JU The number ten (10).

KACHIHAYABI “Victory at the speed of sunlight.” According to the founder, when one has achieved total self-mastery (AGATSU) and perfect accord with the fundamental principles governing the universe (especially principles covering ethical interaction), one will have the power of the entire universe at one's disposal, there no longer being any real difference between oneself and the universe. At this stage of spiritual advancement, victory is instantaneous. The very intention of an attacker to perpetrate an act of violence breaks harmony with the fundamental principles of the universe, and no one can compete successfully against such principles. Also, the expression of the fundamental principles of the universe in human life is love (AI), and love, according to the founder, has no enemies. Having no enemies, one has no need to fight, and thus always emerges victorious. (see AGATSU and MASAKATSU)

KAESHI WAZA Technique reversal. (uke becomes nage and vice- versa). This is usually a very advanced form of practice. KAESHI WAZA practice helps to instill a sensitivity to shifts in resistance or direction in the movements of one's partner. Training so as to anticipate and prevent the application of KAESHI WAZA against one's own techniques greatly sharpens aikido skills.

KAISO A title. The founder of aikido (i.e., Morihei Ueshiba).

KAITEN NAGE Rotary throw

KAMAE A posture or stance either with or without a weapon. KAMAE may also connote proper distance (MA AI) with respect to one's partner. Although “KAMAE” generally refers to a physical stance, there is an important parallel in aikido between one's physical and one's psychological bearing. Adopting a strong physical stance helps to promote the correlative adoption of a strong psychological attitude. It is important to try so far as possible to maintain a positive and strong mental bearing in aikido.

KAMI A divinity, living force, or spirit. According to SHINTO, the natural world is full of KAMI, which are often sensitive or responsive to the actions of human beings.

KAMIZA A small shrine, especially in an aikido, generally located the front of the dojo, and often housing a picture of the founder, or some calligraphy. One generally bows in the direction of the KAMIZA when entering or leaving the dojo, or the mat.

KANNAGARA To be one with the order and flow of nature.

KANSETSU WAZA Joint manipulation techniques.

KASHIRA Sword pommel.

KATA A “form” or prescribed pattern of movement, especially with the JO in aikido. (But also “shoulder.”)

KATAME WAZA “Hold-down” (pinning) techniques.

KATANA What is vulgarly called a “samurai sword.”

KATA TORI Shoulder taking

KATATE DORI Wrist taking

KATSU JIN KEN “The sword that saves life.” As Japanese swordsmanship became more and more influenced by Buddhism (especially Zen Buddhism) and Taoism, practitioners became increasingly interested in incorporating ethical principles into their discipline. The consummate master of swordsmanship, according to some such practitioners, should be able not only to use the sword to kill, but also to save life. The concept of KATSU JIN KEN found some explicit application in the development of techniques which would use non-cutting parts of the sword to strike or control one's opponent, rather than to kill him/her. The influence of some of these techniques can sometimes be seen in aikido. Other techniques were developed by which an unarmed person (or a person unwilling to draw a weapon) could disarm an attacker. These techniques are frequently practiced in aikido. (see SETSU NIN TO)

KEIKO Training. The only secret to success in aikido.

KEIKO GI Training clothes

KEN Sword.

KENSHO Enlightenment. (see MOKUSO and SATORI)

KI Mind. Spirit. Energy. Vital-force. Intention. (Chinese = chi) For many Aikidoka, the primary goal of training in aikido is to learn how to “extend” KI, or to learn how to control or redirect the KI of others. There are both “realist” and anti-realist interpretations of KI. The KI-realist takes KI to be, literally, a kind of “stuff,” “energy,” or life-force which flows within the body. Developing or increasing one's own KI, according to the KI-realist, thus confers upon the aikidoka greater power and control over his/her own body, and may also have the added benefits of improved health and longevity. According to the KI-anti-realist, KI is a concept which covers a wide range of psycho-physical phenomena, but which does not denote any objectively existing “energy” or “stuff.” The KI-anti-realist believes, for example, that to “extend KI” is just to adopt a certain kind of positive psychological disposition and to correlate that psychological disposition with just the right combination of balance, relaxation, and judicious application of physical force. Since the description “extend KI” is somewhat more manageable, the concept of KI has a class of well-defined uses for the KI-anti-realist, but does not carry with it any ontological commitments beyond the scope of mainstream scientific theories.

