NYBA SCHEDULE:

MON 7 – 9 PM (EST) IAIDO (IN-PERSON)

TUES 2 – 4 PM (EST) IAIDO (ONLINE)*

WEDS (IN-PERSON)
6 – 7:30 PM NAGINATA
7:30 – 9 PM (EST) IAIDO (IN-PERSON)

THURS 6 – 7:30 PM KYUDO (IN-PERSON)

FRI 7 – 9 PRATT REC**

SUN 2 – 4 PM (EST) IAIDO (ONLINE)

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WE CURRENTLY HOLD CLASSES AT:

JOFFERY BALLET STUDIOS
434 Ave of the Americas, 3rd-5th Fl, New York City, NY 10011

Our Tuesday online class is held at:

*Bond Street Dojo 161 E 106th St, New York, NY 10029

**Pratt Iaido Club classes are held at the Pratt Rec Center
2nd fl. studio
Only available to Pratt Students and Faculty members

We are located at Joffrey Ballet Studios – 434 6th Ave. (3rd fl. – Studio 2)

https://www.newyorkbudoassociation.org/schedule-location

We are walking distance from

A B C D E F M (west 4th street station)

NJ PATH TRAIN (9th Street station)

R W (8th Street station)

4 5 6 (14th St Station) or

6 (Astor Place Station)

1 (Christopher St station)

L (14th and 6th)

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SATURDAY CLASS IS HELD AT. THE MARK MORRIS DANCE CENTER IN BROOKLYN.

NYBA MONTHLY MEMBERSHIP  – $70 PER MONTH – FOR ANY 1 BUDO PRACTICE
– IAIDO
– KYUDO
– NAGINATA

For +$10 per month you will be able to add 1 additional budo practice.

ALL NYBA MEMBERS ARE REQUIRED TO USE AN AUTO BILL PAYMENT METHOD FOR MONTLY DUES.

NYBA PATREON – We offer several tiers from $1 – $50 (Access to online classes begins at $10)

SEE OUR CURRENT PROMOTIONS

For any reason you will be absent for an extended period of time, please let us know and we can suspend your account until you come back.

NOTE: We are a non-profit organization 501c(3). We do this because we are dedicated to the preservation and continuation of traditional Japanese martial arts. All money collected goes to pay for the location, equipment, notes, etc.

Class size fluctuates depending on attendance. We usually average 6 – 10 people per class. That being said, a smaller class size means more individual attention.

Our online classes average 5 – 10 people, we make an attempt to give as much individual attention/feedback as possible. Our hope is to be able to add more online classes for our patrons as well as exclusive content.

ASAYAMA ICHIDEN RYU
SEE THE AIR BLADE LENGTH CHART

RYUSHIN SHOUCHI RYU
Uses a shorter and lighter sword than most other styles of Iaido/kenjutsu.

Kawabata Sensei believes that the ideal dimensions of the sword for Ryushin Shouchi Ryu are:

Length 27” (68.58 cm)

Weight 1.6 lbs (725 grams)

Sori 6/8 inches (1.9 cm)

MEASUREMENTS

1 SHAKU (尺) = 11.93” inches

1 SUN (寸(すん) = 1.193” inches

But this varies depending on your height and size.

No, just a positive attitude and a willing to learn. Just keep in mind that we all started out as beginners. If you do have prior experience, please let the instructors know. All students regardless of how long they have trained for should develop an attitude of Shoshin (初心). Shoshin is a word from Zen Buddhism meaning “beginner’s mind.” It refers to having an attitude of openness, eagerness, and lack of preconceptions when studying a subject, even when studying at an advanced level, just as a beginner would.

We adhere to fairly standard dojo rules. They keep our dojo a safe and respectful learning environment.

Please keep in mind that the New York Budo Association is a nonprofit organization 501 c(3).

Everyone is volunteering, no one is paid and we are all here to learn.

DOJO RULES & CLASS ETIQUETTE

• Please feel free to ask any questions, but please refrain from chatting or mimicking the technique when instructors are teaching or demonstrating.

• Try to be on-time for the beginning of class. If you arrive in class late, change off the Dojo floor, bow in and join the class.

• Bow to the Shinzen before entering and when leaving the dojo space.

•When not in use, place the sword on the edge of the wall so that the TUKA-GASHIRA faces to the left.

