Jujitsu terminology that we use, adapted from Thomas Salander by Louise Wynn

Japanese	English
age	rising
ago	chin, jaw
ai	love, harmony
aiki	[Aikido] a state of harmonization of one's mind and body; the basic principle of aikido
ashi	leg, foot
ashi barai	leg sweep
ashi guruma	(lit. Leg Wheel) leg throw in which op­ponent is thrown over attacker's leg
ashi tatake	Leg-Strike Rear Takedown (reversal of Tai Otoshi) As opponent sets up the throw, grab the back of his collar, and place your right kneecap just behind your opponent's right knee joint. Then, bend your opponent's knee joint with a slight push with your kneecap, breaking his balance and technique. Pull back his collar, and step back with your left foot to execute a rear takedown.
ashi waza	Judo, Ju-jutsu] foot or leg techniques
ashi yoko nage	Foot-Twist Side Throw Assume a ready position. As your opponent attempts a front kick, deflect and hook the kick to your right by blocking out (with a closed hand) and then moving your right forearm up, opening your hand after the block is completed. Reach over with your left hand, and grab the heel of your opponent's foot. Grab at the ball of his foot with your right hand. Pivot your left foot back, as you turn the attacker's foot counterclockwise
atama	head
atemi	a strike to a weak or vital point on the body
atemi waza	techniques used for striking an opponent's anatomically weak or vital points
budoshin	Budoshin means to live in a respectful and honorable manner. It means to be chivalrous and knightly in one's behavior. It is the attitude and philosophy that goes along with the mechanics of the art.
bushido	lit. Way of the Warrior) the union of martial traditions and strategy with the moral codes of the warrior class, especially as influenced by Neo-Confucian thought.
eri	Collar, lapel
eri dori	Collar or lapel grab
eri nage	Lapel Wheel Throw Your attacker grabs your clothing with both hands. Bring your left hand up and grab the attacker's left lapel as high as possible, your palm facing out. Then grab his opposite lapel at about mid-chest height with your right hand. Pull your attacker towards you with your right hand to set the choke. Step back with your left foot as you pivot to your left to throw. Your right hand should continue pulling his right lapel and your left forearm should be firmly lodged under his chin, choking him.
gaeshi	a counter technique
garami	A 'wrapping, winding, and holding' action used in imobilizing an opponent
gatame	'Keeping under control'
gyaku	opposite, reverse
Hane	Feather—spring, leap, jump
hane goshi	inner sweeping hip throw Assume a ready position facing your attacker. Block his right punch with your left forearm. Step in close with your right foot, pivoting on your left foot. Your right arm should go underneath his left arm around his body. Hold the attacker tight against you. Your right foot should be just inside and in front of his right foot. Your right hip does not block his right hip as much as in the basic hip throw. Push your right foot and leg outward against his, to sweep his leg out and up. Continue to move as with a basic hip throw, balancing on your left leg.
hara	abdomen, belly; an area a few centimeters below the navel; considered the place where the vital energy is stored and generated
harai	sweep, as in ashi barai, leg sweep
harai goshi	outer sweeping hip throw Assume as ready position facing your attacker. Block your attacker's right punch outward with your left forearm, leaning in slightly towards your attacker. Block his left punch outward with your right forearm. Slide your left hand down and hook onto the attacker's right forearm with your fingers on top and thumb underneath. Push the attacker's left arm away and down in a clockwise circle with your right forearm. Move his left arm across his chest toward his right side as you step and pivot in for a basic hip throw. Grab attacker at his right shoulder with your right hand. Squat down to set the throw. Sweep your right leg back, keeping it straight, and making contact on the lower part of the attacker's right shin as you turn your body to the left to sweep your opponent off of the ground.
hasami	'Scissors', a scissor-like action using either the arms or the legs.
hidari	Left
hidari te nage	Left-Hand Throw From the ready position, your attacker grabs your lapel with his left hand, and holds the knife against your stomach with his right hand. Quickly turn to your right, blocking the knife hand away with your left forearm. Your right hand then comes up and grabs the attacker's left hand with your thumb between his third and fourth knuckle (end of ulnar nerve). Turn it clockwise away from you. Straighten out your arm to keep the knife away from you. Start the hand throw with your right hand, pushing his hand toward him as you pivot your right foot back in a clockwise circle and turn to your right. Bring your left arm up in a clockwise circle against the inside of the attacker's forearm to assist in the throw and to offer continued protection from the knife. Move your left hand to assist the right hand in the execution of the hand throw once the throw is under way.
hiji	Elbow
hiji waza	elbow-roll takedown: When your attacker grabs your clothing with both hands, bring your right hand (palm up and slightly cupped) up to your attacker's left elbow. Bring your left hand (palm down) over his right forearm and under his left forearm as close to you as possible. Use your right hand to push his elbow and turn it to your left in a counterclockwise circle as the back of your left hand comes up against the inside of his left forearm. Turn to your left as you raise his elbow. Continue pivoting. Your left hand turns away from you and grabs the attacker's left forearm (thumb underneath and fingers on top). Continue to roll the elbow, bringing the attacker down. If brought down swiftly the shoulder will strike the ground first, causing severe injury, due to the momentum created by rolling his elbow.
hiki	to pull, to evade
hiki yoko nage	Sleeve Pivot Throw Your attacker grabs your right wrist and pulls you towards him. Do not resist his pull. Your going to use his strength. Step with your right foot behind attacker, in the direction of his pull, using his pulling force to give you momentum. Grab his right sleeve or arm as you pivot to your left. Pivot your left foot back, going down on your left knee, and continue pulling his sleeve.
hiki waza	[Kendo] technique performed while stepping backward
hiza	knee
hiza guruma	Knee Wheel After breaking your opponent's balance to his right front corner, place your left foot on his right kneecap and throw him over it. Pay particular attention to the placement of your right foot. It should be neither too close to nor too far from your opponent. Be sure to curl the toes of your left foot inward and to put it just on the side of his right kneecap.
hiza tatake	(submit following Hane Goshi) Once your opponent is throwm drop your right knee into his armpit for submission.
hon	'Origin', 'Root', 'Foundation'.  (Book)
ippon seoi nage	One-arm hip throw: Grab your opponent's right sleeve with your left hand and strike his solar plexus with your right fist as you move towards him. Step to the inside of your attacker's right foot with your right foot. Your right arm goes under his right arm. Pivot to your left on the ball of your right foot as you bring your left foot back. Squat straight down so that your waist is below his waist and his right thigh is resting between your buttocks. Hold your opponent tight against your back. Lift your opponent off of the ground by straightening your legs and bending over at the waist. Throw attacker by turning to your left and looking to your left.
