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| Strike to the front of face |
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| Training after realization |
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| Technique to disarm a knife attack from above |
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| Very baggy trousers originally worn over a kimono to give freedom of movement; formal attire to show accomplishment in Aikido. |
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| A natural step forward; ready stance with either left or right foot forward. |
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| Nage defends at kneeling position as Uke attacks from standing position. |
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| Eight directional cut with sword |
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| Eight directional movements with a Jo |
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| Eight directional exercise; to develop freedom of movements in all directions with Shomenuchi Ikkyo-undo |
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| The area below the navel where the vital energy, Ki, of an individual comes from, it is the reservoir of Ki. |
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| Dropping the opponent's elbow to lead him to fall |
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| From Ushirodori Koshihineri |
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| Technique to control the knee |
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| "Rhythm wood," pair for wood blocks used for clapping rhythm of breathing exercise. |
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| A method to control the opponent with one arm cranking or elbow-locked position and facing down. |
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| Movement toward attacker without collision |
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| Technique to control the attacker with irimi |
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| Butt end of a spear where it hits the ground |
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| Staff about 50 inches long and used for unifying mind and body through spear and sword movements. |
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| Techniques of jo movements to study the self-defense movements of Aikido. |
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| Upper stance with sword swung overhead |
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| Upper hand crossing exercise |
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| Practice to study the movements of Jo and Ken by harmonizing with each other. |
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| Techniques to throw the opponent with Jo |
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| To turn like a wheel; in Aikido it is often refered to rotating about a horizontal axis. |
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| To practice one art over and over with many attackers |
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| Chief of system; overseer of Seidokan Aikido worldwide. |
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| Technique to throw by dropping one's shoulder and letting the opponent slide off |
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| Exercise to blend with opponent holding one wrist and to lead around |
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| Two hands grabbing one wrist |
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| Crossover wrist grab; right hand grabbing right wrist or left hand grabbing left wrist |
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| Faster than the speed of light or quicker than what the eyes can see. |
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| Diagonal cut from the shoulder |
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| The essence of the universe;everything in this universe is made of Ki, power of one's mind, or the source of energy of nature herself. |
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| Sea of Ki, the hara, Seika Tanden |
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| Reversing the attack without blocking the opponent's Ki, figure 8 movement. |
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| Backward fall with rocking motion or backward roll |
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| Breathing, rhythm, of Ki movement |
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| Exercise to train yourself to avoid collision of Ki even when you are on a collision course with your opponent. |
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| Momentum throw generally with one hand downing the elbow and the other hand following it down behind the neck. |
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| Technique to throw using the hips |
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| Exercise to turn over and limber the wrist in the direction of flow of Ki. |
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| The number nine; depends on the context that it is being used |
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| Attack to the neck, to choke |
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| Proper distance between opponents |
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| The fundamental truth, earnest, realistic, sincere |
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| True victory is victory over oneself |
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| Calmness in action against mass attack |
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| Exercise derived from Sankyo which emphasizes twisting the wrist about the nertical axis |
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| To lure someone toward you |
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| Enlightenment, realization, of the truth of the universe |
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| The fundamental truth, earnest, realistic, sincere |
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| The one-point below the navel |
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| Hara, a vital area below the navel |
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| Equilateral tetrahedron; a very stable four-sided body with each side being an equilateral triangle. |
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| Formal Japanese sitting posture with legs folded under; a very stable sitting position |
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| The number four; depends on the context that it is being used. |
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| Title given by the Doshu or Kancho to some high level instructors (6th Dan or above). Denotes greater responsibility and honor within a system. |
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| Technique to throw the opponent straight down, with elbow and wrist bent in a vertical plane. |
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| Waling on knees; samurai-walk |
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| The truth of the universe |
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| To control the first move |
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| Front of a face, the main wall of a dojo |
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| Blow to the forehead from above |
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| Return to basics; an attitude of a beginner who is willing to learn from the basics. |
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| Making the principles and the arts part of yourself by training rigorously and be able to apply them in your everyday life for the benefit of other |
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| Technique from sitting position |
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| Body movement to avoid collision with the opponent; to untangle yourself from a situation |
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| Exercise to shake the wrists, then the entire body to return the flow of Ki to normal level. |
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| Heaven-and-earth throw; one hand pointing upward and the other downward. |
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| Rotating about a vertical axis, to turn |
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