GENERAL TERMS

 

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Agari  (n.)  Apprehension or nervousness; ie before a first competition experience or prior to a particularly important tournament cause a loss in mental and physical balance.

 

Ai-chūdan  (n.)  1.  When two competitors take Chūdan position in a match, practice or Kata.  2.  Beginning a match or restart of play from this position.

 

Ai-gedan  (n.)  When two competitors take Gedan position in a match, practice or Kata.

 

Ai-jōdan  (n.)  When two competitors take Jōdan position in a match, practice or Kata.

 

Ai-ki  (n.)  A position or attitude complimentary to that of one’s opponent.  (It is necessary in a military confrontation to maintain an opposite and reciprocal attitude to that of one’s opponent until the final blow of the contest, ie when an opponent is strong, one should remain weak; when an opponent is weak one should attack vigorously.  This principle is expressed in Japanese as Aikiohazusu.  Through the practice of developing one’s Ki, a higher level of Ki emerges.  When resisting Ki is sublimated into harmonizing Ki, which weakens and nullifies an enemy, it is also called Aiki.)

 

Ai-satsu  (n.)  Greetings and conversational etiquette; including expressions of congratulations, thanks and fellowship.  (Polite etiquette and proper respect for fellow Kendōists is an important aspect of Kendō)  See Rei.

 

Ai-tai-suru  (v.)  To face each other.

 

Ai-te  (n.)  An opponent in competition, practice or Kata. / Also Shiaiaite (competition opponent), Keikoaite (practice opponent).

 

Ai-uchi  (n.) 1. The exchange of simultaneous cuts of thrusts which would deserve a score of Ippon in a match or practice if independently delivered; ie one player strikes Men while the other simultaneously strikes Dō. / In a match Aiuchi is not counted as YūkōDatotsu.  2.  A case in which both strike simultaneously, ie Men and  Men, but both fail to land a blow is also considered Aiuchi.

 

Amasu  (v.)  To anticipate and retreat from the attack of an opponent while drawing them into a vulnerable position.  (The retreat should be made in a graceful manner by leaving a margin of space into which you invite an opponent's attack.  This is not an exaggerated motion.)

 

Ashi-gamae  (n.)  A stance from which appropriate response to an opponent's action can be made.

 

Ashi-haba  (n.)  The width and length of one's stance.

 

Ashi-hakobi  (n.)  See Ashisabaki.

 

Ashi-sabaki  (n.) Four types of footwork for delivering a strike or evading an attack:  Ayumiashi, Okuriashi, Hirakiashi, and Tsugiashi. 

 

Ataru  (v.)  To be on target; to have hit directly. / Ateru, the transitive form of Ataru.

 

A-un-no-kokyu  (n.)  1.  A complimentary rhythm of respiration between two competitors.  2.  The careful control of movements and timing during Kata performance. / Pronunciation of the vowels "A" and "Un" represent the process of inspiration and expiration. /  In Sanskrit, the vowel "A" is the first vowel voiced with the mouth open, and "Un" is the last vowel voiced with the mouth closed; together symbolizing a universal beginning and end.

 

Ayumi-ashi  (n.)  A style of footwork developed in Kendō using alternate gliding steps to cover large distances quickly.

 

B

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Battō  (n.)  1.  Sword drawing.  2.  In the practice of Kata, after completing the standing bow and having taken three steps closer to one's opponent, the action of drawing the sword.  3.  Drawing the Shinai in practice or competition.

 

Bō-gyo  (n.)  1.  An evasion from attack.  (An attack may be evaded by blocking with the Shinai, body movement or footwork.)  2.  The action of discouraging an opponent from attacking though intimidation.

 

Bokken  (n.)  See  Bokutō.

 

Bokutō  (n.)  A sword made of Oak or Medlar wood. / Also Bokken or Kidachi.

 

Bu  (n.)  1.  The original meaning of the Chinese character Bu is 'Marching with armor in hand", or "charging ahead".  2.  Referring to the military arts.  (During the Edo Period, under the strong influence of Chinese Confucianism, the meaning of Bu was derived from China's oldest dictionary as "stopping the sword", and was therefore regarded as a symbol of pacifism with which to govern the world.)