Ju	'Soft', 'Pliant', 'Adaptable', 'Yielding', 'Harmonious'. This Sino-Japanese written character has often been translated as 'Gentle'. The interpretation of the meaning of 'gentle' in relation to the practice of martial arts is frequently misleading. Many people have equated gentle with weak, when in fact the character contains more and idea of flexibility, in both mind and body. When a bamboo or willow branch is laden down with snow, it yields; it is flexible towards the new 'circumstances', and by yielding it allows the snow to fall to the ground, preserving its own existence and springing back into place with more force and speed than was employed in its yielding and bending action. The concept of Ju therefore implies flexibility and suppleness in direct proportion to subsequent speed and force. It is the direct opposite of hardness, or Go. Thus, whatever word is used to translate 'Ju', that word in itself will be insufficient without a practical explanation of its meaning.
Judo	'Way of gentleness', a nonviolent, basically defensive martial art created in 1882 by Kano Jigoro (1860-1938). It is mainly based on the techniques of unarmed combat used in Ju-jutsu as practised by the Bushi. The word Judo itself had already been used by the Jikishin-ryu of Ju-jutsu to describe their own art of combat, which relied on techniques which were not fatal. It was revived and used by Kano Jigoro, who wished to turn Ju-jutsu into a 'martial sport', to train and educate the young. He said: 'the aim of Judo is to understand and demonstrate the living laws of movement.' To this end, Kano Jigoro codified a certain number of body, arm and leg movements used in Ju-jutsu which had shown themselves very effective in hand-to-hand combat. They covered fighting on the floor and standing up. Kano Jigoro used those aspects of these techniques which could upset an opponent's balance (Kuzushi) and also immobilize him or her. The overall aim was to be able to neutralize an opponent. He thus created an art of self-defence which is learned in conjunction with a study of the fundamental movements, with a partner. This is expanded into training in freestyle combat known as Randori, in which the opponent, or 'the one who submits' (Uke), is thrown to the mat and immobilized by 'the one who throws' (Tori). Training and contests take place in a Judojo (shortened to Dojo), on a surface covered with Tatami to soften the falls (Ukemi). As in all the martial arts, the practitioners of judo (Judoka) seek to acquire suppleness of body and limbs, speed of body shifting (Tai-sabaki), perfect balance through the control of the breath and the concentration of the energies in the Hara, as well as a thorough knowledge of the techniques of the art. A spirit of detachment and serenity should prevail throughout. Students must aim to be in a state of permanent alertness (Hontai), without allowing any 'dead moments' (Bonno). Armed with a disciplined mind, calm and serene' with controlled body and reactions, such students will then be able to bring about the downfall of any adversary with ease.
Judogi	the training uniform used in Judo
Juji	Juji-gatame(joo-jee ga-ta-meh) "cross armlock" A judo armlock in which the legs are placed crosswise over an opponent's body, trapping the opponent's arm between the thighs. When the hips are slightly raised, the elbow joint is bent backward, causing pain. Juji-gatame is the twelfth technique of katame-no-kata. It is also known as the ude-hishigi-juji-gatame. Juji-jime (joo'jee jee-may') "cross lock" or "strangle-cross choke" A group of judo choking techniques in which the arms are crossed while gripping the opponent's collar on both sides.
Jujitsu	jujitsu1 is the gentle art of self-defense. This is a very simple definition for a very complicated art. It does have a more complex definition. If we look at the many characteristics of the art it will be possible to come up with a more complete definition, one that is more suitable for the serious student. First, jujitsu is what might be called a parent art. A parent art is an art from which other martial arts develop. Since jujitsu has such a broad history it was inevitable that other arts, or more correctly, ways would evolve from it. Judo (gentle way) and aikido (the way of mind and spirit) can trace direct lines to jujitsu. Many styles of karate, especially kenpo, can also trace some of their techniques back to jujitsu. Therefore, in addition to being a parent art, jujitsu is also a combination of many of the more popular martial arts taught today. Upon observing a practitioner of jujitsu one win see flashes of each separate do. One will also see how many separate moves can be combined into an effective self-defense system. Jujitsu is a series or combination of techniques that have been separated into other arts. Why was jujitsu separated into specific do or ways? Jujitsu may have become too complex as an art or, because there was no single system or systemized way of teaching it, too difficult to learn. Both Kano and Uyeshiba were able to simplify and systemize their ways. There are perhaps 30 to 50 basic moves in jujitsu. However, it is the combinations and variations of the basic moves that make the art so complex and almost infinite in its variety of moves. By dividing the art into three general areas (judo for throws and leverage, karate for strikes and hits, and aikido for nerves and the use of attacker momentum), portions of the art would be easier to teach. They would also be easier to organize and perpetuate as a system. As they become easier (a relative term) to teach, organize, and perpetuate as a system, the way would also become more attractive to potential students. I am not placing a value judgment on the validity of any martial art, as all arts are effective when placed in their proper context. I am merely presenting one logical possibility in the evolution of the martial arts. Jujitsu was in decline in 19th-century Japan, a time period when other martial arts were on the rise. Jujitsu was a complex art. The other martial arts were also complex, but because they could be organized and limited in their scope they became easier to teach. Their growth was inevitable. Jujitsu ultimately survived by traveling two parallel pathways. There were those who continued to teach the art as an art, realizing that students would recognize the virtue of studying jujitsu and pass that knowledge on. There were also those who studied one of the do that evolved from jujitsu, became proficient, realized something was missing, and developed proficiency in each of the other do that make up a major portion of jujitsu. In their own way, they put the pieces of the puzzle back together again. It may not have been quite the same puzzle that jujitsu started out as, but all the pieces still fit. They were able to integrate judo, karate, and aikido back into the martial art of jujitsu to provide an effective system.
