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GLOSSARY

 

 

 

GLOSSARY OF AIKIDO TERMS

Term (pronounced like:) Explanation
Aikido I-key-dough AI -Harmony
KI -Spirit, Energy
DO -Way, Path
Ai Hanmi I-han-mee partners face each other with same foot forward
Atemi a-te-mee striking technique, in Aikido a feint to face or body with fist or open hand
Arrigata gozaimushta are-ee-got-a goh-z-eye-moosh-ta thank you very much
Bokken bow-ken wooden practice sword
Budo boo-dough the way of martial arts
Dan dawn black belt rank
Deshi desh-ee student, disciple
Dojo dough-joh a place to train In The Way
Dosa dough-sa exercise
Enundo en-oon-dough a throw in which the uke spins backward while falling
Gi (or Dogi) gee (or dough-gee) training uniform
Gokyo go-kyoh 4th wrist hold technique
Gyaku Hanmi
 
(see also Ai Hanmi)
g-yak-u han-mee
 
("yak" like the Tibetan ox)
opposite stance
Hakama haw-kaw-maw black formal garment worn over gi bottoms
Hanmi han-mee stance with one foot a half step forward
Happo-undo haw-po oon-dough basic eight direction exercise
Hara har-a abdomen, symbolizes existence
Ikkyo eek-yoh 1st wrist hold technique
Irimi
  (= Omote)
ee-ream-ee
     (oh-moh-tey)
entering direction
Jo (Bo) joh (boh) wooden staff
Juji (nage) jew-jee (naw-gay) a throw in which uke’s arms are crossed
Kaiten k.eye-ten rotating or round
Kata kaw-taw shoulder
Katate kaw-taw-tey one hand, wrist
Katadedori kaw-taw-tey toh-ree one hand wrist grab, same side
Katatekosadori kaw-taw-tey koh-sa toh-ree one hand wrist grab, same hands
Keri carry kick
Kiatsu key-a-tsoo accupressure massage applied with Ki
Kiai key-I powerful vocalization with Ki
Kirikaeshi keer-ree-k-eye-yesh a throw which includes reversing uke’s direction of attack
Kokyu coke-you breathing timing
Kokyu-ho coke-you-hoh Ki breathing method
Kokyunage coke-you-naw-gay timing throw
Koshin koh-shin moving backward
Koshinage koh-shee-naw-gay hip throw
Koteoroshi
  (=prev:Kotegaeshi)
koh-te-oh-row-shee wrist throw
Kubi-jime coo-bee-shee-mee choke
Kyu cue (as in “cue ball”) rank before black belt
Ma-ai (Mawai) maw-why proper distance between opponents
Misogi miss-oh-gee training to cleanse the mind
Mochi moh-chee to hold
Munetsuki moon-ot-ski punch (tsuki)
Nage naw-gay throw, person leading
Nidan nee-dawn 2nd degree blackbelt
Nikyo neek-yoh 2nd wrist hold technique
Obi oh-bee belt
O’Sensei oh-sen-say honorific name used for Morihei Ueshiba, the founder of Aikido
Onegai-shimasu oh-nay-guy-she-mahss a humble request to train, spoken as salutation before practice
Randori rawn-door-ee free attack, sometimes multiple attackers
Rei ray bow, salutation
Ryo-te ree-oh-tey both hands
Ryote-dori ree-oh-tey-toh-ree grabbing both wrists
Ryote-mochi ree-oh-tey-moh-chee grabbing one wrist with both hands
Sankyo sawn-kyoh 3rd wrist hold
Sayu-undo saw-you-oon-dough exercise that swings arms to sides
Seiza say-za formal kneeling posture, sitting with calmness
Sensei sen-say teacher, instructor’s title
Shihan shee-hawn master instructor
Shiho shee-hoh four direction
Shikko shee-koh knee walking
Shin Shin Toitsu shin shin toy-ee-tsoo mind and body unification
Shodan show-dawn 1st degree black belt
Shomen show-men front of head; also front of dojo where Ki symbol is placed
Sudori soo-doh-ree "avoiding" by spinning out or ducking
Taigi tie-gee specific arts (kata) in Ki-Aikido
Taiso tie-so basic exercise in Ki-Aikido
Tanto tawn-tow wooden practice knife
Tatami taw-taw-mee traditional woven bamboo practice mat
Tenchinage ten-chee-naw-gay heaven and earth throw
Tenkan ten-kawn circular blending movement
Uke oo-kay person being thrown
Ukemi oo-kem-ee art of rolling or falling
Ushi-deshi oo-shee-de-shee student designated to provide continuing assistance to sensei and to facilitate dojo activities, translates roughly as “house student”
Ushirodori oo-shear-oh-toh-ree grabbing in a bear hug from behind
Waza wa-za technique
Yokomen yoh-koh-men side of face, head, neck
Zagi zaw-gee kneeling techniques
Zagi-handachi zaw-gee-hawn-daw-shee nage kneels while uke stands
Zenponage zen-poh-naw-gay throwing uke forward
Zenshin zen-shin moving forward

Note: Two-syllable words are usually emphasized on the first syllable.