KIAI A shout delivered for the purpose of focusing all of one's energy into a single movement. Even when audible KIAI are absent, one should try to preserve the feeling of KIAI at certain crucial points within aikido techniques.

KIHON (Something which is) fundamental. There are often many seemingly very different ways of performing the same technique in aikido. To see beneath the surface features of the technique and grasp the core common is to comprehend the KIHON.

KIME Focus

KI MUSUBI / KI NO MUSUBI = Literally “knotting/tying-up KI.” The act/process of matching one's partner's movement/intention at its inception, and maintaining a connection to one's partner throughout the application of an aikido technique. Proper KI MUSUBI requires a mind that is clear, flexible, and attentive. (see SETSUZOKU)

KI NO NAGARE KI like a stream (continuous outpouring)

KI NO TSUNAMI KI like a wave.

KIRI HIKARU Using the Aiki ken to cut away delusional attachments and open a path for spiritual progress.

KISSAKI Sword point.

KOHAI A student junior to oneself.

KOKORO “Heart or mind.” Japanese folk psychology does not distinguish clearly between the seat of intellect and the seat of emotion as does Western folk psychology.

KOKYU Breath. Part of aikido is the development of “KOKYU RYOKU,” or “breath power.” This is the coordination of breath with movement. A prosaic example: When lifting a heavy object, it is generally easier when breathing out. Also breath control may facilitate greater concentration and the elimination of stress. In many traditional forms of meditation, focus on the breath is used as a method for developing heightened concentration or mental equanimity. This is also the case in aikido. A number of exercises in aikido are called “KOKYU HO,” or “breath exercises.” These exercises are meant to help one develop KOKYU RYOKU.

KOMBAN WA Good evening.

KONNICHI WA Hello. Good day. (Used after 10 am until evening.)

KOSHI Hips.

KOTODAMA A practice of intoning various sounds (phonetic components of the Japanese language) for the purpose of producing mystical states. The founder of aikido was greatly interested in Shinto and Neo-shinto mystical practices, and he incorporated a number of them into his personal aikido practice.

KU Emptiness. According to Buddhism, the fundamental character of things is absence (or emptiness) of individual unchanging essences. The realization of the essencelessness of things is what permits the cultivation of psychological non-attachment, and thus cognitive equanimity. The direct realization of (or experience of insight into) emptiness is enlightenment. This shows up in aikido in the ideal of developing a state of cognitive openness, permitting one to respond immediately and intuitively to changing circumstances (see MOKUSO).

Also the number nine (9).

KUBI Neck.

KUMIJO JO matching exercise (partner practice).

KUMITACHI Sword matching exercise (partner practice).

KUZUSHI The principle of destroying one's partner's balance. In aikido, a technique cannot be properly applied unless one first unbalances one's partner. To achieve proper KUZUSHI, in aikido, one should rely primarily on position and timing, rather than merely on physical force.

KYU White belt rank. (Or any rank below SHODAN)

MA AI Proper distancing or timing with respect to one's partner. Since aikido techniques always vary according to circumstances, it is important to understand how differences in initial position affect the timing and application of techniques.

MAE =Front. Thus MAE UKEMI = “forward fall - roll.”

MAKIWARA Lit:-target. Striking apparatus in the martial arts.

MAKOTO Lit: sincerity.

MASAKATSU “True victory.” (see AGATSU and KACHIHAYABI)

MEN face, head

MIGI Right.

MISOGI Ritual purification. Aikido training may be looked upon as a means of purifying oneself; eliminating defiling characteristics from one's mind or personality. Although there are some specific exercises for MISOGI practice, such as breathing exercises, in point of fact, every aspect of aikido training may be looked upon as MISOGI. This, however, is a matter of one's attitude or approach to training, rather than an objective feature of the training itself.

MOCHI To hold.

MOKUSO Meditation. Practice often begins or ends with a brief period of meditation. The purpose of meditation is to clear one's mind and to develop cognitive equanimity. Perhaps more importantly, meditation is an opportunity to become aware of conditioned patterns of thought and behavior so that such patterns can be modified, eliminated or more efficiently put to use. In addition, meditation may occasion experiences of insight into various aspects of aikido (or, if one accepts certain Buddhist claims, into the very structure of reality). Ideally, the sort of cognitive awareness and focus that one cultivates in meditation should carry over into the rest of one's practice, so that the distinction between the “meditative mind” and the “normal mind” collapses.

