| Batto |
Drawing the Sword |
| Chiburi |
Removing the blood
from the blade |
| Fuchi |
Collar at the top of
the Tsuka just below the Tsuba |
| Gyaku-Kesagiri |
Rising diagonal cut
from the waist just under the ribs to the shoulder (about 45 degrees from
vertical) |
| Gosoke |
See Soke |
| Ha |
Sharp edge of the
blade |
| Habaki |
Collar at the base of
the sword just above the Tsuba |
| Hakama |
Baggy pleated
trousers |
| Hamon |
Surface of the blade
near the Ha |
| Hi |
Indentation in the
blade between the shinogi-ji and hamon where metal has been removed to lighten
the sword (also helps the sword make a distinctive whistling sound when swung) |
| Hikae-giri |
A way to perform
koiguchi-o Kiru with the thumb on the side closest to the body such that the
opponent cannot see |
| Jodan Kamae |
Ready stance with the
sword held above the head |
| Kamiza |
Upper seat or deity
shrine at the front of the dojo or practice area |
| Kata |
Set form of moves |
| Katate |
One-handed |
| Kesagiri |
Diagonal cut from the
base of the neck to the waist just below the ribs (about 30 degrees from vertical) |
| Kissaki |
Tip of the sword |
| Kissaki-agari |
The sword is above
parallel with the kissaki slightly higher then the hand on the tsuka |
| Kissaki-sagari |
The sword is below
parallel with the kissaki slightly lowered then the hand on the tsuka |
| Koiguchi |
Mouth of the saya |
| Koiguchi-o kiru |
Act of unlocking the
sword from the saya by using the thumb to push on the tsuba until the habaki is
free from the tension (friction) holding the sword in the koiguchi |
| Kojieri |
End of the saya
opposite the koiguchi |
| Koryu |
Traditional Japanese
martial art |
| Kurigata |
Knob on the saya
through which the sageo is attached |
| Makko-giri |
Vertical downward cut |
| Menuki |
Furniture on the
tsuka providing for a better grip |
| Monouchi |
The sharpest part of
the blade about one-third down from the kissaki |
| Morote |
Two-handed |
| Mune |
Back of the sword
(opposite the Ha) |
| Noto |
Sheathing the sword |
| Obi |
Wide belt around the
waist used to hold the sword on the hip |
| Rei |
Bowing |
| Ritsurei |
Standing bow |
| Sageo |
Cord affixed to the
saya |
| Saya |
Scabbard (housing for
the sword) |
| Sayibiki |
Pulling the scabbard
back to clear the blade |
| Seiza |
Sitting formally on
the knees with the legs folded under such that the butt rests on the ankles |
| Seppa |
Washers between the
tsuba and habaki |
| Shidachi |
The one who does the attacking
technique |
| Shinoga |
Ridge line of the
blade |
| Soke |
Literally “founder”
refers to the head instructor (master) |
| Sonkyo |
Moment of silence
paying respect to the fallen opponent |
| Tachi Waza |
Standing forms |
| Tekizuke |
Keeping the kissaki
pointed at the opponent |
| Torei |
Bowing to the sword |
| Tsuba |
Sword guard |
| Tsuka |
Sword handle |
| Tsukagashira |
Butt end of the tsuka |
| Uchidachi |
The one who receives
the technique |
| Yok ichi monji |
Horizontal cut at
chest (heart) level |
| Zagi |
Seated forms |
| Zarei |
Seated bow |
| Zanshin |
State of focused
awareness of one’s surroundings without concentrating on any one thing in
particular |