Jujutsu	Science of softness', techniques of combat elaborated by the Bushi during the Kamakura period (1185-1333) in Japan. It was intended for disarmed warriors, so that they could defend themselves against enemies who were still armed. This art developed from the ancient techniques of Kumi-tachi (or Yawara) as described in the Konjaku-monogatari, a Buddhist work dating from the thirteenth century. Over the centuries, various schools of Ju-jutsu developed such as Wa-jutsu, Yawara,Kogusoku, Kempo, Hakuda and Shubaku; each being a part of the 'Way of archery and horsemanship' (Kyuba-no-michi). They improved on the more primitive techniques and combined them with movements and countering grips taken from Chinese methods of combat (see Shaolin-si) as well as specific techniques used by the peasants of Okinawa. A reciprocal movement took place when Ju-jutsu was exported to China by Chen Yuanbin (1587-1671), a Chinese poet and diplomat sent to Japan, when he returned to his native land around 1638. Ju-jutsu became a martial art only in the Edo period, when Japan was at peace. Numerous schools created by the Ronin (or masterless Samurai) spread their techniques throughout the country. These were codified only with the dawn of the Meiji period (1868-1912), from the time when the Samurai were no longer permitted to carry swords and the fighting feuds between noble families were forbidden.
Jutsu	Art, method, or technique. 'True', 'Technique'. This means an art (Gei), a science or a technique rooted in the tradition of a school (Ryu). One can acquire it only after long years of training and study. The term applies to all the 'violent' martial arts, just as the term Do applies to the martial arts which are not meant for real fighting. Apart from Ju-jutsu, all the other martial arts with the element 'jutsu' in their names include also the name of the weapon which they employ. Examples are Kyu-jutsu,Ken-jutsu, Jo-jutsu, etc.
Kakato	Heel
Kakato ake	Heel strikes
Kami	Hair, upper
Kami tori	Seizing the opponent by the hair.
Kani	Crab
Kani basami	Scissors Throw: From the right natural posture, break your opponent's balance to his rear. Jump in close to his right foot. Stretch your right leg across his stomach and your left across the back of his knees. Throw him backwards.
Kansetsu	Joints, knuckles
Kansetsu waza	Joint-locking techniques: A collective term for techniques exerting pressure against various joints of the body—the arms, fingers, ankles, wrists, knees, and spine. In judo competition, only armlocks are permitted since an application of pressure against other joints is considered too dangerous. Includes: t techniques ude-garami, ude-hishigi-juji-gatame, ude-hishigi-ude-gatame, Ude-hishigi-hiza-gatame, Ude-hishigi-waki-gatame, Ude-hishigi-hara-gatame, Ude-hishigi-ashi-gatame, Ude-hishigi-te-gatame, Ude-hishigi-sankaku-gatame, Ashi-garami
Kao	Face, test, learning
Kao tatake	Face Attack: An attacker has knife pointed at your throat, and you are backed up against a wall. Quickly bring your right hand up under his knife hand with your palm facing you, and cup his elbow with your left hand. Quickly turn to your right, bringing the back of your right hand up against his knife hand, knocking it to your right. As you turn your right hand to grab his knife hand at the wrist, roll his elbow upward. Continue the elbow roll, slamming his face into the wall. Grab his hair with your left hand and pull back, throwing him to the ground.
Karami	See also garam. To entwine; a twisting or curling action used when immobilizing the opponent
Katame	Grappling
Katame no taka	Forms of grappling and holding: The second judo kata consisting of fifteen techniques from the art of grappling. Katame-no-kata is divided into three sets of techniques: osae-waza (holding techniques), shime-waza (strangling techniques), and kansetsu-waza (locking techniques), with five model techniques chosen from each set. These movements were selected as the most pertinent examples to explain the theory and practice of effective grappling.
Katame waza	Holding or immobilizing techniques
Katate	Single hand, using a technique with only one hand.
Keiko	Training or practice, distinguished from contest.  Also, a kung-fu hand technique in which the tips of the fingers are held firmly together and used in a thrusting or snapping motion, usually to a target area of the face. This technique is also used in numerous styles of karate.
Keikogi	Training uniform
Keri	Kick
Kesa	Lapels or scarf
Kesa gatame	Scarf hold
Ki	Spirit, the energy of life, breath, intention; referred to as qi in Chinese.  The concept of Ki is one of the most important in Japanese philosophy. It directly concerns everyone's daily life, since it is nothing less than the vital energy of that life. In Chinese philosophy, the equivalent concept is known as Qi (Ch'i); an energy whose 'home' is the Dantian (Tan Tien) point, located in human beings below the navel. Dantian is often translated as 'cinnabar field'. As the concept of Ki is found at the root of all Japanese activities, it is also found at the root of all the martial arts (Bujutsu and Budo). The nature of this universal and fundamental energy is such that it penetrates everywhere, uniting all the manifestations of the universe, visible or invisible. It is a creative energy, the divine 'breath' in every being, which appears as active attention, concen­tration, mental force and can, according to certain writers, be 'projected' outside oneself—by means of the Ki-ai, for example. The Ki, then, results from a potentiality of the universal energies. Whoever uses the power of Ki may do so in a positive or negative way, for its manifestation is what man makes of it. Nowadays, one would say that a man or woman has weak Ki (Yowaki) or a strong Ki (Tsuyoki) depending on whether the personality was weak or strong. To unite the Ki (see Aiki) with the Hara, the physical and psychological centre of an individual, is thus synonymous with concentrating a subjective form of this universal energy in oneself. The result of such a concentration is to produce both a great psychic force (personality, character, determination) and, at the moment when it is released, instantaneous physical power. This centralized energy, possessed by every person, can be manifested through the practice of just about any martial discipline, particularly those subscribing to a sophisticated study of physiology.
Kiai	Shout, “spirit meeting.” This is 'the cry which gives life', sometimes regarded as the manifestation of the Active Principle (Aiki) of the universe. According to E.J.Harrison, it is 'the art of perfectly concentrating all one's energy, physical and mental, upon a given object, with unremitting determination, so that one achieves one's goal' (see The Fighting Spirit of Japan, London, 1913). It is the shout made at the moment of attack, akin to the sound uttered by a lumberjack, butcher or any tradesman who uses blows in his work; when a particularly difficult piece of material has to be dealt with, he may utter a sound to give added force to the blow. When the Ki-ai is uttered by a martial artist, the vibration of the sound may momentarily paralyse the opponent's functioning and render him or her more susceptible to an attack.
