‘So’, (lit.) “grass.” The three feelings which shidachi em- hanshi ((範士)). Shi translates to (respected) “gentle-
bodies in the kodachi kata. From the ittō-Ryū school, man/scholar”, ren transaltes to “refined”, kyō is “teach”,
these correspond to three different methods of attack. and han is “model”. Currently 8ᵗʰ dan, hanshi is the
These also correspond to the ideas of three phases or highest rank attainable in kendō.
transitions, for example formal, semi-formal, informal.
Another example refers to shapes or forms where shin Shōmen
is the true shape, so is the essence of the shape, and (正面) (lit.) “Front.” (1) The frontal target area of the
gyo is the transition between the two. These feelings men. (2) The symbolic head/front of the dōjō.
also correspond to shu-ha-ri.
Shoshin
Shinitachi (初心) “Beginners Mind.” The idea of not letting expe-
(死に太刀) (lit.) “Dead sword.” See dead sword. rience dilute the vigor one has for even simple things
when inexperienced.
Shinogi
(鎬) The raised ridge on either side of a katana and Shōtō
boku̥tō used for deflecting or manipulating the oppo- (小刀) The “short sword” used in nitō.
nent’s weapon.
Shu-ha-ri
Shinogi (w)o kezuru (守破離) ‘Shu’, (lit.) “protect”, “obey”, ‘Ha’, (lit.) “de-
(鎬を削る) “Shaving/scraping the shinogi.” This is done tach”, “digress”, and ‘Ri’, (lit.) “leave”, “separate.” In
in the fourth tachi kata after uchidachi and shidachi’s brief, shu-ha-ri is a term used to describe the various
ai-uchi. Keeping a sense of combative tension while stages of learning or progress in many arts. The first
lowering to chūdan no kamae each fights for center stage, ‘Shu’, has the practitioner obeying the teachers
to prevent a su̥ki their opponent can take. This is the method and ideals in every detail. The second, ‘Ha’,
essence of tsuba-zeriai. is when the student has learned enough that they are
able to incorporate their own ideas. The third, ‘Ri’, is
Shinpan when the student is able to leave their teachings be-
(審判) “Referee, judge.” A shiai referee. hind them as the “specific machinery” is no longer
overtly needed; all is natural. The nihon kendō no kata
Shinsa embody shu-ha-ri in tachi kata #1–3, and in kodachi
(審査) “Judging, inspection, examination.” A grading or kata #1–3.
test done before a panel of judges. So
Shisei (草) “Grass.” See ku̥sa and shin-gyo-so.
(姿勢) “Position.” A physical position, e.g., tai-tō shisei Sonkyo
is a specific position often shortened to tai-tō.
(蹲踞) (lit.) “Crouching.” The formal crouching posi-
Shishin tion in kendō.
(止心) “Stopped mind.” This refers to the mind being Suburi
focused on one thing inhibiting free action. Focusing
on the opponent’s weapon, finding an opening, not (素振り) “Elementary swing.” Various swing practices
wanting to get hit, etc… or exercises which make up a fundamental part of
basic kendō. Kendōka will easily perform many thou-
Shizentai sands of practice strikes in their training, learning
(自然体) The “natural body.” A natural (proper) pos- proper technique through repetition.
ture, i.e., standing straight and extending the spine,
shoulders back, arms hanging naturally, feet shoulder Su̥ki
width, and the core engaged. Migi and hidari shizentai (隙) “Interval”, “gap”, “opportunity.” This refers to an
is when the right or left foot is forward, respectively, opening in your or your opponent’s defenses, or a gap
and the opposite shoulder is pulled slightly backward. between thoughts or actions.
This is not to be confused with a hanmi kamae.
Suri-age
Shi̥ tsurei-shimasu (すり上げ) (lit.) “Sliding” while “rising.”