MONJIN Student

MUDANSHA Students without black-belt ranking.

MUNE Back of sword.

MUSHIN Literally “no mind.” A state of cognitive awareness characterized by the absence of discursive thought. A state of mind in which the mind acts/reacts without hypostatization of concepts. MUSHIN is often erroneously taken to be a state of mere spontaneity. Although spontaneity is a feature of MUSHIN, it is not straightforwardly identical with it. It might be said that when in a state of MUSHIN, one is free to use concepts and distinctions without being used by them.

MUSOKEN a form of sword movement, accomplished unconsciously, using only the sixth sense.

MUSUBI Connection

NAGARE Flowing. One goal of aikido practice is to learn not to oppose physical force with physical force. Rather, one strives to flow along with physical force, redirecting it to one's advantage.

NAGE The thrower. n. Throw.

NI The number two (2).

NIKKYO Literally, “Second technique.”

OBI A belt.

OHAYO GOZAIMASU Good morning.

OMOTE “The front,” thus, a class of movements in aikido in which nage enters in front of uke.

OMOTOKYO One of the so-called “new-religions” of Japan. OMOTOKYO is a syncretic amalgam of Shintoism, Neo-Shinto mysticism, Christianity, and Japanese folk religion. The founder of aikido was a devotee of OMOTOKYO, and incorporated some elements from it into his aikido practice. The founder insisted, however, that one need not be a devotee of OMOTOKYO in order to study aikido or to comprehend aikido's purpose.

ONEGAI SHIMASU “I welcome you to train with me,” or literally, “I make a request.” This is said to one's partner when initiating practice.

OSAE WAZA Pinning techniques.

O-SENSEI Literally, “Great Teacher,” i.e., Morihei Ueshiba, the founder of aikido.

OSHIBORI Inward twisting on the sword handle, jo or wrist.

OYASUMI NASAI Good night.

RANDORI Free-style “all-out” training. Sometimes used as a synonym for JIYU WAZA. Although aikido techniques are usually practiced with a single partner, it is important to keep in mind the possibility that one may be attacked by multiple aggressors. Many of the body movements of aikido (TAI SABAKI) are meant to facilitate defense against multiple attackers.

REI Courtesy

REIGI Etiquette. Observance of proper etiquette at all times (but especially observance of proper dojo etiquette) is as much a part of one's training as the practice of techniques. Observation of etiquette indicates one's sincerity, one's willingness to learn, and one's recognition of the rights and interests of others.

REYSHIKI Dojo etiquette

RITSUREI Standing bow

ROKU The number six (6).

RYOTE Both hands

RYOTE DORI Both hands grabbed.

SAIYONARA Good bye.

SAN The number three (3).

SANKYO Literally, “Third technique.”

SATORI Enlightenment. In Buddhism, enlightenment is characterized by a direct realization or apprehension of the absence of unchanging essences behind phenomena. Rather, phenomena are seen to be empty of such essences -- phenomena exist in thoroughgoing interdependence (ENGI). As characterized by the founder of aikido, enlightenment consists in realizing a fundamental unity between oneself and the (principles governing) the universe. The most important ethical principle the aikidoist should gain insight into is that one should cultivate a spirit of loving protection for all things. (see KU and SHINNYO)

SEIZA Formal kneeling position.

SENSEI Teacher. It is usually considered proper to address the instructor during practice as “Sensei” rather than by his/her name. If the instructor is a permanent instructor for one's dojo or for an organization, it is proper to address him/her as “Sensei” off the mat as well.

SEIZA Sitting on one's knees. Sitting this way requires acclimatization, but provides both a stable base and greater ease of movement than sitting cross-legged.

SEMPAI A student senior to oneself.

SETSU NIN TO “The sword that kills.” Although this would seem to indicate a purely negative concept, there is, in fact, a positive connotation to this term. Apart from the common assumption that killing may sometimes be a “necessary evil” which may serve to prevent an even greater evil, the concept of killing has a wide variety of metaphorical applications. One may, for example, strive to “kill” such harmful character traits as ignorance, selfishness, or (excessive) competitiveness. Some misogi sword exercises in aikido, for example, involve imagining that each cut of the sword destroys some negative aspect of one's personality. In this way, SETSU NIN TO and KATSU JIN KEN coalesce.