Kizami tsuki	Jabbing punch
Kokoro	Heart, spirit, soul. This means the heart, spirit, soul of a person or thing. AlsoShin. In Chinese and Japanese thinking, the seat of the spirit is in the heart, not in the head, which houses only intellect. Kokoro thus represents the essence of a man or woman or, indeed, of a thing: the absolute reality. In any art, martial or otherwise, a disciple will succeed only if he or she is filled with Kokoro—or, in other words, if he or she has sacred fire and puts his or her heart to work. Kokoro is thus a form of dispassionate passion, or action without looking for beneficial results. If a Budoka has fought a good fight, and looses, this should not be a cause for regret but on the contrary a cause for rejoicing; for this defeat, when it is clearly understood, is nothing less than a source of learning. The battle has been waged not to win a prize, not to win at all costs, but to conquer oneself. It is said that then one has Kokoro. This is the essence of pure love.
Komi	Within, against
Koryu	Classical martial arts traditions or schools
Koshi	Waist, hips
Koshi nagi	Hip throw
Koshi waza	Hip techniques. Includes: Uki-goshi, Harai-goshi, Tsurikomi-goshi, Hane-goshi, O-goshi, Ushio-goshi, Utsuri-goshi, Tsuri-goshi, Koshi-guruma
Kote	Forearm, wrist
Kote gaishi	Movements involving a grip on the opponent's wrist with the left hand and a push with the palm of the right hand which bends the joint of the wrist inwards towards the forearm. This bending action can be normal (towards the inside) or reverse (towards the outside). Or, to bend the hand at the wrist as if to make the fingers touch the inside of forearm. Pressure is applied to the attacker's wrist by the defender crossing his thumbs on the back of the attacker's hand. The wrist is pushed towards the attacker's biceps, then the hand is turned 180 degrees towards the thumb. "Wrist turning" Tori reaches with his right hand and places his thumb on the back side of Uke's left hand while taking a firm grip with his fingers on the palm of Uke's left hand. Assist with left hand.
Kubi	Neck
Kubi nage	Neck throw: Block your attacker's [right] punch outward with your left forearm as you step in with your left foot. Slide your left hand down his arm and grab his sleeve while bringing your right hand up inside his left arm. Strike the side of his neck sharply with your cupped right hand just below the ear and step in with your right foot. Pivot back on your left foot as you pull your attacker's right arm with your left hand and continue the motion of your right hand, turning to the left, bringing your opponent down.
Kubi shioku waza	Side neck standing submission: Your attacker attempts a stab to your middle. Step away from the upward swing by moving your left foot back as the attacker swipes and steps forward. Bring your right arm up under his right arm with your body next to his right side. Bring your right arm across to his left side, palm down, and reach around his back with your left hand. Keeping his knife hand up by pinning his upper arm against your head and shoulder, make a fist with your right hand turning palm down. Clamp your left hand over your right forearm palm down. Bring your right forearm sharply against the side of the attacker's neck below his ear with your radial styloid process (lower forearm), striking his neck. Pull towards you with your left hand. Make sure that your forearm is parallel to the side of his neck and perpendicular to his body. Maintain pressure until he drops the knife.
Kuruma (see also guruma)	Wheel Throw: Your partner approaches you from the left rear and tries to twist you down by pushing forward and downward on your right shoulder with his right hand while pushing back against your left shoulder with his left hand. Without resisting, pivot on your left foot and bring your right foot around until you face him. Move your left foot to the left, grab his left upper arm near the armpit with your right hand, and slip your left hand through his right armpit, placing it on the back of his right shoulder. Pull him to the front with both hands and throw yourself backward. Your partner flies directly over your head.
Kuzure	Modify or break down
Kuzureru	To fall down
Kuzushi	Disequilibrium; loss of balance. In hand-to-hand combat, to throw an adversary one should, ideally, be able to turn his or her own attacking force against him or her (Sen-no-sen). The whole art of provoking Kuzushi is of obliging the opponent to lose his or her balance through a shift of the opponent's centre of gravity. The shift of the centre of gravity (Hara) is best and most often produced by a turning movement (Tai-sabaki in Aikido) or an evasive movement in Judo. There are eight basic ways of unbalancing an opponent in judo: ma kuzushi (breaking forward), ushiro kuzushi (breaking backward), hidari kuzushi (breaking to the left), migi kuzushi (breaking to the right), migi-mae sumi kuzushi (breaking to the right front corner), hidari-mae-sumi kuzushi (breaking to the left front corner), migi-ushiro-sumi kuzushi (breaking to the right rear corner), and hidari-ushiro-sumi kuzushi (breaking to the left rear corner).
Kyu	Level, class, rank. "grade" A rank designation signifying a level of achievement below black belt or dan rank in the Japanese and Okinawan martial disciplines. In most of these disciplines, the kyu grades progress upward from eighth, the lowest, to first kyu, the highest (some arts such as aikido have only five kyu grades). These grades precede the dan (rank) degrees which designate black belts. The kyu ranks are: hachikyu (eighth grade) shichikyu (seventh grade) rokkyu (sixth grade) gokyu (fifth grade) yonkyu (fourth grade) sankyu (third grade) nikyu (second grade) ikkyu (first grade)
Kyudan	The whole range of lower and higher grades in the martial arts. This system of grades is used in allBudo to indicate the level of technical ability reached by Budoka. When a Kyu or Dan grade is conferred, a diploma, Gaku, signifies its validity, and the name if the student and the grade are recorded in a central register. The Kyu grades are generally considered learning grades; the Dan grades are for improving and perfecting skill. The number of Dan grades varies from five to twelve, according to the style. The highest grade is usually reserved for founder of a school or style, and his successors. He is frequently referred to as Sensei, Teacher, meaning the teacher; but other instructors are also addressed as Sensei. These are the names generally used to describe the ascending progression of Dan grades:
Mae	Front, forward, in front
Mae ukemi	Forward fall or forward-roll: the right or left hand and arm is slightly curved and held in line with a dorsal diagonal coming from the right or left shoulder to the left or right hip respectively. Uke is then able to roll over his or her back and, with training, rise to standing position to complete the technique
Mae ushiro nage	Forward Rear Throw: From the ready position, your attacker thrusts with his knife. Block the attacker's forearm with a juji block, your right arm over your left. You should block with your lower forearms. Your hand should be open, but fingers and thumbs of each hand should be together. Step forward with your left foot about half a step at the same time to absorb the shock of the block. Maintain the block with your left forearm as you slide your right had down, and grab between the attacker's wrist and hand to keep his hand and knife from moving. Step back with your right foot as you raise his right arm up. Pivot back in with your right foot as you finish bringing his arm up, and pull out, down, and back in a big circe to your right, thus throwing the attacker.