(失礼します) “Excuse me.” Usually said prior to taking
jōdan no kamae, in particular against a senior. Suri-age waza
(すり上げ技) A “rising slide” waza. Used to deflect an
Shōgō attack by sliding your weapon along the opponent’s
(称号) “Rank, degree, title.” Shōgō are a set of titles making a small, half-circle motion as you lift your
awarded to kendōka of sufficient rank, 6th, 7th, and weapon into the path of the attack. This rising-slide
 ɢʟᴏSSᴀʀʏ ᴏF ᴛᴇʀᴍS ɪɴ ᴋᴇɴᴅᴏ 15

motion is not to be confused with hitting or knocking mentally and physically and maintaining a spiritually re-
the opponent’s weapon out of the way. plete state despite the tense situation.” In a basic sense
tame is the continuation of seme; one observes the
Suri-ashi opponent’s reaction(s) to seme while maintaining an
(摺り足) (lit.) “Sliding foot/leg.” Footwork where attacking spirit. It has a broader meaning over the du-
kendōka slide their feet on the floor as they move. ration of a match: kendōka amass their spirit but have
the patience to act at their own pace.
Suri-komi Tanden
(すり込み) (lit.) “Sliding step.” This waza is used dur- (丹田) “Energy farm/field.” In Eastern martial arts this
ing the third kodachi kata. Shidachi slides their blade is where one develops ki. Also termed kikai-tanden,
along the uchidachi’s, controlling it, as they step into ge-tanden, or sei-tanden. Located roughly three fingers
uchidachi’s maai. width below the navel centered inside of body. This
Suri-nagashi point is the physical center of gravity for the human
body.
(すり流し) (lit.) “Slide and ward off.” The motion is
often likened to allowing water to “pour off” of some- Tare
thing. This waza is used during the third kodachi kata. (垂) (lit.) “Hang, suspend.” The “skirt of a coat.” The
waist protector worn in kendō. See bōgu.
Suri-otoshi Tare-himo
(すり落とし) (lit.) “Slide and knock down.” Used during (垂紐) The thin, long belts attached to either side of the
the third kodachi kata. Shidachi pushes their boku̥- tare-obi.
tō down and to the left, sliding it along uchidachi’s,
pushing their strike down and away. Tare-obi
(垂帯) The waistband of the tare. Also known as the
Su̥temi mae-obi.
(捨て身) (lit.) “Sacrifice/abandon body/self”, often trans- Ten
lated as “body abandoning”, i.e., ready to throw one’s
life away. Su̥temi refers to the mentality needed while (天) “Sky, heavens.”
striking, i.e., that one will either kill or be killed during Ten no kamae
the attempt and only by fully placing one’s life on the
line, without hesitation or reservations, can a strike (天の構え) “Kamae of heaven.” See jōdan no kamae.
become truly effective. Te-no-uchi
T (手の内) “Palm, skill.” In kendō the specific method
of handling the shinai or boku̥tō upon striking. Te-no-
Tachi uchi transfers power to the kensen while maintaining
(太刀) “Long sword.” Used in the nihon kendō no kata. control at the moment of impact.
Tachi kata Te-no-uchikawa
(太刀形) A subset of the kata using tachi. (手の内皮) The palms of the kote.
Tachi-ai no maai Tenugui
(立会いの間合 or 立合いの間合) “Attendance, presence; (手拭い) “Hand towel.” A cloth worn on the head un-
be pitted against.” The distance between kendōka for the derneath the men.
ritsu-rei in the nihon kendō no kata and boku̥tō waza;
roughly nine steps apart. Tō
(刀) “Sword.” A Japanese sword; katana.
Tai
(1) (体) “Body.” (2) (待) “Wait.” (3) (帯) “Belt/sash.” Tobi-komi
(飛び込み) “Burst into.”
Tai-atari
(体当り) “Body blow”, “ramming attack.” Used to create Tobi-komi waza
a su̥ki in the opponent by momentarily upsetting their (飛び込み技). Making a powerful attack the moment
balance via a specific type of push. the opponent’s spirit falters.
Tai-sō Toku
(体操) “Gymnastics, calisthenics”, i.e., a warm-up. (解く) To “untie, unfasten, undo.” See kamae (w)o toku.
Tame Tokui waza
(溜め) (lit.) To “store, amass, accumulate.” AJKF (2011) (得意技) “Strong point” or “specialty technique”, refers to
defines tame as “the condition of being composed both one’s strongest waza.
