| My professional interests |
|
Computing Law Education Science and research |
| My leisure interests |
|
Martial arts Heritage railways Garden railways Motorcycles DIY |
| Downloads |
|
Linux downloads Windows downloads Java downloads Perl downloads Home automation downloads |
| About me |
|
Home & family My CV |
| Site info |
|
Contact the author Download policy Keyword index |
A note about do/jutsu
Many terms used in the Japanese sword arts end in -do or -jutsu. For some people, the distinction is of central importance; for others it is held to be irrelevant. In theory do which, like the Chinese tao, means `way' or `path', focuses on the meditative, contemplative aspect of the practice. Jutsu, loosely translated below as `practice', emphasises the earthy, practical side of the method. After the Second World War, many -jutsu schools were rebranded as -do schools, to avoid a charge of militarism. Marketing your martial art as a way of self-improvement was a way of avoiding the unwelcome interference of the Allied authorities. However, the amount by which the actual content of what was taught changed varied from school to school.Consequently, there might be a significant difference between a school that practices, say, iaido, and one that practices iaijustu. But equally there might not be. In my experience, it is a mistake to read too much into the do/jutsu distinction, at least as far as Western martial arts clubs are concerned.
Consequently, some of the things I have described as jutsu below would be called do by some practitioners, and vice versa.
Moves, body parts, targets
| ashi-sabaki | Footwork, in general |
| chiburi | `Shake clean'. The symbolic act of shaking the blood from the sword blade after a decisive strike, and before performing noto (sheating the sword). This is a symbolic act -- whose origin is unclear -- because no competent Japanese swordsman would re-sheath a sword with traces of fluid on it. Japanese swords were, and are, vulnerable to corrosion |
| chudan | The torso region |
| fumikomi(-ashi), tobikomi(-ashi) | Literally `stamping and going inside'. A decisive, stamping step used in kendo fencing, timed to coincide with a strike. Fumikomi takes a long time to master, and is hard on the knees when you get above a certain age (or weight) |
| hidare | Left, to the left. Also the name of the third of the seitei kata. |
| jodan | The head/neck region |
| isoku itto no maai | In fencing, a distance between combatants such that it requires one step, and only one step, to be in range for a strike |
| kote | Glove. The glove, specifically the wrist, is a legitimate target in kendo |
| maai | Proper appreciation of distance and timing in fencing |
| mei | Front, to the front. Also the name of the first of the seitei kata. |
| men, atama | The head |
| migi | Right, to the right. Also the name of the fourth of the seitei kata. |
| noto, notto, sameto, o-sameto | Putting the sword away -- in the scabbard if used, or in the left hand by the left hip if not |
| nuki-tsuke | A single-handed sword strike, typically straight off the draw |
| o-chiburi | chiburi (`shake clean') performed with a large, circular motion |
| okuri-ashi | The shuffling half-step typically used to move in a straight line during fencing |
| saya-biki | Movement of the scabbard (saya). Proper scabbard control is important in achieving a rapid draw in iai techniques |
| tsuki | A thrusting strike at the throat with a daito (longsword). Usually pronounced `ski'. |
| ushiro | Behind, to the rear. Also the name of the second of the seitei kata. |
Styles, methods, schools, etc
| batto, battojutsu | Literally `draw sword', and `draw sword practice'. Although battojutsu and kenjutsu are almost synonyms (but not quite -- ken does not have the sense of `drawing' or `extraction'), as a practice batto is much closer to what is known as iai or iaido in the West. The term batto, as a contraction of battsu (draw) and to (sword) goes back at least to the 15th century. Batto is also used as an instruction -- `draw your sword'. |
| hyoho niten ichi-ryu | A system of paired kata using daito, shoto, and bo (staff), singly and in combination. The wooden swords (bokuto) used in niten are traditionally somewhat ligher than those for kendo/kenjutu training, as they have to be wielded one-handed |
| iai, iaido | The art of drawing a sword rapidly to make a small number of offensive or defensive strikes. Iai is a difficult word to translate, but loosely has the sense `being in harmony', `being present', or `being aware'. The word emphasises that iai focuses on concentration and rapid response. In addition, the kanji read i can also mean `to remain seated'; this may partly explain the continued emphasis in iai on techniques that start in the seiza position. I believe that the word iai popularised by Nakayama Hakudo in the early 20th century; it's real roots may be older than this, but how much older is uncertain. In any event, it is more modern, and subtle, term than batto -- the much more earthy `draw sword'. Modern iai practice focuses mostly on solo kata, very often the ubiquitous seitei. Of course, individuals who practice iai very frequently practice other aspects of swordsmanship, particularly kendo or niten. |