SETSUZOKU Connection. Aikido techniques are generally rendered more efficient by preserving a connection between one's center of mass (HARA) and the outer limits of the movement, or between one's own center of mass and that of one's partner. Also, SETSUZOKU may connote fluidity and continuity in technique. On a psychological level, SETSUZOKU may connote the relationship of action-response that exists between oneself and one's partner, such that successful performance of aikido techniques depends crucially upon timing one's own actions and responses to accord with those of one's partner.

SHI The number four (4).

SHICHI The number seven (7).

SHIDOIN A formal title meaning, approximately, “instructor.”

SHIHAN A formal title meaning, approximately, “master instructor.” A “teacher of teachers.”

SHIHO Four directions.

SHIKAKU Literally “dead angle.” A position relative to one's partner where it is difficult for him/her to (continue to) attack, and from which it is relatively easy to control one's partner's balance and movement. The first phase of an aikido technique is often to establish SHIKAKU.

SHIKKO Samurai walking (“knee walking”). Shikko is very important for developing a strong awareness of one's center of mass (hara). It also develops strength in one's hips and legs.

SHIMI To squeeze or choke.

SHINKENSHOBU Lit. “Duel with live swords.” This expresses the attitude one should have about aikido training, i.e., one should treat the practice session as though it were, in some respects, a life-or-death duel with live swords. In particular, one's attention during aikido training should be single-mindedly focused on aikido, just as, during a life-or-death duel, one's attention is entirely focused on the duel.

SHINNYO “Thusness” or “suchness.” A term commonly used in Buddhist philosophy (and especially in Zen Buddhism) to denote the character of things as they are experienced without filtering the experiences through an overt conceptual framework. There is some question whether “pure” uninterpreted experience (independent of all conceptualization/categorization) is possible given the neurological/cognitive makeup of human beings. However, SHINNYO can also be taken to signify experience of things as empty of individual essences (see “KU”).

SHINTO “The way of the gods.” The indigenous religion of Japan. The founder of aikido was deeply influenced by Omoto Kyo, a religion largely grounded in SHINTO mysticism. (see KAMI)

SHODAN First degree black belt.

SHOMEN Front or top of head. Also the designated front of a dojo.

SOTO “Outside.” Thus, a class of aikido movements executed, especially, outside the attacker's arm(s). (see UCHI)

SUBURI Basic JO or BOKKEN practice in striking and thrusting.

SUBURI-TO Heavy wooden sword usually used with a makiwara.

SUKASHIWAZA Techniques performed without allowing the attacker to complete a grab or to initiate a strike. Ideally, one should be sensitive enough to the posture and movements of an attacker (or would-be attacker) that the attack is neutralized before it is fully executed. A great deal of both physical and cognitive training is required in order to attain this ideal.

SUKI An opening or gap where one is vulnerable to attack or application of a technique, or where one's technique is otherwise flawed. SUKI may be either physical or psychological. One goal of training is to be sensitive to SUKI within one's own movement or position, as well as to detect SUKI in the movement or position of one's partner. Ideally, a master of aikido will have developed his/her skill to such an extent that he/she no longer has any true Suki.

SUDORI Nage drops to mat, creating a vacuum which draws uke forward.

SUMI MASEN “Excuse me.”

SUTEMI Literally “to throw-away the body.” The attitude of abandoning oneself to the execution of a technique (in judo, a class of techniques where one sacrifices one's own balance/position in order to throw one's partner). (see AI UCHI).

SUWARI WAZA Techniques executed with both uke and nage in a seated position. These techniques have their historical origin (in part) in the practice of requiring all samurai to sit and move about on their knees while in the presence of a DAIMYO (feudal lord). In theory, this made it more difficult for anyone to attack the DAIMYO. But this was also a position in which one received guests (not all of whom were always trustworthy). In contemporary aikido, SUWARI WAZA is important for learning to use one's hips and legs.

TACHI A type of Japanese sword (thus TACHI-TORI = sword-taking). (Also “standing position”).

TAICHI WAZA Standing techniques.

TAIJUTSU “Body arts,” i.e., unarmed practice.

TAI NO HENKO TAI NO TENKAN = Basic blending practice involving turning 180 degrees.