 ɢʟᴏSSᴀʀʏ ᴏF ᴛᴇʀᴍS ɪɴ ᴋᴇɴᴅᴏ 16

Tō-ma U
(遠間) A distance longer than issoku ittō no maai. Also Uchi
called tōi-maai. (打) (1) “To hit; strike”, (2) “to present something.”
Tsuba Uchi-ma
(鍔) The “sword guard” on a shinai or boku̥tō. (打ち間) “Striking distance.” The spatial distance at
Tsuba-dome which one can strike the opponent. While ma has a
distinct meaning from maai, uchi-ma is implicitly re-
(鍔止め) “Stopper” holding the tsuba in place. lated to the three general maai: issoku ittō no maai,
chi̥ka-ma, and tō-ma.
Tsuba-zeriai
(鍔ぜり合い) (lit.) “Urging/forcing (while) tsubas are Uchidachi
joined together.” The position when two kendōka are (打太刀) “The striking sword” or “the presenting sword.”
in close proximity, tsuba against tsuba, attempting to The role of “teacher” in the nihon kendō no kata.
create an opening to strike.
Uchi-komi
Tsu̥chi no kamae (打ち込み) Striking practice using fumi-komi.
(土の構え) The “kamae of earth.” See gedan no kamae. Uchi-otoshi
Tsugi (打ち落とし) To “knock/hit down.”
(継ぎ) (lit.) “Patch, join, successor.” Uchi-otoshi waza
(打ち落とし技). Techniques for striking the opponents
Tsugi-ashi weapon downward, midway through their attack,
(継ぎ足) “Adding/extending/elongating” footwork. This redirecting it.
style of footwork is a variation of okuri-ashi, where the
kendōka brings both feet side by side before taking the Uke
okuri-ashi step. This motion helps to build momentum (受け) ”Receive, catch, defend.” The temporary block/
and is often used to cover very large distances. deflection in several ōji waza. The opponent’s strike is
momentarily received/deflected and, in a single contin-
Tsu̥ka uous motion, a counter-attack is made. This is different
(柄) “Handgrip.” The handle of the shinai or boku̥tō. than blocking as the intent is to attack vs. just prevent-
ing oneself from being hit.
Tsu̥ka-gashira
Uke-nagashi
(柄頭) “Top/head of the tsu̥ka.” This refers to end of
tsu̥ka. (受け流し) “Receive and ward off.” Used in the first and
second kodachi kata. The uchidachi’s attack is received
Tsu̥ka-gawa on the shinogi redirecting it while at the same time
moving to the side via hiraki-ashi.
(柄革) Literally “tsu̥ka-leather”, the tsu̥ka-gawa is the
leather sheath covering the handle of the shinai. Ura
(裏) (lit.) “Inside.” The right side of the shinai or boku̥-
Tsu̥ka-himo tō.
(柄紐) The small leather “cord” at the top of the tsu̥ka- Ushiro
gawa the tsuru attaches to.
(後) “Backward.” Ushiro refers to a direction.
Tsu̥ki
W
(突き) (1) (lit.) “Thrust.” (2) The name of the target
when thrusting to the throat. Waki-gamae
(脇構え) “Side stance.” Known as the “kamae of metal”,
Tsu̥ki-dare or yō no kamae, it’s a variant of gedan no kamae.
(突き垂) The throat protector on the men, see kendō- Waza
gu, for receiving tsu̥ki attacks.
(技) “Technique(s).” Fencing techniques used against an
Tsuru opponent.
(弦) The string connecting the saki-gawa and tsu̥ka- Waza (w)o korosu
himo on the top side of the shinai.
(技を殺す) “Kill their Waza.” See san-sappō.
Tsu̥tsu
(筒) “Cylinder, pipe, tube.” Area of the kote one may Y
strike. Also called the kote-tsu̥tsu. Yagyū Shinkage-Ryū
 ɢʟᴏSSᴀʀʏ ᴏF ᴛᴇʀᴍS ɪɴ ᴋᴇɴᴅᴏ 17

(柳生新陰流) Yagyū Shinkage-Ryū is one of the oldest made explicit in the Concept & Purpose of Kendō by “…
kenjutsu schools in Japan. Descendant from Shinkage- application of the principles of the katana.”