Mae yubi nage	Outside Forward Finger Throw: Your opponent sets a full rear nelson. To break the hold, grab one or two fingers with your right hand, and pull the finger(s) back. Straighten his arm away to your right, and turn to face the attacker. Bring your left hand up, and grab three of his fingers. Move your right foot away from the attacker slightly, and turn on the balls of your feet so that you're facing the same direction as the attacker. Push his hand slightly upward, out, and down in a big circle as you step forward with your right foot to execute the throw.
Maki	Winding, wrapping
Makikomi	Body winding throw: When your attacker starts a sideswipe swing to your head, lean forward to block with your left forearm, stepping forward with your left foot if necessary, to get your head out of line of his club swing. Your left hand grabs the attacker's sleeve or arm. Turn in so that you are tight against his body. Thrust your right arm over his right arm, shoving his right shoulder under your right armpit. Block his right leg with your right leg. Lean forward, keeping your entire body straight, turning to your left as you fall.
Ma sutemi waza	Techniques involving sacrificing your own balance or throwing from a prone position; a subdivision of sutemi waza or sacrifice throws. Includes Tomoe-nage, Ura-nage, Sumi-gaeshi, Hikkomi gaeshi, Tawara-gaeshi.
Mawashi tsuki	Roundhouse punch
Migi	Right, to the right
Morote	Two handed, with both hands
Mu	Nothingness, emptiness. The concept of the total negation of everything which seems to exist, analogous to that of Shunya (emptiness) of Buddhist philosophy, according to which the unity and totality of everything in existence is united in a single entity which cannot be known by the senses.
Mudansha	Novice, student below black-belt level.
Mushin	An empty or clear mind. 'No mind', 'Original mind'; a mind not fixed upon anything and open to everything, reflecting everything like a mirror. It is opposite of Ushin, a mind temporarily fixed and consequently superficial.Munen-mushin (Muso) is the state of emptiness (Shunya), a total availability of the mind which is not fixed (Mushin) and is consequently never troubled by the appearance of things. This is the Wu-wei, the 'No action' of the Chinese Taoists. Suiei-mushin implies that life as we ordinarily conceive it is a kind of waking dream; an idea which is opposed to those of Mushin and Satori. See Kokoro.
Nage	Throw
Nage waza	Throwing techniques
Ne waza	Mat techniques
Ni	Two or second
Nozo shiouku waza	Throat (Trachea) Attack: Bring your right hand up and extend your fingertips until they rest on your attacker's trachea just below his larynx. Keeping your fingers straight, thrust against the attacker's trachea and straighten your arm. Once your arm is fully extended keep it fully extended, stepping forward with your right foot to execute the technique.
O	Great, major, big
Obi	Also kyu: belt, rank, class
Obi nage	Your attacker attempts to strike with his right fist. Block it to your left with your left forearm. Strike the opponent under his chin with your right forearm as you step in with your right foot. Keep hold of the attacker's right arm with your left hand. Your right forearm slides off of his chin. Bring it around in front of you as you turn to your left. Keep a tight hold of his arm or sleeve with your left hand. Strike back at your opponent's head with your elbow, hitting him just below the ear. Bring your arm up and around the opponent's neck. Grab your opponent's belt from behind with your left hand, palm down, facing his back. Bring your opponent toward you, and start to go down as your foot blocks his right foot. Go down pulling your opponent over you. As he goes over, your right foot assists in the throw by lifting his right leg up and over at his instep.
O goshi	Large Hip Throw: Break your opponent's balance directly forward or to his right front corner, load him onto your right hip, then raise your hip and twist to throw him. This throw differs from uki-goshi in that you insert you hip low and raise it as you throw.
Oi tsuki	Lunge punch
Okuri	The two
Okuri eri jimi	Sliding Collar Lock: Grip your opponent's upper left lapel from behind with your right hand and his right lapel with your left hand and choke him with both hands as if wringing his neck.
Osae	Pressure
Osae komi	Ground technique where you immobilize your opponent by holding him.
Osae komi waza	Holding techniques: hold-down techniques. Includes Hon-kesa-gatame, Kuzure-kesa-gatame, Kata-gatame, Kami-shiho-gatame, Kuzure-kami-shiho-gatame, Yoko-shiho-gatame, Tate-shiho-gatame.
Osaeru	To hold
Osoto	Major outer
Osoto gari	Large Outer Reap: Break your opponent's balance toward his right back corner, causing him to shift all his weight toward his right heel, and reap his right leg with your right leg. You should step as far left of his right foot as you can so that you can put power into the reaping action.
Osoto gaeshi	Large Outer Reaping Throw Counter: Your opponent moves in for a right osoto-gari.. Before he has a chance to get you off balance to your right rear, apply your own right osoto-gari.
Osoto guruma	Large Outer Wheel: After breaking your opponent's balance to his right back corner or straight back, you put your right leg across the back of his right knee and throw him back over it. Your right thigh acts as a fulcrum. An alternative way to execute this throw using the same hand action is to break the opponent's balance to his right front corner or directly forward, then place your left knee against his left thigh and throw.
Osoto makikomi	Large Outside Wraparound Throw: From an osoto-gari or a similar technique, release your right grip and pivot to your left, bringing your right arm across your opponent's right arm so as to wrap his body around yours. Continue turning and fall together.
