Iaido Terminology

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Iaido Terminology A-Z

Iaido terminology was supplied byDeborah Klens-Bigman, Ph.D.

ashi: foot.

batto-ho: sword drawing techniques.

bokuto: wooden swords used in training.

bushi: warrior.

chiburi: moving the sword blade in such as way as to remove blood and tissue. Astandard part of iaido kata.

choji: oil applied to a sword blade to lubricate it and prevent rust.

chudan: middle.

chudan no kamae: stance wherein the sword is held center and the iaidoka faces the

opponent directly (also seigan no kamae).daisho: "large-small," referring to long sword (katana) and short sword (wakizashi)swords that were worn by the samurai as a symbol of membership in the warrior class.

dan: ("black belt") rankings in iaido and other budo disciplines.

datto: (v. "dasu" (take out, go out) n. "to" (sword)). Removing the katana (long sword)from the obi (belt or sash).

do: (also pronounced "michi") lit. "way," "path" or "road." A term used as a suffix as iniaido, judo, kendo, aikido and karate-do as a concept of the way or road toward self-development and denotes a spiritual path followed by students of budo disciplines.

dojo: training hall.gedan no kamae: stance in which the sword is pointed low, with the tip pointing towardsan area between an opponent's knees and ankles.

giri: duty or obligation of one person towards another.

gyakukesa/gyakugesa: "reverse diagonal" cut from opponent's hip to opposite shoulder.

ha: cutting edge of a sword.

habaki: a collar, usually made of copper or brass, fitted to the end of the sword blade justbefore the tsuba (guard) to ensure a tight fit between blade and tsuba.

hakama: traditional Japanese pleated trousers.

happogiri: eight direction sword cuts. A training exercise.

Hasegawa Eishin Ryu: The middle set of ten kata in Muso Shinden ryu and MusoJikiden Eishin ryu iaido, nine originating with the practitioner sitting in tatehiza, aposition with one knee raised, and the tenth in seiza (kneeling position). The imaginaryopponents in these forms are in much closer proximity to the student than in the first setof iaido kata, requiring close-in stabbing and cutting movements. The footwork is moreintricate, featuring weight shifts, sliding back and forth along the floor on the knees, andstepping towards and away from the imaginary opponent.


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hasso no kamae: a ready position in which the sword is held to the side, with the tsuba(sword guard) even with the practitioner's chin or level with his cheek, depending on thestyle.

Hayashizaki Jinsuke Shigenobu: (1546?-1621) Considered to be the founder of iaidofor not only codifying a system of batto jutsu (sword-drawing techniques), which he

called Shimmei Muso Ryu, but also for promulgating the idea that practicing sword formswith meditative intent could make one a better person, and benefit society thereby.

heiho: old term for fencing.

hi: groove(s) along the back edge of a sword. Its function is to lighten the blade withoutlosing strength.

header: (n) left.

ii: lit. being harmonious in the moment used to describe the art of sword-drawing (bat-ho)since the 1930's. "Iai" now generally refers to sword drawing.

iaidoka: a student of iaido.

iai goshi: sinking the waist used in assuming postures for iaido practice.

iaijutsu: refers to older styles of sword-drawing art, for example, Tamiya ryu iaijutsu.

iaito: unsharpened practice swords, usually made of copper alloy, used in iaido practice.

in-yo: (or yin-yang) The unity or complementary of opposites. Individual iaido katacontain many instances of in-yo. The most obvious may be that in all iaido kata, thesword is drawn, then returned to the sheath. More philosophically, in-yo can be seen inthat, as a deadly art form, iaido is a contemplation of life and death.

jodan: stance in which the sword is held overhead and the iaidoka directly faces theopponent.

jutsu: Lit. art, method or technique. In martial arts, a term used by contemporary scholarsto classify by category those Japanese pre-1600 fighting disciplines, such as kenjutsu (theart or technique of the sword), or sub-category or specialization as iaijutsu (art ortechnique of sword drawing) whose principal focus was the development and perfectionof effective combat techniques used to kill other professional warriors, as opposed to thephilosophical and moral orientation of the "do" forms. Often misspelled and pronounced"jitsu" in the West.

jo-ha-kyu: a formalistic organizing principle, which has been variously interpreted as"slow, medium, fast" and "beginning, middle, end." In iaido it is characterized by a senseof rising action; for example, from an initial draw and small cut (or parry), to the larger,"killing cut." Individual actions which make up a given kata also have this sense of rising

action.kamae: stance or combative posture.

kamiza: the "deity (kami) seat." A position of honor or respect which is often the frontwall of a dojo where there are scrolls, a Shinto altar and/or photos of a teacher or founder.

kamidama: Shinto or spirit altar found in practice halls (dojos) and in traditionalJapanese homes.

kami no ashi: upper foot nearest the kamiza.