Ryū, founded by Kamiizumi Nobutsuna, the Yagyū
Shinkage-Ryū was founded by Yagyū Munetoshi and Za-rei
is still practiced today. (座礼) “Seated bow” from the seiza position.
Yin-yang Za-zen
(陰陽) Individually the characters are read as in-yō in (座禅) “Seated Zen” (meditation).
Japanese, this term is from Chinese Taoism dealing Zekken
with opposites and/or duality; the definition of one is (ぜッケソ) Name tag worn on the tare. Also termed a
dependent on the definition of its opposite. The idea of nafuda.
yin-yang also embodies the idea of a dynamic balance
of opposites or opposing aspects throughout nature, Zen
e.g., still/moving, negative/positive, defense/attack, (禅). See za-zen.
etc…
Zenjō-in
Yoko-men
(禅定印) “Zen meditation hand position.” See mudrā.
(横面) “Sideways” or “horizontal” men. A sideways
katate strike to the right or left side of the men. Some
use this term to refer to a sayū-men strike.
Yokote
(横手) The area on a katana where the tip ends and the
blade proper begins.
Yokote-kōsa
(横手交差) “Intersection of the yokote.” The position
kendōka meet at when they will perform formality
based motions, e.g., kamae (w)o toku or sonkyo, in the
nihon kendō no kata and boku̥tō waza.
Yō no kamae
(陽の構え) “Attacking kamae.” The antithesis of in no
kamae. See waki-gamae.
Yūkō-datotsu
(有効打突) “Effective strike.” In kendō, yūkō-datotsu
is an accurate, i.e., made in the same direction as the
jin-bu, strike or thrust (1) onto the datotsu-bui of the
opponent’s kendō-gu with the shinai at the datotsu-bu,
(2) in high spirits and correct posture, and (3) followed
by zanshin.
Yuku
(行) “To proceed, to flow.” Yuku is another reading of
the term gyo.

Z
Zanshin
(残心) “Remaining mind.” In the context of kendō this
is, simply put, interpreted as sustaining both mental
and physical readiness with every action in order to be
able to respond or cope with the opponent; a sustained
alertness.
Zantotsu
(斬突) “Cut” or “thrust.” Similar to datotsu, however
zantotsu applies to cutting, e.g., with a sword, where
as datotsu refers to hitting, e.g., with a shinai. Modern
kendō is a datotsu style, however the mentality and
intent should mimic that of a zantotsu style. This is
BIBLIOGRAPHY
[1] All Japan Kendo Federation. Japanese–English Dictionary of Kendo. 2nd ed. All Japan Kendo Federation, 2011.
[2] All Japan Kendo Federation. Nippon Kendo Kata Instruction Manual. All Japan Kendo Federation, 2002.
[3] Karl F. Friday. Legacies of the Sword: The Kashima-Shinryū and Samurai Martial Culture. University of Hawai’i Press, 1997.
ɪSʙɴ: 0-8248-1847-4.
[4] Masahiro Imafuji. Kendo Study: 5 Points to Put Pressure (5 Seigan). YouTube video. Posted by Hiro Imafuji. Mar. 2019.
ᴜʀʟ: https://www.youtube.com/watch?v=5eCVyEtm610.
[5] Hidekatsu Inoue. Progress in Kendo Book (剣道上達 Book). Narumi Hall Publishing, 2003. ɪSʙɴ: 4-415-01915-3.
[6] Yoshihiko Inoue. Kendo Kata: Essence and Application. Trans. by Alex Bennett. Kendo World Productions, 2003.
ɪSʙɴ: 4-9901694-1-7.
[7] International Phonetic Alphabet. International Phonetic Alphabet. 2017.
ᴜʀʟ: http://www.internationalphoneticalphabet.org/.
[8] Miyamoto Musashi. The Five Rings, Miyamoto Musashi’s Art of Strategy. Trans. by David K. Groff.
Watkins Publishing, 2012. ɪSʙɴ: 978-0785834007.
[9] Noboru Shigeoka. Detailed Explanation of Nippon Kendo Kata (詳解日本剣道形). Ski Journal Limited, 1977.