Otoshi	To cause to fall
Ouchi gari	Large Inner Reap: After breaking your opponent's balance to his left back corner, reap his left leg from the inside with your right leg so that he falls backward. Be sure to twist your hips to the left as you attack so that you can insert your right leg heel first, toes pointed in, and reap widely to the right.
Rei	A command to bow. 'Veneration', 'Respect'. Before and after every contest or training session, Budoka must bow to one another and to their teacher. This bow is part of the Dojo etiquette and should be observed whenever martial arts training is taking place. This particular bow is one which is made according to the rules, as distinct from any form or style. It is call 'Ritsu-rei'. Different disceplines may use different expressions for this bow. It may be performed standing (Tachi-rei), kneeling with the fists placed on the ground and the forhead touching the ground (Za-rei) or sitting on the heels, the body inclined forward and the head straight (Hai-rei).
Reigi saho	"etiquette" The formal dojo customs and mannerisms indigenous to the Japanese martial arts and ways.
Rei shiki	'Ceremonial', 'Etiquette', as observed by certain traditional schools, of which the Ogasawara school is an existing example; they observe rigorous etiquette. Others have transformed certain ancient rules or adapted them according to the needs of their particular discipline. However, it must be said that all martial arts observe rules of etiquette, before, during and after competitions anad training. From the moment a student enters a Dojo, he or she is required to follow the current rules of good behaviour and etiquette, not only in respect of the Dojo, but also of the master and the other students. Rules concerning bowing and other marks of deference (Rei) are of primary importance, but rules or courtesy and mutual assistance are important also. This means that the Rei-shiki covers not just the accepted physical movements or ritual gestures but such qualities as modesty, compassion, concern for others and generosity. It is inconceivable that a martial art worthy of the name would be without this 'etiquette of the heart'.
Renshi	'A person who has mastered him(her)self'. This is the title given to an 'expert', of the 4th to 6th Dan grade, and is necessary for anyone who wants to become an instructor.
Ritsu rei	A standing bow
Ryoti	Using two hands
Ryoti dori	Two-handed hold
Saiki tanden	Lower stomach or abdomen
Samurai	A class of Bushi (warriors, Shi) attached to a lord at the imperial court. (The word comes from the older word, Saburai, from Saburau, meaning 'to keep to the side'.) These original Samurai were there for the protection of their lord and were specially trained in martial arts. Later the name was given to all Bushi of a certain rank belonging to warrior families (Buke). Only Samurai were allowed to carry two swords (Daisho). Warriors of a lower rank were more usually called Bushi or Bujin. In the Edo period (1603-1868) the Samurai constituted the dominant social class in Japan. See Bushi,Ronin.
Sensei	Teacher, "Born before'. A title which expresses deference, used towards those who have accomplished something of note. In the martial arts this title is sometimes reserved for the chief or creator of a Ryu or style, in general a 10th Dan. Today, depending on the school, it may be reserved for the head teacher of a Dojo or used for referring to martial arts masters, or even simply for anyone who is instructing at the time. The title of Dai-sensei or O-Sensei, meaning 'Great Master', is used only for a few people such as Kano Jigoro, Funakoshi Gichin or Ueshiba Morihei. In Japan, the name sensei is given to all martial arts teachers, regardless of the style they teach. The sensei may teach multiple martial arts, such as archery, spearmanship, swordsmanship, and Karate, or other unarmed styles. Especially in Japan, the relationship between student and teacher is pronounced. The student is often called a disciple or follower, which indicates a philosophical or religious tie to the instructor. In Karate, the chief instructor for an organization of world-wide status is called Kancho. Instructors who are ranked above 6th dan are known as shihan; black belts from 2nd to 5th dans are sempai (senior). All sempai are expected to be role models for the other students. A hanshi is a master. In most martial arts, those who are at higher ranks are expected to take on teaching duties. In some styles, the student who wishes to promote to black belt must demonstrate a commitment to teaching and to perpetuating the art.
Sasae	To support, prop
Sasae tsurikomi ashi	Supporting Foot Lift-pull Throw: You break your opponent's balance to his right front corner and throw him by blocking his right leg with your left foot. Your sole should be placed just above his ankle. Be sure to lean backward and twist to the left as you throw. Neither blocking nor pulling will be effective if you bend forward at the waist.
Seol	Shoulder, on the back
Seol nage	Shoulder Throw: Break your opponent's balance straight to the front or to his right front corner, load him on your back, and throw him over your shoulder. As you pull your opponent onto your back with your left arm, your right arm will naturally bend. Your opponent's right arm should cover your elbow.
Shihan	Advanced teacher. A title conferred on a martial artist who has been promoted in a particular ryu with a teaching certification. This could be compared to a deacon or elder in a church, or someone who is held in high esteem due to his knowledge or financial support of the ryu. This title is indicative of a station and totally indigenous to the ryu. It is an honorary title sometimes translated to mean "Master Teacher," which would be a very loose translation but somewhat correct.
Shiho	Four directions, all sides
Shiho nage	Four Direction Throw: a technique that is similar to a sword movement in that tori grasps the uke's hands and raises them over his head, stepping under and pivoting, then cutting down as through with a sword.
Shime	Choke, stranglehold
Shime waza	Strangulation techniques
Shin	Heart, mind, spirit, feeling
Shioku	Nerves
Shioku waza	Nerve techniques
Sode	Sleeve
Sode guruma	Rolling up of the sleeve or sleeve wheel; a grappling technique
Sode gurumi jimi	Sleeve Wheel Choke: From the front. Put your right forearm against your opponent's throat and your left forearm against the back of his neck. Grasp your right lower sleeve with your left hand and thrust your right hand into the right side of his neck. Apply pressure by making circular movements with both arms.
Sode otoshi	Sleeve-Hold Knee-Drop Throw: Your attacker sets a low bearhug, pinning you at your elbows. Reach over with your left hand and grab his right forearm. Your right foot steps just to the right of his right foot. Drop straight down onto your right knee as you turn to your left and pull his arm/sleeve with your left hand.
Soto	Exterior, outside
Soto makikomi	Outer Wraparound Throw: While breaking your opponent's balance to his right front corner, you pull him close to you, twist to your left in a circle so that his body wraps around yours, and fall forward, sending him over your back. In wrapping your opponent around you, grip his right outer sleeve at the elbow with your right hand and his right lower outer sleeve with your left hand. Keep his right arm firmly under your right arm.
