A short glossary of terms used in Japanese sword arts

This page lists some of the more common Japanese terms that I have found to be used in various kendo/kenjutsu/iaido clubs in the UK. There are, of course, many more than this in use in the various styles. Different clubs place different levels of emphasis on the use of Japanese terms, and in my experience UK kendo clubs are much more inclined to use Japanese than, say, karate clubs, even the most traditional.

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

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

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

Published 2026-02-24, updated 2026-02-24