• Never step over a sword, bokuto or jo if it is lying on the floor. When picking it up bend down on one knee.

• Never drop a weapon onto the floor or intentionally bang the floor with one, this is considered extremely disrespectful.

•Dues should be paid on time. If there is a problem, bring it up to the manager or treasurer before payment is due.

•If you cannot make it to class for an extended period of time, please be considerate and let one of the administrators know.

•Be respectful to your fellow classmates and instructors. We are all here to learn.

•If you must leave while the instructor is still teaching, excuse yourself quietly and bow out.

•When leaving or entering class always walk behind people for safety. Do not interrupt the class.

•If you must stop in the middle of a Kata, immediately return your sword, and wait until the rest of the class finishes the Kata.

• We do not allow live (sharp) blades to be used in class, as they extremely sharp. Our techniques are also very fast, and when there are multiple students on the floor this becomes a liability. Live blades shall be used only with the expressed permission of the instructor. Those with live blades shall keep to the right side and front of the practice area and must be mindful of the safety of other students.

• New students are responsible for the hanging the Shomen and attending to all equipment from the storage closet.

• The Shomen involves hanging the Shinzen and Otani Sensei’s portrait as well as removing them at the end of class.

• Practice self-control. Arguments or loss of temper can result in expulsion from the Dojo.

• Never use a weapon in a threatening manner towards another student or instructor.

• When borrowing class equipment, please be respectful and take good care of it.

• All borrowed equipment needs to be put back into the equipment bag at the end of the class.

• Students borrowing uniforms are responsible for washing them and folding them after class.

No, this is not a religion or place of worship. We practice Iaido (traditional Japanese fencing) and study the philosophy of Budo. The New York Budo Association does not discriminate on the basis of age, race, gender, religion, ethnicity, sexual preference or national origin.

We also adhere to traditional Japanese dojo etiquette, which involves REISHKI – bowing in.

Sword training begins and ends with courtesy. Reishiki/REIHO is translated as formal etiquette.

For us it includes the formal courtesy ceremony that starts and ends each class.

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REIHO – ASAYAMA ICHIDEN RYU
WATCH THIS VIDEO OF HOW WE PERFORM THE OPENING REIHO IN ASAYAMA ICHIDEN RYU

– Standing with heels together, sword held on left side (no thumb on tsuba

– holding tsuba bow forward slightly

– Bring the sword up to the middle of your body (2 hands), curve facing you (placing your RT thumb on the tsuba)

– Drop the sageo down

– Place LFT thumb on tsuba while sliding RT hand down straightening the sagaeo on the LFT side of the sword with the RT thumb

– Turn the tsuka facing LFT and bring sword in front of you (LFT hand palm facing up and RT hand facing down)

– Keeping the sagaeo on your RT thumb, wrapping the sagaeo around your thumb as you turn your RT palm upwards

– From the height of your chest, elevate the sword to the height of your eyes.

– Starting with the LFT – take 3 steps forward (LFT, RT, LFT – bring feet together)

– Pull back your LFT foot dropping to your LFT knee – RT foot sweeps behind you (as if you’re wearing the long hakama) – sitting in seiza – -When you sit, the distance between your knees is one fist apart

– Place the sword in front of you–curve facing you

– Sit into seiza, then place fists on the floor on both sides and push back away from sword –  then tuck loose hakama under your butt,

– Sitting in seiza hands on your hips

– Bow to sword, both hands move down and in front together

– Sit up then place fists on the floor on both sides and push forward toward sword

– Sit up into seiza

– Grab tsuba and raise sword (curve towards you) up into the center (between knees)

– Straighten sageo down from center of saya and place into obi (LFT side)

– Then pass the sageo to the right, tie it into the himo (allow extra to hang in loop)

– Stand up, step forward and then back 1 step.


REISKI – RYUSHIN SHOUCHI RYU

(Begin from standing position sitting into seiza (left knee followed by right knee.)

Sitting in seiza rest both hands at your upper hip (align yourself with the most senior student).

Place the sword in front of you and then gently place it on to your right side, cutting edge facing inward with the tsuba aligned with your right knee.

The most senior member (other than the instructor) calls the Rei. “Shomen ni Rei” (Courtesy to the art you are studying.)

Note: Wait for the lead instructor to initiate all the actions of bowing

Begin the bow by placing the left hand down first, followed by the right hand creating a diamond shape. Then bow keeping your back straight. Return right hand then left hand back to hips. These actions should be performed slowly and precisely.