Sutemi	'Sacrifice', literally 'to risk one's life (in order to win)'. The sense of self sacrifice has always been deeply rooted in the being of the Japanese people. Since the sixth century at least they have been fed on the Buddhist idea of the impermanence of all things. In particular the Samurai and Bushi were aware of this fact, due to the perilous nature of their calling, and they likened life to the cherry blossom: so fragile, so easily blown away by the wind. They did not put the same value on life as the peoples of the West. In effect, for them life had no meaning except in death — but not just any form of death; not a useless and pointless death, an involuntary or unexpected death. Death finds its meaning in sacrifice, which then gives its full significance to the act of living. And the Samurai who, with a light heart resulting from Kokoro, sacrifices his existence in the service of his lord or for the sake of a cause, had the feeling that by dying he created life. This is why the notion of sacrifice was always so important in Japan. The idea of death was of course present in the martial arts to the same extent as the idea of life. Ideally, its presence never left the warrior's awareness for an instant, for in the end he was truly living with death itself.
Sutemi waza	Sacrifice techniques. In the ancient techniques of hand-to-hand combat, as in modern Judo, the technique of sacrifice is placed at the service of victory; not the victory of the individual, who in the last analysis has little importance, but the victory of the whole. In present-day martial arts this is a technique of winning. Such techniques are called 'sacrifice techniques' and are mainly found in Judo and Aikido. They involve throwing oneself to the ground in order to bring down the opponent; a movement of 'self-abandon' in making an attack, or in responding to one.
Tachi	Stand, to remain standing. (Also, a long sword worn at the waist.)
Tachi waza	Techniques performed from a standing position
Tai	Body, ready posture
Tai otoshi	Body Drop: Having broken your opponent's balance to his right front corner or to his right side, you place your right foot past his right foot and throw him over your foot to your right front corner with the action of both hands. Be careful not to put your right foot too far past your opponent's foot. Your right hand should push in the direction your opponent is falling, not pull.
Tai sabaki	Body movement or positioning; techniques involving twisting the body. Combat Ju-jutsu uses circular motions extensively in meeting an attack. Assuming the attacker is stronger, a weaker defender will always lose if he directly opposes the force. The circular motion allows the Ju-jutsu practitioner to redirect the attacker's force and use it against him. Linear attacks are also utilized, as sometimes it is advantageous to meet an attack head-on. Taisabaki theory combines circular and linear body positioning. Taisabaki involves the defender moving his body out of harm's way and creating an opening for retaliation. Body positioning is an essential element in the art. Taisabaki was designed to encompass any attack from any angle. In its most basic form it consists of ten movements against punching attacks. In more advanced forms, it encompasses defenses against armed attacks and multiple assailants.
Tanden	Lower abdomen, center of the body. A point located some two finger-widths below the navel, equivalent to the Hara of Buddhism. It is regarded as the spiritual centre of man, where all physical and psychic forces are centered. This is the spot which must be concentrated upon in order to cause the Ki to act. 'Any art of mastering the Tanden', says Sato Tsuki, 'consists in this: after one has set free all the energies spreading through the entire body, one must direct and concentrate them in the Tanden. This art was taught from time immemorial in all Budo schools, in Geido [arts] and in Sado [the art of sitting]'. The central point of the Tanden is called Seika Tanden, the Japanese translation of a Chinese expression (Dantian) meaning 'cinnabar field'. The substance cinnabar is coloured red, like blood, and symbolizes the vital force. It is also called Kikai, 'sea of Ki', Sika-no-itten.
Te	Hand
Te nage	Hand throw
Te no tatake	Blocking hits.
Te shimi waza	Knuckle-press takedown: Your attacker grabs your hair with his right hand. Bring both of your hands up and grab his hand, with his knuckles in the middle of your palms, and your fingers interlocked, trapping his hand on your head. Deliver a front kick with either leg into his groin. Lift his hand off of your head, keeping his knuckles squeezed together. Bend his hand back as you push his arm down to bring the attacker down. Keep your body straight.
Te tatake	Striking techniques
Te waza	Hand techniques. Includes Tai-othosi, Seoi-nage, Kata-guruma, Uki-otoshi Sumi-otoshi, Sukui-nage, Obi-otoshi, Seoi-otoshi, Yama-arashi.
Teisho	Heel of the hand
Teisho uchi	Palm heel strike
Teisho uke	Palm heel block
Tekubi	Wrist
Tekubi shimi waza	Wrist lock takedown: Your opponent grabs your left wrist with both of his hands. Your left hand remains open and turns clockwise around the outside of his right hand to rest on the outside of his wrist, which should be turned up at this point. His wrist joint should be perpendicular to the ground. Grasp the back of his right hand with your right hand to keep him from taking it away. Push down with your left hand, with your arm and wrist straight, to execute the takedown. If down quickly, it will break your opponent's wrist.
Tomoe	Circle, round curved line
Tomoe nage	Stomach Throw: When your attacker pushes you, grab your attacker's right sleeve with your left hand and his left lapel with your right hand. As you start to fall back, pulling him toward you, place your right foot in the center of his stomach. Roll onto the ground. To execute the throw, push the attacker with your right foot. If you don't want to submit the attacker let go of his sleeve and lapel as his body passes your head. Circular Throw: Here you bring your opponent onto his toes, drop backward while placing your right foot on his lower abdomen, and throw him back over your head. It is important that your left sole be firmly on the mat when you slide it between your opponent's legs. Your right knee should be bent and your toes pulled back when you place your foot on your opponent's abdomen. The throw is accomplished by the joint action of your hands and your right leg, so it is necessary to keep up a constant pull, first forward, then downward.
Tori	Defender, taker. This is the name given in training and contests to 'the one who conquiers' as distinct from uke, who is 'the one who is conquired'. In Aikido Tori is called Shite or Nage.
Torite	“Taking hands.” An ancient Japanese system of unarmed combat similar to jujutsu and a forerunner of modern judo.