| kakarigeiko, uchikomigeiko | Literally `aiming exercise' or `attacking exercise'. A form of paired training in kendo/kenjutsu. The person playing the `receiver' (moto-dachi) role deliberately provides an opening, and the `attacker' (kakarite) makes a decisive strike. In practice, the players alternate roles. Kakarigeiko is typically done in full armour with shinai. See also kihon keiko-ho |
| kakarite | The `attacker' role in paired training techniques like kakarigeiko and kihon keiko-ho |
| kata | Pre-arranged sequences of moves used in training. Kata is generally done solo in iaido, and in pairs in kendo/kenjutsu |
| katate | One-handed (of a sword strike) |
| kendo | Literally `sword way'. Kendo is a kind of fencing with blunt lightweight swords performed in full armour. In practice, kendo practice usually also involves kata and similar practice, which might properly be considered kenjustu (as that term is usually used in the West). Kendo fencing and kata starts with the sword drawn, so rapidity of draw is not really an issue for kendo players as it is in iai. In addition, because kendo fencing uses very light weapons, it is open to the criticism that it is a sport, and not a fighting art (if, indeed, that could be said to be a criticism). The addition of practices such as kihon keiko-ho go some way to countering this objection |
| kenjutsu | `Sword practice', usually taking the form of kata performed in pairs |
| kesa (-giri) | Diagonal cut. Kesa is, in fact, a sash worn by Bhuddist priests |
| kihon keiko-ho | ``Basic practice''. Abbrevation for bokuto ni yoru kendo kihon-waza keiko-ho -- ``training sword application for kendo fundamental technique practice''. Kihon keiko-ho was developed recently to bridge the gap between kendo fencing, which was felt not to teach how to handle a sword of realistic weight and size, and kendo/kenjutsu kata practice, which was felt not to teach maai and timing. In kihon keiko-ho one partipant plays the motodachi (receiver) role, and the other the kakarite (attacker) role. motodachi deliberately creates an opening, which kakarite responds to with an attack. To that extent the training is like kakarigeiko; but because the response is a formalized move (as in kata) the training can be carried out without armour and with heavy training swords |
| morote | Two-handed (of a sword strike) |
| moto-dachi, moto-tachi | The `receiver' (target) role in paired training techniques like kakarigeiko and kihon keiko-ho |
| niten | see hyoho niten ichi-ryu |
| seitei-gata, seitei-kata | Literally `standard forms'. In the context of the sword arts, seiti usually denotes the system of solo sword kata promoted by the All-Japan Kendo Federation for use in iai practice |
| shi-dachi, shi-tachi | `Completing sword' -- defender; the person who responds to an attack, usually by responding and countering decisively. The term usually denotes the responding role in kendo/kenjutsu paired kata practice |
| shiai | Fencing; match; competition. In kendo shiai, points are scored by making decisive hits on a small number of small target areas: men (head), kote (glove), doh (chest), and tsuki (throat). In practice, the throat is hard to hit, limiting the target area still further. Moreover, a point is only awarded if the attack is decisive -- the attacker must must make a stamping forward step, and shout the name of the target area |
| suburi | The food and drink of all the sword arts -- repetitive practice of striking movements. Also the name of a heavy, wooden sword-like object designed to be used in suburi training. |
| tameshigiri | Test cutting. The practice of striking a solid object with a real blade, to develop strength, focus, and good cutting technique. Traditionally the target is wet reed mats, rolled into a cyclinder, and spiked vertically on a stand. Some schools of Japanese swordsmanship have philosophical objects to test cutting, and don't practice it |
| uchi | Cutting, entering |
| uchi-dachi, uchi-tachi | `Entering sword' -- the person who initiates an encounter. The term is sometimes used in a general way to mean `opponent'. It doesn't really mean `attacker' (tori is a better word for this) but, in formal practice, uchi role is usually the attacker. The term usually denotes the initiating role in kendo/kenjutsu paired kata practice |
| waza | Technique, action |
Clothing and armour
| bogu, dogu | Armour; suit of armour; equipment |
| doh, do | Chest and torso armour |
| gi | Literally `wearing'. Usually denotes all or some part of the uniform of a particular martial art. In kendo and iaido, gi denotes only the cotton jacket (usually indigo but some practitioners prefer white). The other part of the outfit is usually a hakama. |