“Sensei ni Rei” (Courtesy to the teacher.) Followed by a bow.

“Otani Sensei ni Rei” – showing respect for the founder of NYBA Yoshiteru Otani Sensei.

NOTE: This is only done in NYBA class (not during RSR seminars).

“Otagai ni Rei” (Mutual gratitude – please honor me with your practice) the class responds by bowing and saying – “Onagai Shimasu”

At the conclusion of class the response is – “Arigato Gozaimashita”.

With the right hand stand your sword directly in front of you (centered between your knees at arm’s length) with the cutting edge facing toward you. Straighten the sageo by pulling down on it. Then place the sword with tsuka to the left and edge toward you and using one motion push the sageo in towards the saya.

“To ni Rei” (Courtesy to the sword.) Followed by a bow.

With your right hand grab the sageo, moving your hand to the left and picking up the sword while holding the tsuba.

Return the sword to the standing position directly in front of you, holding with both hands. Note: Wait for the lead instructor to initiate the action.

With your right hand pull the sageo down with a snapping motion and immediately place the saya into the center of your stomach. Place the sword in between one of the layers of the obi and through the left side of your hakama (feeding it under one of the himo.)

Once sword is in place, take the sageo with right hand and simply tuck it over one of the himo on the right side and then tuck it into the right side of the hakama.

NOTE: If a student is late, please bow in on the side first before joining the class. This can also be done standing.

Unfortunately seminars are a separate fee, this is determined on how many people are attending and where the location is, etc. we normally just divide it up evenly. We also invite guests once in a while on special occasions.

Safety is always our number one concern, however there is always a fair amount of risk when training in any martial art.

We do everything possible to ensure everyone’s safety.

We use unsharpened swords (iaitos) during practice for safety. There is also a dojo policy to never fool around during class. Doing so will result in expulsion.

Please be sure to sign our legal waiver before attending classes. LEGAL WAIVER

Also please read our Dojo Rules & Class Etiquette.

The New York Budo Association follows a dan/kyu system like that used for many other modern martial art forms. NYBA offers an internal rank which is recognized by other affiliated dojos. We only charge a flat certificate fee with no testing fees. We hold rank exams every 6-months.
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ASAYAMA ICHIDEN RYU (AIR)
Currently there is no one outside of Japan able to award ranks in AIR. Rankings are done directly through the HONBU – online ranking is available as well as Honbu ranking during seminars in Japan.

Students are required to join Asayama Ichiden Ryu to hold official rank.

Testing is held 2X per year – every 6 months.

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RYUSHIN SHOUCHI RYU (RSR)

Students are NOT required to join the RSR organization to hold internal RSR rankings.

Ranking in Ryushin Shouchi-ryu is overseen by Kunikazu Yahagi sensei, however the senior instructors (RENSHI) are permitted to award ranks up to the level of Sandan independently (Godan with submitted videos to the Honbu). Students are also free to visit the Honbu in Tokyo or attend other RSR Seminars where testing is being held. Fees are dictated by Japan – RSR DUES CHART

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PLEASE NOTE: Students do not ask to be tested, but rather instructors will inform you when we feel you are ready. Students also do not get to choose their judges when testing.

TESTING SCHEDULE:

Testing is held 2X per year (about every 6 months). Usually students are asked to test for SANKYU after 6 months of regular attendance.

The awarding of rank reflects a students progress in their training. A student who attends class regularly can expect to test for shodan (first-degree black belt) in two to three years.

Regular rankings occur every two to three years, up to the rank of yondan (fourth degree black belt). Godan (fifth degree) rank is usually attained ten years after yondan, at which time the student is permitted to teach on her own if they wish.

Easy, after you finish your promotion (ex. Intro Class, 1 month, 3 months, etc.) you would begin paying dues on the 1st of the month – $200 for the first month ($50 monthly dues + annual RSR dues* $100 + RSR PASSPORT FEE $50), after that it’s $50 per month (which does not include special seminars). Please fill out and submit the RSR New Member Form.

Also if for any reason you need to miss classes (work/family), we suspend your membership for that time and when you return you simply continue your dues (you won’t owe us for the months missed unlike a gym membership).