 

Bu-dō (n.)  1.  The doctrine of the Japanese military class.  2.  Budō also refers to the military code, Bushidō, and the military arts, Bujutsu.  (From the end of the Meiji Period through the Taisho Period it was asserted that not only the technical but also the mental standards of the military arts should be raised.  In 1919 the Dainippon-Butokukai, the governing body of all Japanese military arts, adopted the terms Kendō, Judō, and Kyūdō in place of Gekken, Jūjutsu, and Kyūjutsu respectively.  At that time, the recently popular term Budō was also regarded as a comprehensive term for these three arts.)  3.  Today the term Budō includes not only Kendō, Judō, and Kyūdō but also Sūmō, Naginata, Aikidō, Karatedō, Jū-Kendō, and Shōrinji-Kenpō.

 

Budō-kan  (n.) 1.  A hall or building designated for the practice of military arts.  (Military halls may be centers accommodating practice of all the military arts, or may be designed specifically for one of the military arts.)  2.  The Nippon Budōkan is often referred to simply as  Budōkan.  (Formerly, the term Budōjō was used in place of Budōkan.)

 

Bu-gei (n.)  1.  Military arts.  (The Chinese character Gei implies mental and physical cultivation through training techniques.)  2.  The ideas of mental and physical development inherent in the military arts.

 

Bugei-jūhappan  (n.)  The 18 different recognized disciplines of  Bugei.

 

Bu-jutsu  See Bugei.

 

Bu-toku-den  (n.)  The hall for military arts in Heian Jingu Shrine, constructed by Dainippon-Butokukai.

 

Butokusai  (n.)  A ceremony and festival for the development of the martial arts.  (On May 4, 1899 (Meiji 32), Butokusai was held in Heian Jingū.  With the foundation of the All Japan Kendō Federation in 1953 (Shōwa 28) the festival was revived and is now a part of the Kyōto-Taikai.)

 

Byō-ki  (n.)  1.  A state of poor health.  2.  In Budō, focus of concentration on one point, interrupting the natural flow of energy and spirit.  (When a competitor loses fluidity by focusing only on winning the match, by concentrating too hard on the choice of techniques, or by being too tense, they will be too preoccupied to respond naturally.)  See Shikai.

 

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Chakin-shibori  (n.)  Referring to the similarity between wringing out a wet Chakin (tea ceremony cloth) and the proper grip of a sword at the moment a strike or thrust has landed.  (At the moment of impact the little and ring fingers should tighten around the hilt as the thumbs rotate slight and thrust forward.)

 

Chaku-gan  (n.)  A focus of view.  (In Kendō it is of utmost importance which part of the opponent one looks at.  The term Metsuke is often used in place of Chakugan.  The best method is to focus on the opponent's eyes while keeping their entire body in view.  To avoid telegraphing an intended strike do not look directly at the target area.  One's gaze should not be focused too strongly on one particular point or one's view of the opponent will be limited.)

 

Chaku-sō  (n.)  The method of wearing a  Kendō uniform and armor.  (The proper wearing of a Kendō uniform requires a great deal of practice and experience.  Often the ability of a Kendōist can be estimated by their appearance in uniform.  It is important to wear a Kendō uniform so that it is both neat and allows freedom of motion.)

 

Chaku-za  (n.)  1.  A sitting method.  2.  The method of sitting into Seiza  from a standing position. / See Seiza.

 

Chigiri  (n.)  a small metal used to fix the four section of a Shinai  together at the inside of the hilt. / See Shinai Nomenclature.

 

Chika-ma (n.)  A distance relative to one's opponent shorter than the general Issokuitto.

 

Chō-musubi  (n.)  A butterfly know.  (The Men and Dō should be tied in this manner.)

 

Chōyaku-suburi  (n.)  Men strikes practiced using a forward and backward jumping step.

 

Chūdan-no-kamae  (n.)  A basic position taken with the sword tip at a height between the eyes and solar plexus.  (The height of the sword tip and hands is relative to the height of one's opponent, the distance between you, and the type of sword, Bokutō  or Shinai.)

 

Chū-shin  (n.)  1.  The middle or center.  (It is important in Kendō to attack the opponent's centerline.)  2.  The center cross of a Shiaijō.

 

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Dai-tō  (n.)  The longer of two Shinai.

 

Dan-i  (n.)  The rank, or level of skill, above Kyu  level.  (In Kendō  there are ten Dani, or levels of  Dan.)  See Counting Terms.

 

Dan-tai-sen  (n.)  1.  Team competition.  2.  competition by teams of three players or more. / Officially Dantaishiai. / See Kojinsen.

 

Dantai-shiai  (n.) See Dantaisen.