Tsuki	Attack, thrust, punch
Tsuri	To fish, to raise
Tsuri komi	Lift-pull on opponent’s sleeve
Tsuri komi goshi	Lift-Pull Hip Throw: When your opponent's balance has been broken to his front or to his right front corner, you drop your hips to the level of his thighs, then by raising your hips and pulling with both hands, throw him over your hips.
Ube	Thumb
Ube makikomi	Thumb Winding Throw: Your attacker approaches from behind preparing to choke you. Reach over your shoulder to grab the attacker's thumbs. Grab his thumbs securely with your hands, thumbs down. Lift his hands off and turn to your right. Bring his left arm down across his right arm, at his elbows, thus causing his left elbow to be locked against his right arm. Wind both of his thumbs in a large counterclockwise circle, keeping them at opposite poles on the "edge" of the circle, to execute the throw. Let go of his thumbs once the attacker is thrown.
Uchi	Inner, interior, inside
Ude	Forearm or arm
Ude garami	Entangled Armlock: Taking your opponent's wrist in your left hand, you put your right forearm underneath his left upper arm and grab your own left wrist, then lock his elbow joint by pressing against his upper arm with your right forearm.
Ude gatame	A technique of pressure against an arm joint, in this case the elbow. Uke's wrist is held against Tori's neck and Tori presses against the elbow with both hands. A variation is to hold the wrist against Tori's shoulder.
Ude guruma	Shoulder lock come-along: [from a handshake] Slap your left hand onto the back of his right hand and grip firmly with your thumb over the top of his wrist and your fingers underneath. Step in with your left foot and bring his hand up in a counterclockwise circle to your right. As you continue to turn his arm counterclockwise bring it over your head, pivoting your body to your right. Continue turning until you are facing in the opposite direction from your attacker. His shoulder is now locked. Your right hand keeps hold of the handshake. Your left hand lets go of his wrist and grabs his elbow as you turn around so you're facing the same direction as the attacker. Pull his elbow to you thus arching his back.
Ude guruma makikomi	Arm bar winding throw: As your attacker grabs you with his left hand and pulls you toward him, lean in slightly so you can more easily block his hit effectively with your left forearm. Bring your right hand across and deliver a backhand strike to the side or base of his ribs. Move your left hand over the attacker's right arm and then under it at, or slightly above, his elbow. Your right hand rests on his right shoulder. Clamp your left hand onto your right forearm, thumb and fingers on top. His right wrist is now trapped in your armpit, and his palm should be up with the outside of his elbow facing down. Raise your left forearm slightly and push down with your right hand to create pain in your attacker's elbow locked in the armbar. Keep pressure against the outside of his elbow with your left forearm as you pivot back on your left foot throwing him. Bring him down to the ground, keeping hold of the armbar position.
Uke	The partner who attacks and is thrown by the tori.
Ukemi	Breakfalls, techniques of receiving attacks safely. A method of falling to soften the impact of someone who is thrown to the ground (see Uke, Tori, Nage, Shite). The only way to dispel the hard impact experienced when the body strikes the floor (or the Tatami) is to use the ‘break-falls’ which produce a counter-impact and so nullify to a large extent the shock to the body. The chief technique is to strike the floor with the open palm of the hand and the forearm as one lands. In all cases, the body must stay supple and relaxed with the chin drawn into the chest to protect the head and neck.
Uki goshi	Floating Hip Throw: After breaking your opponent's balance to his right front corner, you load him on your hip and throw him by twisting your hip to the left. Wrap your arm as far as possible around his body. The throw differs from o-goshi in that you do not raise your hips or bend forward.
Uki otoshi	Floating Drop: Break your opponent's balance to his right front corner and pull him downward with both hands, causing him to fall forward in a circle. Another way is to step back and drop to your left knee, left toes raised. Pull hard using the combined power of both arms. This form of the throw is done in the throwing kata and is often more effective of the two. Also: Floating drop throw: ·  From the ready position, grab your opponent by the collar. As your opponent moves in to execute a standard basic hip throw (koshi nage) place your hand on his shoulder. As you are lifted off the ground for the throw, grab your opponent's left shoulder, thus establishing control. As your opponent completes the movement of the hip throw, add your own momentum to the turn by maintaining your hold on your opponent's left shoulder, thus throwing him and causing him to land at your left side on the mat. ·  Assume a ready position, as your opponent attempts to strike, block his punch away, stepping in with your left foot at the same time. As you move in toward the attacker, grab his right lapel with your right hand. Step in beyond the attacker with your right foot, causing the attacker to lose his balance, and/or push back against your body with his body. As he pushes his body against you, fall back towards his left. This will cause him to fall to your left side. ·  Assume a ready position facing your attacker. Block his right punch with your left forearm, then step in with your with your left foot and grab his sleeve with your left hand. Put your right arm around the attacker's head and kick your right leg to the outside of his right leg as high as it will go. Have your left leg follow your right leg so that you have both feet up in the air, your back tight against the attacker's chest and his head tight against you. Turn quickly to your left as you reach your maximum height to bring your opponent over you and down. [submit with ude guruma, shoulder lock pin ]
Ura	Opposite, negative
Ura nage	Back Throw: Put both arms around your opponent from his right side (or from behind), lift him up, and throw him back over your left shoulder as you sacrifice yourself by falling backward. Be careful not to throw your opponent on his head.
Ushiro	From the back, behind
Ushiro nage	Leg Lift Throw: As your attacker throws a front snap kick, sidestep to your left with your left foot. At the same time your right arm blocks outward to deflect the leg and hook it from underneath. After catching your attacker's calf in the crook of your elbow, step forward with your right leg and reach for the attacker's face with your right hand to execute the throw.
Ushiro ukemi	Fall to the rear on the back: both forearms and palms strike the ground simultaneously on both sides of the body.
Waza	Trick, skill, technique
Yoko	Lateral, side
Yoko sutemi waza	Side sacrifice techniques; including Uki-waza, Yoko-gake, Yoko-guruma, Tani-otoshi, Yoko-wakare, Yoko-otoshi, Hane-makikomi, Soto-makikomi, Uchi-makikomi
Yoko ukemi	Fall on the side: contact with the ground is made by the shoulder and hip, so that only one forearm and palm strikes the ground on the contact side.
Yubi	Finger
Yudansha	"black belt holder"
Yudanshakai	Black belt holders association

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