Happo no Kamae (八方の構え)
Eight Stances
Right foot forward
Chuudan (中段)
Gedan (下段)
Right foot back
Migi Waki (右脇)
Migi Hassou (右八相)
Jyodan (上段)
Right foot forward
Migi Seigan (右正眼)
Migi Seigedan (右正下段)
Migi Jyodan Kasumi (右上段霞)
Chuudan (中段)
Left foot forward
Jyodan (上段)
Left foot back
Gedan (下段)
Hidari Waki (左脇)
Hidari Hassou (左八相)
Jyodan (上段)
Left foot forward
Hidari Seigan (左正眼)
Hidari Seigedan (左正下段)
Hidari Jyodan Kasumi (左上段霞)
Left foot back
Chuudan (中段)
Cutting Patterns
Shomen-giri (正面斬り)
A straight cut to the head of the opponent with arms at approximately shoulder or armpit height.
Kiri-otoshi (切り落とし)
A straight cut down to the waist or gedan position.
Migi Kesa (右袈裟)
Cut starting from upper right down to lower left.
Hidari Kesa (左袈裟)
Cut starting from upper left down to lower right.
Migi Yoko-giri (右横切り)
Horizontal cut starting from right to left.
Hidari Yoko-giri (左横切り)
Horizontal cut starting from left to right.
Migi Kiriage (右切り上げ)
Upwards cut starting from bottom right to upper left.
Hidari Kiriage (左切り上げ)
Upwards cut starting from bottom left to upper right.
Nukitsuke (抜き付け)
Nukitsuke refers to the initial draw-and-cut motion in Iaijutsu or Battojutsu. It is the act of drawing the sword from the saya (scabbard) and cutting in the same motion, typically in response to an imminent threat. It is a decisive movement meant to neutralize the opponent instantly upon the draw, with emphasis on speed, sharpness, and proper alignment. Below lists the three major tenets of proper Nukitsuke:
Sayabiki (鞘引き)
This literally means "scabbard pulling." It refers to the backward movement of the saya (scabbard) as the sword is drawn. The left hand pulls the scabbard back and slightly down while the right hand draws the sword forward and out. The angle of the cut is determined by the final orientation of the koiguchi at time of deployment.
Hanmi (半身)
This means “half-body” and refers to the angled stance of the body in relation to the opponent. Rather than facing forward squarely, the practitioner opens up the hips and shoulders which turns the body diagonally to reduce the target area for the opponent, clearing the sword from the saya, and adding counter-balanced and rotational power to the draw. The moment the saya is thrusted into the obi during Sayabiki, it pulls the left hip back thus clearing the kissaki (katana tip) from the koiguchi (mouth of the saya) to deploy the snapping cut described in the next section under Tenouchi.
Tenouchi (手の内)
Tenouchi refers to the subtle grip control and hand pressure during sword manipulation. It is the refined handling of the sword with the fingers, palm, and wrist, often described as tightening at the moment of contact, loosening during transition, then snapping into place to finish the cut. Tenouchi controls the snap and sharpness of the cut, ensures the sword does not overswing, and contributes to the decisive finishing quality of the draw cut.
Kyori (距離)
Distancing
Touma (遠間)
Far Distance. This is the range where neither swordsman can reach the other with a single step or strike. Used for observation, psychological pressure (Seme), and setting up feints. From here, you’ll often need a Fumikomi-ashi (lunging footwork) or a large step to strike.
Issoku Ittou no Maai (一足一刀の間合い)
One Step, One Cut Distance. This is the ideal attacking distance, where one step equals striking range. Most strikes in kendo are executed from this distance. Timing and commitment are key here, since you're both in danger.
Chikama (近間)
Close Distance. This is inside striking range, where you’re almost shoulder-to-shoulder. Used for techniques like hiki-waza (backward strikes), body contact, or follow-ups after a clash. Often seen in sword guard lock-ups (Tsubazeriai), where control and Zanshin are critical.
Advanced Optional Classifications:
Maai no Henka (間合いの変化)
Changing intervals. Refers to subtle shifts as distance and tempo evolve.
Hazumima (弾み間)
Bouncing distance. Transitional distance where you can bait or retreat safely.