 

Dan-to-kyū  (n.)  1.  Grade and rank; the system of hierarchy used in Kendō to indicate levels of ability.  (The first martial art to adopt the Dan system was Kodōkan Jūdō when the first Shodan was issued in 1883 (Meiji 16).  The Kyū system was used by the Tokyo Metropolitan Police in Kendō training, and formally adopted in 1885 (Meiji 18).  The first Kendō use of the Dan system was a Tokyo Normal College in 1908 (Meiji 41).  The Dan-Kyū system has been used in Japan since 1917 (Taisho 6) when the Dainippon Butokukai adopted the system.  that system, still in use today, designates then Dan levels and six Kyū levels.)

 

Da-totsu  (n.)  Strikes and thrusts.

 

Datotsu-dōsa  (n.)  The coordination of the arms and legs to deliver a strike or thrust.

 

Datotsu-no-kikai  (n.)  A prime opportunity to attack. / See Mittsunoyurusanutokoro.

 

De-bana  (n.)  The very moment that an intended strikes begins, which provides an opportunity for counter-attack.

 

Debana-waza  (n.)  Counter-attack techniques delivered at the moment of Debana.  ie   Debana Men, Debana Kote, Debana Tsuki. / See Classification of Techniques.

 

De-gashira  (n.)  See Debana.

 

Dento-bunka  (n.)  Traditional culture. / Rituals, customs, and intangible cultural assets unique to Japan transcended from ancient times (including codes of behavior and social contact).  Especially included are theater arts from the Edo Period such as Nō, Kabuki, Jōryui, the arts of Tea Ceremony, and Flower Arrangement, etc.  As legacies of the Edo Period Kendō, Judō, Kyudō, and  Nipponbushidō are also considered cultural assets.)

 

Dō  (n.)  1.  Abdomen and chest protecting armor used in Kendō.  2.  One of the targets in  Kendō competition.  3.  A strike to the Dō of an opponent. / See Equipment Nomenclature and Kendō Target Areas.

 

Dō-chū-sei  (n.)  The necessity for a composed and serene attitude, especially during rapid physical activity.  Mental composure which enables the evaluation of one's opponent despite being outwardly vigorous in movement.

 

Dō-gu-bukuro  (n.)  A sack or bag for Kendō equipment.

 

Dōji-ni  (adv.)  Simultaneously.

 

Dō-jō  (n.)  Originally the place where Guatama Buddha received enlightenment under a linden tree, later the shrines where Buddhists were trained.  Eventually  Dōjō became the name for martial arts training halls.

 

Dōjō-kun  (n.)  The obligation to, and etiquette of, martial arts training; often a set of rules posted in a Dōjō.

 

Dō-tō  (n.)  Exactly the same [ability, skill, etc.].

 

Dō-uchi  (n.)  A strike to the Dō.

 

Dō-waza  (n.)  Techniques for striking the Dō.

 

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En  (n.)  1.  Buddhist term for Karma.  2.  In Kendō, the relationship between two players during a volley of techniques.

 

En-bu  (n.)  The practice, performance, or demonstration of martial arts.

 

En-ko  (n.)  An arc.

 

En-undō  (n.)  A technique of striking with Shinai drawing the tip in a broad arc over one's head in a smooth continuous motion.

 

Enzan-no-metsuke  (n.)  Literally "watching a mountain from afar", viewing one's opponent in their entirety. / See Metsuke.

 

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Fu-dō-shin  (n.)  A state of mind unaffected by outside factors, yet flexible enough to react to any changing conditions.

 

Fukushiki-kokyū  (n.)  Respiration from the diaphragm [used in Kendō].

 

Fumi-kiri-ashi  (n.)  The leg which provides force and stability by pushing off the floor, in a forward strike the left leg, in retreat the right leg.

Fumi-kiri-dōsa  (n.)  The coordination of swinging the Shinai while pushing off from the left leg during a forward strike.

 

Fumi-kiru  (v.)  Pushing off the floor with the leg to begin a jump forward. 

 

Fumi-komi  (n.)  A firm stamping step forward.

 

Fumikomi-ashi  (n.)  Firm stepping of the right foot, with the entire sole, and forward motion of the left foot to gain forward momentum.

 

Fumikomi-dōsa  (n.)  Recovery to a vertical position by bringing the left foot in after a rapid forward strike used in modern Kendō;  accomplished by the continuous process of footwork from the beginning of a strike in Issokuittō distance through Okuriashi.