| hakama | Pleated legwear, a bit like a combination of skirt and trousers. Traditionally sewn from cotton and died with indigo. The wearing of hakama is often said to confer a tactical advantage, as it conceals the wearer's feet and makes it harder to anticipate his movements. Be that as it may, the ubiquity of hakama more like stems from its traditional role in samurai dress. Tying hakama is an art, and one over which much ink has been spilled. I generally feel that, so long as the hakama doesn't end up around my knees during training, I have worried about this aspect as much as I need to |
| kote | glove(s) |
| men | Literally `head'; helmet |
| obi | Belt. Unlike a karate belt, a Japanese swordsman's belt is about three inches wide, and should go around the waist three times. This is because the daisho swords are typically tucked between the loops of the belt. obi are not usually worn in kendo, because the sword is not usually sheathed. I've tried using a karate belt for iai and it doesn't work -- I just can't get it tight enough to stop the sword dangling at my ankles |
| tare | groin and lower body armour |
Stance, posture
| chudan-no-kamae | The usual `ready' stance in kendo, with the sword hilt at about waist height, and the tip pointing at the opponent's throat |
| furi-kaburi | Any posture in which the sword is raised above the head |
| jodan-no-kamae | An offensive stance, with the sword hilt raised above head height |
| keito | Holding the sword in a position of readiness to draw, with the left hand at hip level, and the left thumb on the tsuba. Also known as teito shisei. |
| otoku | Neutral position. The sword is held in both hands as if for striking, but with the tip of the blade pointed towards the ground |
| seiza | Stricly speaking, seiza denotes any posture used in formal occasions or in meditation. The word za loosely means `sitting', and can be used to describe any posture of rest other than lying down. In practice, when the term is used in the Japanese martial arts, seiza has come to mean a kneeling posture, buttocks resting on, or just above, the heels; toes extended. Many of the iaido kata start from seiza. The reasons for this are uncertain because, while it's just about possible that a swordsman might have been attacked while seated, it is unlikely that a swordsman would have worn a daito (longsword) while seated. The usual explanation is that practicing sword-cuts with at least one knee on the ground trains the swordsman to make cuts using the shoulders and abdomen, rather than the hips and legs. In addition, getting in and out of seiza while weilding a sword is good training for the leg muscles. |
| sonkyo | Crouching on the balls of the feet, buttocks on heels. Typically used as part of the opening protocol in paired kata practice. Painful and unnatural for the over-40s |
| teito | Holding the sword. Teito alone usually means holding the sword loose, by the left (i.e., non-agressive) hand. Holding the sword in a position of readiness to draw is teito shisei or keito. |
| teito shisei | Holding the sword in a position of readiness to draw. Also known as keito. |
Swords and sword parts
| bokken, bokuto | Both these words, which are synonyms, mean `wood sword', and denote a a blunt training sword whose shape and handling are similar to that of a real sword. The bamboo sword specifically used for kendo fencing is not a bokken/bokuto, but a shinai (bamboo is a type of grass, not a type of wood). A wooden sword that is flatter and heavier than a real sword, and designed for building strength and flexibility rather than technique, is called a suburi. Bokken are available in various sizes and weights, and different methods and schools prefer different training swords. It is at least possible, although disputed, that some of the kendo/kenjutsu techniques we now practice were, in fact, created for the wooden sword, and not for live blades. This is not a wholely radical idea; after all, karate players practice head-height kicks, which would hardly be recommended as practical self-defence. |
| daisho | Literally `big small'. This term denotes the pair of long and short swords, or training swords, typically used in kendo, etc. |
| daito | A longsword, particularly the katana. Technically a daito is any sword longer than 3 shaku (i.e., about 91cm) |
| fuchi | The collar the tsuka (hilt), which sits just behind the tsuba (hand guard). Also use to describe the glove (kote) or hand nearest the blade. Kashira and fuchi are traditionally made in pairs, and are similarly decorated |
| karhira | The end cap of the tsuka (hilt). Also use to describe the glove (kote) or hand furthest from the blade. Kashira and fuchi are traditionally made in pairs, and are similarly decorated |