Kouma (好間)
Favorable distance. A personalized Maai where you can strike but the opponent cannot.
Video
Japanese Swordsmanship Terminologies
Ashi (足)
Foot. This word is typically used to describe some form of passing step or shuffling motion for footwork techniques.
Enkei (円形)
Circular form or arc.
Hiki (引き)
Retreating movement, usually walking backwards while still facing the opponent.
Hineri (捻り)
Twist or torque.
Kaiten (回転)
Rotation, turning.
Kasumi (霞)
Mist. This term often describes the blade being held overhead in a defensive posture, and the metaphor might connect “mist” to concealing and protecting one with a shroud, though no known sources have made this connection.
Kaeshi (返し)
To return or to reverse. Usually describes techniques that involve redirecting or reversing the opponent’s attack, following up with a counterstrike.
Kake (懸け)
To commit, launch, or execute.
Kake (掛け)
To hook, hang, or latch.
Katate (片手)
One-handed. Usually describes a one-handed thrust or strike.
Katsugi (担ぎ)
Feint.
Kesa (袈裟)
Monk’s sash. The sash offers the visual guide of the general line with angled cuts starting from the trapezoid down to the oblique on the opposite side of the torso.
Maki (巻き)
To wrap, coil, or spiral.
Mawari (回り)
Turning, revolving.
Nami (波)
Ocean waves. The term usually describes techniques that metaphorically evoke waves crashing against a rocky cliff or movements that flow with a back-and-forth rhythm.
Omote (表)
The front side. In Kendo, it represents the left side of the opponent’s blade, the strong or conventional side, the main side which has a more direct path to the opponent's Men.
Osae (押さえ)
To press down against the opponent’s blade from either the ura or omote side with a strong and controlled bind or binding impact.
Otoshi (落とし)
To drop or cast down.
Renzoku (連続)
Continuity, succession, or a series. In Japanese swordsmanship, renzoku refers to a rapid sequence of attacks or movements performed without pause. It is used to apply sustained pressure, maintain initiative, and exploit openings in the opponent’s defense.
Seme (攻め)
Pressure.
Sen (先)
First, initiative.
Shidachi (仕太刀)
Junior/Learning role. In paired practice drills, the Shidachi performs the response or correct technique, often from the receiving position. Their role is to counter, redirect, or complete the kata with a decisive strike or cut. The goal is not to "win," but to learn proper timing, rhythm, and distance while under pressure. In essence, the Shidachi is "the sword being trained," absorbing the spirit and skill transmitted by the Uchidachi.
Tachi (太刀)
Sword or blade.
Te (手)
Hand.
Tomoe (巴)
Swirl or spiral.
Torii (鳥居)
This is a horizontal block simulating the uppermost beam of torii gates at shinto shrines. It is held similarly to Kasumi block, but the only difference is that the sword is not aimed in the direction of the opponent and is held horizontally in front of and above the forehead.
Ukenagashi (受け流し)
A deep overhead block where the blade creates a steep slope downwards alongside the side and/or back of the defender’s body, allowing the attacker’s blade to glance off of the block without much resistance. The goal is not to stop the blade with sheer force but to deflect it away, allowing the defender to control the flow of the attack and set up a counter.
Uchi (打ち)
Strike.
Uchidachi (打太刀)
Senior/Instructor role. In paired practice drills, the Uchidachi initiates the action and typically attacks first in most kata. This role represents the more experienced swordsman and embodies correct technique, posture, and intention. The Uchidachi creates the opening and applies pressure to draw out proper movement from the Shidachi, helping them develop awareness of Maai, timing, and composure. Often, the Uchidachi is meant to simulate a real threat, such as a battlefield opponent. You can think of the Uchidachi as a teacher or examiner, not someone being "defeated," but someone who guides the lesson through structured pressure.
Ura (裏)
The back side. In Kendo, it represents the right side of the opponent’s blade, the weak or indirect side, the side that has the closest access to the opponent’s right Kote.
Waza (技)
Technique.
Zanshin (残心)
One of the most profound and essential concepts in martial arts. It refers to a state of lingering awareness, mental presence, and readiness, even after a technique has been executed.