 

Furi-kaburu   (v.)  To swing the Shinai or  Katana overhead.

 

Furi-orosu  (v.)  To swing the Shinai downward toward the Men, Kote, or Dō.

 

Furu  (v.)  To swing [the Shinai.]

 

Fusegu  (v.)  To defend.

 

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Gakka-shiken  (n.)  A written test in a Dan level examination; usually of theoretical nature.

 

Gakko-Kendō  (n.)  The general study of Kendō in schools.

 

Gasshuku  (n.)  Lodging together with other Kendōists during several consecutive days of training, intended to develop skill as well as camaraderie.

 

Gedan-no-kamae  (n.)  A strong defensive position with the sword tip lower than the navel.

 

Gekken-kōgyō  (n.)  A unique Meiji Period demonstration, by Sakakibara Kenkichi, in 1873, for the progression of Kendō, imitating modern Sūmō demonstrations.  (Held periodically until 1889 (Meiji 19), Gekkenkōgyō significantly contributed to the revival of Kendō.)

 

Gi-jutsu  (n.)  A technique.

 

Gi-nō  (n.)  A skill.

 

Go  (n.)  A condition or state of being late in time or space.

 

Go-kaku  (n.)  To be matched or equally in ability; similar to the identical structure of the two horns of one bull.

 

Gokaku-geiko  (n.)  Practice between two Kendōists of equal ability or rank.  (The Chinese character Kaku is used for its meaning of rank, status or dignity.)

 

Goku-i  (n.)  The essence or core; mysterious and supreme understanding or goal in science or the martial arts attained through a culmination of efforts.

 

Go-no-sen  (n.)  The instinctual mental aspect of reacting to an attack when both players are jockeying for advantage. / Same as  Sengonosen or Tainosen. / Also see Sen.

 

Gō-rei  (n.)  A command or request.  / Used to indicate the beginning or execution of an exercise or technique.

 

Go-te  (n.)  A condition or state of being late in relation to an opponent.

 

Gyaku-dō  (n.)  1.  The left side of the Dō.  2.  A strike to the Gyakudō.

 

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Ha  (n.)  The edge of a blade. / See Illustration of Nihontō.

 

Haijiku  (v.)  Cursory sword-tip play to judge an opponent or predict their actions.

 

Haku-shu  (n.)  Applause.

 

Han-dō-dōsa  (n.)  A slight counter motion at the beginning of any particular movement intended to gain momentum.  For example, a momentary dipping of the Shinai down before raising it to strike.

 

Han-geki  (n.)  A counter-attack.

 

Han-men  (n.)  A one-handed diagonal strike to the right side of the Men.

 

Han-mi  (n.)  An oblique standing position with respect to an opponent.  Either one's right side (Migihanmi) or left side (Hidarihanmi) faces the opponent.

 

Han-puku  (n.) Repetition.

 

Hanpuku-renshū  (n.)  Repetitious training.

 

Han-sayō  (n.)  An opposite reaction.

 

Hansha-dōsa  (n.)  A reflex movement.

 

Han-shi  (n.)  The highest ranking Kendō title.  (Awarded to masters at eighth Dan and above, older than 55, showing superiority in character, intimate knowledge of Kendō theory and technical expertise. / In exceptional cases the title Hanshi may also be awarded to seventh Dan masters.)

 

Harai-ageru  (v.)  Creating an opening to strike one's opponent by deflecting their Shinai upwards, deflecting the Shinai downward is Haraiotosu  (v.).

 

Harai-waza  (Any of several techniques for deflecting an opponent's Shinai and attacking in one motion.  ie Harai Men, Harai Kote, Harai Dō, Harai Tsuki. / See Classification of Techniques.

 

Harau  (v.)  Deflecting an opponent's Shinai.

 

Hari  (n.)  1.  Tension or intensity.  2.  Rivalry or competition.  3.  In Kendō a vigorously competitive spirit and posture tensed to react; similar to a drawn bow in archery.

 

Hassei  (n.)  1.  The voicing of a battle cry at the moment of strike.  2.  A plea for pause in the match by a competitor.

 

Hassō-no-kamae  (n.)  A position with the sword erect, the handle guard and hands at mouth level, and drawn in toward the right shoulder (also called Migiwaki Jōdannokamae).

 

Ha-suji   (n.)  A line drawn with the cutting edge of a sword.  (As a Japanese sword cuts best when the blade is perpendicular to an object.  Even when using a Shinai take care to make sure it follows a path appropriate to cutting.)