| katana | The traditional longsword (daito) of the samuri. The katana has a single cutting blade, is slightly curved, and can be wielded one- or two-handed. The kanji character katana can also be read to, and usually is when used in compound words (e.g., teito, keito). However, to tends to take the sense of `sword' in general, rather than a longsword; hence it is not a contradiction in terms to talk of a shoto (short (long-)sword). In practice, in modern Japanese the word katana also has this generic sense. The katana is not a heavy weapon, like the European broadsword, and relies for its effect on its sharpness. Consequently a strike, to be effective, must must a slicing action, rather than a `chopping' one |
| kensen | The tip of the sword. Not necessarily the real, physical tip, but rather the `pressure' or `force' the tip directs at the opponent |
| kissaki | The physical tip of the sword. See also kensen |
| koiguchi | The opening in the scabbard (saya) into which the sword slides |
| kurigata | The fixing on the saya (scabbard) to which the sageo (cord) is tied |
| sageo | The cotton cords that tie the scabbard (saya) to the clothing (typically the belt or hakama ties) so that the sword cannot easily be taken by an adversary. The precise function and tying of the sageo is a matter of debate and, because it is of no practical significance whatsoever in modern practice, the debate is a heated one |
| saya | Scabbard. Iaido practice includes the draw of the sword, and therefore the scabbard is important. Kendo practitioners generally do not use scabbards intheir training |
| shinken | Any sword which has a live (sharp) blade (as opposed to bokken) |
| shinai | A training sword made of four long slivers of bamboo, bound together with string. The shinai bends on impact, and is therefore safer in training than a bokken. Modern shinai may be made of carbon fibre, which tends to last longer than bamboo; but some practioners disparage the use of this non-traditional material |
| shoto | A short sword, particularly the wakizashi. Technically a shoto is an sword between one and two shaku in length (about 30-60 cm) |
| tanto | A very short sword, or dagger. Technically a tanto is an edged weapon less than one shaku (about 30 cm) in length |
| tsuba | Hand guard. The ring of metal, wood, leather, etc., that keeps hand in position and stops it sliding onto the blade |
| tsuka | Hilt -- the bit of the sword you hold |
| wakizashi | The traditional short sword (shoto) of the samuri. Typically it is about 50cm long, slightly curved, and used one-handed |
Etiquette and protocol
| embu | Demonstration, show, performance. Sometimes prefixed to an item of clothing to indicate `best'. E.g., embu-gi -- the gi you wear for public displays rather than day-to-day training |
| reiho, reigi | Etiquette. My experience is that kendo/iaido clubs are much more punctilious about reigi than karate and judo clubs, even when they are informal in other areas of practice. Correct reigi is generally expected in grading examinations |
| shinzen | An altar or shrine (literally ``god/spirit front''). The shinzen may be located at shomen but, traditionally, is at the East end of the room (like the altar in a Christian church, and possibly for the same reason). Bowing to shinzen is part of the opening protocol in many sword schools |
| shomen | Literally `first head' or `head one'. Typically denotes the front of the training hall, or some place of particular significance, such as a picture of the founder. Also sometimes used to mean the front of the head, as a target, and a direction: ``straight ahead''. I've also heard the term shomen used to mean `team spirit', although I don't know how common that is |
| to-rei | ``Sword bow'' -- a bow in seiza with the sword in front |
Miscellaneous
| ki ken tai (no) ichi | Literally `spirit sword body one'. Mind, body, and sword working in harmony |
| nanken | Literally `false sword'. A disparaging term used to describe sword technique that lacks conviction, such as a move that might succeed in competition but would lack decisiveness in combat |
| soke | `Headmaster' or `head of family'. A title given to the person recognized as the head of a particular school or style of martial art. Strictly speaking, it is only appropriate to use this term in connection with martial arts that have a singular figure of authority as their leader -- there can't really be more than one soke in a particular school. Consequently, translating soke as `grand master' or the like misses the point. |
| zanshin | Literally `remaining mind' or, perhaps, `remaining heart'. Translates roughly as `concentration' or `awareness', typically after a decisive technique has been executed |
| Search |
| Shameless plug |
 By the author of this site. Buy on-line from Amazon USA | UK |
| Editorial |
So you want to be a university lecturer? Read this first! Speak like your boss: new developments in managerese |
| Computing features |
|
File handling in the Linux kernel: an in-depth look at how Linux handles files, filesystems, and file I/O
All sorts of Linux stuff Confused about CLASSPATH? answers are here First steps in EJB using jBoss (recently revised for jBoss 3.2) |