TAI SABAKI Body movement.

TAKEMUSU AIKI A “slogan” of the founder's meaning “infinitely generative martial art of aiki.” Thus, a synonym for aikido. The scope of aikido is not limited only to the standard, named techniques one studies regularly in practice. Rather, these standard techniques serve as repositories of more fundamental principles (KIHON). Once one has internalized the KIHON, it is possible to generate a virtually infinite variety of new aikido techniques in accordance with novel conditions.

Another definition is “Love creating martial way.”

TANINSUGAKE Training against multiple attackers, usually from grabbing attacks.

TANTO A dagger.

TE Hand.

TE KUBI Wrist.

TEGATANA Hand blade (including the arm).

TEMOTO Sword gripping manner. The ideal temoto is the unobstructed grip of an infant.

TEN CHI NAGE Heaven (ten) and earth (chi) throw.

TEGATANA “Hand sword,” i.e. the edge of the hand. Many aikido movements emphasize extension and alignment “through” one's tegatana. Also, there are important similarities obtaining between aikido sword techniques, and the principles of tegatana application.

TENKAN Turning movement, esp. turning the body 180 degrees. (see TAI NO TENKAN)

TENSHIN A movement where nage retreats 45 degrees away from the attack (esp. to uke's open side).

TSUBA Sword guard.

TSUKA Sword grip.

TSUKI A punch or thrust (esp. an attack to the midsection). or The mind stops. An opening. (Different kanji, same pronunciation.)

UCHI “Inside.” A class of techniques where nage moves, especially, inside (under) the attacker's arm(s). (but also a strike, e.g., SHOMEN UCHI)

UCHI DESHI A live-in student. A student who lives in a dojo and devotes him/herself both to training and to the maintenance of the dojo (and sometimes to personal service to the SENSEI of the dojo).

UESHIBA KISSHOMARU The son of the founder of aikido.

UESHIBA MORIHEI The founder of aikido. (see O-SENSEI and KAISO).

UESHIBA MORITERU The grandson of the founder and current aikido DOSHU at HOMBU DOJO.

UKE Person being thrown (receiving the technique). At high levels of practice, the distinction between uke and nage becomes blurred. In part, this is because it becomes unclear who initiates the technique, and also because, from a certain perspective, uke and nage are thoroughly interdependent.

UKEMI Literally “receiving [with/through] the body,” thus, the art of falling in response to a technique. MAE UKEMI are front roll-falls, USHIRO UKEMI are back roll-falls. Ideally, one should be able to execute UKEMI from any position and in any direction. The development of proper ukemi skills is just as important as the development of throwing skills and is no less deserving of attention and effort. In the course of practicing UKEMI, one has the opportunity to monitor the way one is being moved so as to gain a clearer understanding of the principles of aikido techniques. Just as standard aikido techniques provide strategies for defending against physical attacks, so does UKEMI practice provide strategies for defending against falling (or even against the application of an aikido or aikido-like technique!).

UNDO Exercise

URA “Rear.” A class of aikido techniques executed by moving behind the attacker and turning. Sometimes URA techniques are called TENKAN (turning) techniques.

USHIRO Backwards or behind, as in USHIRO Ukemi or falling backwards.

WAZA Techniques. Although in aikido we have to practice specific techniques, aikido as it might manifest itself in self-defense may not resemble any particular, standard aikido technique. This is because aikido techniques encode strategies and types of movement which are modified in accordance with changing conditions. (see KIHON)

x-TORI (x-DORI) Taking away x, e.g. TANTO-TORI (knife-taking).

YOKO Side.

YOKOMEN Side of the head.

YONKYO Literally, “Fourth technique.”

YUDANSHA Black belt holder (any rank).

ZANSHIN Literally “remaining mind/heart.” Even after an aikido technique has been completed, one should remain in a balanced and aware state. ZANSHIN thus connotes “following through” in a technique, as well as preservation of one's awareness so that one is prepared to respond to additional attacks.

ZAREI Bow from seiza.

ZEN A school or division of Buddhism characterized by techniques designed to produce enlightenment. In particular, Zen emphasizes various sorts of meditative practices, which are supposed to lead the practitioner to a direct insight into the fundamental character of reality (see KU and MOKUSO).

ZORI Sandals worn off the mat to help keep the mat clean!