 

Hazusu  (v.)  1. To dodge or avert an attack.  2.  Failing to land an attempted strike during an opening in an opponent's attack.

 

Hei-jō-shin  (n.)  1.  An everyday mentality.  2.  A disciplined state of mind unaffected by sudden or unexpected changes.

 

Hidari-kiki  (n.)  Left-hander.

 

Hidari-menuchi  (n.)  A strike to the left side of the Men.

 

Hi-kaku  (n)  Tanned leather.

 

Hiki-age  (n.)  The act of distancing yourself by retreating or passing an opponent after a cut to demonstrate Zanshin.  (If the distance is too great one's point will be canceled.)

 

Hiki-giwa  (n.)  The verge of retreat.  (During an opponent's Hikigiwa is a prime opportunity to attack.)

 

Hiki-komu  (v.)  To entice an opponent into striking distance.

 

Hiki-tate-geiko  (n.)  Practice with a player of lower rank.  (Training and encouragement is derived when a ranking Kendōist allows a student to complete a strike without indicating that the opportunity was given.)

 

Hiki-te  (n.)  See Teko.

 

Hiki-tsukeru  (v.)  To draw near.

 

Hiki-wake  (v.)  1.  A match ending in a draw.  2.  A break or separation of competitors by the referee.

 

Hiki-waza  (n.)  1.  A strike delivered just before, or during, retreat from Tsubazeiriai.  2.  A strike delivered after Taiatari. / ie Hiki Men, Hiki Gote, Hiki Dō. / See Classification of Techniques.

 

Hiraki-ashi  (n.)  an open stance taken to avoid and counter-attack a strike.  (It is important to maintain eye and hip orientation toward one's opponent during Hirakiashi.)

 

Hiraku  (v.)  1.  To open.  2.  Relaxing or opening in Kata by lowering the Katana from the Chūdan position.  3.  The concerted motion of the feet and body as in Hirakiashi.  4.  Denoting the distance or difference in ability, as between two player's techniques.  5.  A newfound understanding as in Satori-o-hiraku.  6.  To found a new school of  Kendō practice.

 

Hira-uchi  (n.)  1.  A strike with the flat side of a sword rather than the cutting edge.  2.   The same motion with respect to a Shinai. (Hirauchi will not score a point.)

 

Hito-iki  (n.)1.  One breath.  2.  The interval between breaths during execution of a technique which is vulnerable to attack.  (The moment between breaths should not be shown to one’s opponent, accomplished by attacking within the time of one breath.)

 

Ho-kō  (n.)  A gait or stride. / See Ayumiashi.

 

Hō-kō  (n.)  A direction, or path.

 

Hō-shin  (n.)  1.  Generally, a loss of concentration.  2.  In Kendō, to set free or liberate one’s spirit in an effort to produce a mental state flexible enough to react to anything.

 

Hyō-ri  (n.)  The front and opposite surface of something. / See Directional Terms.

 

Hyōri-ittai  (n.)  The relationship between two seemingly opposed ideas, similar to two opposite sides of the same object - especially the relationship between attack and defense.  (This evolved into a term to teach the principle that attack and defense, although outwardly different, are the same.)

 

Hyō-shi  (n.)  1.  The flow or rhythm of movement with the sword or body.  2.  Compatible patterns of respiration between two opponents, or the exchange of spirit.

 

I

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I-ai-dō  (n.)  1.  Technique of rapid sword drawing and cutting from a position with one or both knees on the ground, founded by  Hayashizaki Shigenobu (date of birth and death unknown) at the end of the era of warring states (Sengokujidai).  2.  Also Iai, or Iaijutsu.  (Founded as a branch of All Japan Kendō Federation in 1956 (Shōwa 31).  In 1969 (Shōwa 44) three standing and four sitting techniques were adopted for standard practice.  In 1980 (Shōwa 55) three more standing techniques were added, and together those ten techniques were standardized for the popularization of Iai-dō.)

 

I-chi  (n.)  A position or standpoint.

 

Ichi-byōshi  (n.)  1.  Literally one beat, Ichibyōshi refers to the fluid completion of a technique in one continuous motion.  2.  Also, the relationship between respiration and footwork in a strike or thrust.