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iaidoka (a student of iaido) who has a good, well-developed sense of ma has an uncannysense of time and distance. Combined with a sense of zanshin, it is the difference betweena merely competent practitioner and a great one. As in other traditional martial art forms,the ma-ai of iaido embodies the concept of the sphere of protection, but in this case thecircle is extended by the use of the sword.

mekugi: peg(s), usually made of bamboo, used to fasten the tsuka (handle) to the sword.Should be checked for tightness and wear before every practice.

mekugi-ana: peg hole.

men: head

menuki: ornaments on a sword handle.

migi: (n): right.

mono-uchi: area of sword actually used for cutting, approx."one-quarter" of the bladelength from the tip.

Mori ryu: an iaido style.

morote tsuki: two handed sword thrust.

Mu Gai Ryu: A style of iaijutsu.

mune: back edge surface of the blade.

mushin: "no mind": a mind state absent of conscious thought or emotion.

Muso Jikiden Eishin Ryu: one of the most practiced styles of iaido, along with MusoShinden Ryu, presumed to be branches of the original style of batto jutsu founded byHayashizaki Jinsuke Shigenobu.

Muso Shinden Ryu: one of the most practiced styles of iaido, along with Muso Jikiden

Eishin Ryu, presumed to be branches of the original style of batto jutsu founded byHayashizaki Jinsuke Shigenobu.

noto: returning the blade to the scabbard.

nukikata: drawing of the sword.

nuki tsuki: the draw with simultaneous cut of the sword in certain kata.

obi: belt or sash

Okuiai: The high-level iaido kata set for Muso Shinden ryu and Muso Jikiden Eishin ryuthat consists of both standing and tatehiza (sitting with one leg raised) forms. Kata at thislevel looks surprisingly simple--like natural movement, but the simplicity is deceptive; a

student may study for 10 years or longer before beginning to comprehend and technicallybe able to handle these forms. Throughout iaido training, emphasis is placed onmindfulness, a sense of calm concentration, and the building of character.

Omori Ryu: The Muso Shinden ryu and Muso Jikiden Eishin ryu iaido beginner's kataset consisting of twelve kata, eleven beginning from the kneeling position called seiza,and one starting from a standing position. These forms acquaint students with the basicsof properly drawing, cutting, and sheathing the sword.

rei: formal bow.


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underlying meaning. "Ri," therefore, which has been interpreted in the West as "foundingyour own style," or even "preserving the style but adding to it," means "freedom" andcould instead be interpreted as "owning the kata," establishing one's own identity withinthe traditionally arranged and performed techniques. Iaido at this point becomes very likefree-flowing movement. Few practitioners attain this level, though it remains a goal oftraining, however elusive.

sonkyo: position of squatting with weight evenly distributed. Used as part of the etiquetteof showing respect to an opponent before kendo matches or partner practice and beforesome partner practices in koryu forms.

sori: curvature. Refers to curvature of the sword blade.

tachi: a long curved Japanese sword used primarily before the slightly shorter katanabecame popular.

tanden: center: the center of power in the lower abdomen.

tanto: dagger

tatehiza: sitting in a position with one knee raised.te: hand.

tomoe: a comma (,) used in various configurations to designate different families as partof their kamon (family crest).

torei: formal bow to the sword.

tsuba: sword guard.

tsuka: sword handle.

tsuka ate: striking with the sword handle.

tsuki: thrust with a sword.

uchiko: fine stone powder used for cleaning of shinken (real swords).

ushiro: behind.

wakizashi: short sword, often worn with a long sword (katana), the set known as daishowhich symbolized membership in the samurai class.

waza: technique.

yoko: side.

Zanshin: is the sense of lingering awareness. Iaido kata foster the development ofawareness in solo kata by encouraging the student to visualize the opponent. In

kumidachi (partner forms), students learn zanshin in patterns of attack, defense andcounterattack.

Zenkenrenmei iaido kata: forms used by the All Japan Kendo Federation developedfrom various styles of iaido (also called Seiteigata).

Author's caveat: I have tried to the extent that I can, to include meanings of terms fromthe original Japanese as they apply specifically to traditional martial arts practice (and to


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iaido in particular). Any errors are my own. Please note that some Western adaptations ofthese terms have resulted in different meanings, and that individual dojo have sometimesadapted terminology different from what I show here. The following reflects myindividual experience, and is, I hope, somewhat conservative.

Kanji caveat: Japanese terms are written using adapted Chinese characters rather than

the western alphabet. Therefore, words that "sound the same" may have radically differentmeanings and are written differently in kanji (for example, the term "do" meaning "way"or "path" and "do" meaning "ground" are actually different words). Where a similar-sounding term is written in different kanji, it is listed here as a separate term. We hope toadd the kanji for the terms listed below in the near future.

Brief and incomplete guide to the complexities of pronunciation:

Vowels:

"a" as in "ha""e" as in "hey""i" like the "ee" in "fee"

"o" as in "ho""u" as in "you"

Vowels in Japanese are never silent (e.g. "mune" is pronounced "moonei"), except whensurrounded by unvoiced consonants; e.g. "tsuki" is pronounced "tski."

Iaido Terminology

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