 

Ichigan-nisoku-santan-shiriki  (n.)  The four essential elements of Kendō training, listed in order of importance:  1)  Vision (esp. Konnome)  2)  Footwork (esp. the left leg)  3)  Resolute spirit  4)  Assertive execution of techniques.

 

I-dō  (n.)  a changing of position, a traverse.

 

Ippon   (n.)  1.  In Kendō and Judō the completion of a technique.  2.  Clear defeat of one's opponent.  3.  Valid strikes and thrusts in competition.

 

Ippon-uchi  (n.)  A single and direct strike using all one's force and spirit.

 

Iri-mi  (n.)  1.  Originally the posture in Yari (spear) practice, slightly lower and oblique body position.  2.  Rapidly closing the distance between one and one's opponent.  3.  the three small sword techniques in Kata use this posture.

 

Iro  (n.)  1.  Color.  2.  A slight sense or indication of something.  3.  Feigning action to draw one's opponent into a vulnerable position.

 

Isshō-kenmei  (n.)  Originally, focusing all one's concentration to one point; pursuing a goal with all one's might, for a lifetime.

 

Issoku-ittō  Originally a term appearing in a Ono-ha-ittō-ryū treatise about Kenjutsu using a Bokutō or Katana, referring to taking a distance of 180 cm (6 feet) between competitors. / This distance is called Issokuittōnomaai. / From this distance one step forward allows attack, while one step back provides escape, and is therefore considered the turning point of attack and defense. / In Kendō, Issokuittō makes reference to two competitors taking a distance appropriate for attack and defense, in Chūdannokamae, with their Shinai tips crossed about 10 cm (4 inches) from the tip.  This distance is longer than the 180 cm used with Bokutō, or Katana because the Shinai is longer, but retains the essential meaning of Issokuittōnomaai because it is still the turning point of attack and defense. / See Chikama and Toma.

 

Issokuittō-no-maai   (n.)  See Issokuittō.

 

Itsuku  (v.)  Concentrating all one's spirit and focus on one part of one's body leaving the rest of one's body still in place and unable to react.  Limitation of action in attack or defense caused by the leadership on one's opponent.

 

Itsutsu-no-kamae  (n.)  The five Kendō postures: Jōdan, Chūdan, Gedan, Hasso, Wakigamae. / Also called Gohōnokamae.  (All five postures are included in the All Japan Kendō Federation standard Kata.)

 

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Ji-geiko(n.)  1.  Literally "training with one's feet on the floor" indicating basic training of fundamental Kendō skills.  2.  Training for success in competition. / Mental training and refining or polishing defects in technique.  (Originally a term encompassing Uchikomi-geiko, Kirikaishi, Kakari-geiko, Gokaku-geiko, and Shiaigeiko.  Today, a synonym of Gokaku-geiko.)

 

Jin-bu  (n.)  See Shinai Nomenclature and Competition and Referee Terms.

 

Jin-kaku  (n.)  1.  A person' character.  2.  Humanistic character cultivated from Kendō practice.

 

Jinkaku-keisei  (n.)  See Ningenkeisei.

 

Jōdan-no-kamae  (n.)  An entirely offensive position from which intimidation comes from above. / A position with the blade edge directed toward one's opponent and the left hand above the solar plexus is considered a variation of Jōdan.

 

Jōdan-waza  (n.)  A technique delivered from Jōdannokamae, usually a one-handed technique.  ie  Jōdan Men, Jōdan Kote. / See Classification of Techniques.

 

Jōge-suburi  (n.)  A continuous motion, repeatedly bringing the sword from overhead down until the left hand reaches the abdomen level and back up again without changing the grip of Chudan position.  (The lowest position of the sword tip is at the height of one's imaginary opponent's knee.)

Jō-seki  (n.)  Seating in the Dōjō for masters and higher ranking Kendōists.  (If there is a shrine in the Dōjō, the Jōseki is on the shrine side of the hall.)

 

Jōtai-zenmen  (n.) (Jōtai)  The front part of the body above the waist.

 

Jō-tatsu-suru  (v.)  To improve one's self.

 

Juku-ren-sha  (n.)  A Kendōist of superior ability familiar with the harmony of Shin-gi-tai.

 

Jū-nan-sei (n.)  Flexibility of joints and soft tissues.

 

Jūnan-taiso  (n.)  Calisthenics and stretching performed without any equipment or apparatus.

 

Junbi-undō  (n.)  Warming-up exercises before a match or training to ensure maximum performance and prevent injury, including calisthenics and stretching.

&nbs