You can also join us as a REMOTE NYBA MEMBER through the NYBA PATREON PAGE

You can begin anytime, just SIGN-UP . We always suggest new students begin in the beginning of the month with our Intro class which we hold on the first Monday of every month.

WATCH THIS VIDEO – HOW TO TIE AN OBI

WATCH THIS VIDEO – HOW TO WEAR A HAKAMA

WATCH THIS VIDEO – HOW TO FOLD A HAKAMA

DIRECTIONS

Migi (右） Right

Hidari (左） Left

Ushiro (後ろ) Rear

Mae （前 Front

Ue （上） Up

Jodan （上段） Upper

Chudan (中段） Middle

Gedan (下段） Lower

Kamae （構え） Posture

Shita （下） Down　

Uchi （内） Inside　

Soto （外） Outside

Seiza （正座） Kneeling seated position

Suwari （座り） Seated

Tachi （立ち） Standing

Omote front/forward

Ura back/behind

Maai timing and distance

COUNTING

1 Ichi （一）

2 Ni （二）

3 San （三）

4 Shi （四）

5 Go （五）

6 Roku （六）

7 Shichi (七）

8 Hachi (八）

9 Ku (九）

10 Ju (十）

GENERAL TERMS

Bokken/Bukuto （木剣・木刀） Wooden sword

Iaito (居合い刀） Unsharpened Practice Sword

Waza （技） Technique

Hajime （始め） To start

Yame （止め） Stop

Kata （型） Form or Pattern

Reishiki （礼式） Bowing in/out

Ryu （流） School

CLOTHING

Hakama （袴） Wide/pleated pants

Himo （紐） Hakama’s cords

Keikogi (Gi) （稽古着） Training jacket

Obi （帯） Belt

Tengui （手ぬぐい） Bandana/Towel

Tabi （足袋） Traditional footwear

Technical Terms

Shidachi （仕太刀） Defender of the Attack

Uchidachi （打太刀） Attacker

Tanden （丹田） A spot 2 inches below navel and 2 inches in

Kumitachi （組立ち） Partner practice (bokken)

Mokuso （黙想） Meditate

Cuts

Tameshigiri （試し切り） Test cut

Chiburui （血振るい） Blood clearing

Nukitsuke （抜き付け） Draw and Cut

Noto （納刀 Re-sheathing the sword

Hasuji （刃筋） “Whishing” sound from cut

Kirioroshi (切り下ろし） Vertical down (chuden)

Makkogiri （真っ向切り） Vertical down (gedan)

Kesagiri （袈裟切り） Shoulder to hip

Gyakugesa （逆袈裟） Hip to shoulder

Dogiri （胴切り） Horizontal through torso

Ichimonji （一文字） Horizontal

Tsuki （突き） Thrust　

Body Terms

Do （胴 ）Side of torso

Kote （小手） Forearm/wrist

Men （面） Face/head

In (陰） Motion of contracting the body

Yo （陽） Motion of expanding the body

Chuyo （中庸） Neutral position between In and Yo Titles

Sempai （先輩） Senior

Kohai （後輩） Junior

Shihan （師範） Japanese Title meaning Model or Senior Instructor

Shidoin （指導員） Japanese Title meaning Instructor

Souke （宗家） Headmaster

Sensei （先生） Teacher

SWORD TERMS

Katana/Shinken （刀・真剣） Sharp Sword

Wakizashi （脇差） Short Sword

Saya （鞘） Scabbard

Koiguchi （鯉口） Opening of saya

Tsuba （鍔） Guard

Habaki （はばき） Ferrule

Sageo （下げ緒） Cord

Kurikata （栗型） Knob on saya

Tsuka （柄） Handle

Menuki （目抜き） Ornament on handle

Hi （火） Groove in blade

Mune （棟） Back of blade

Mekugi （目釘） Peg

Kissaki （切っ先) Point of blade

Hamon （波紋） Temper line

Monouchi （物打ち） Top 6 – 8” of blade

GREETINGS

Ohayo Gozaimasu （おはようございます） Good Morning

Konnichiwa (こんにちは） Good Afternoon

Konbanwa (こんばんは） Good Evening

Sayonara (さよなら） Good Bye

Onegai Shimasu （おねがいします） polite way to make a request (spoken when one wishes to practice with a fellow student or teacher and at the beginning of each class)

Domo Arigato Gozaimashita （どうもありがとうございました） Polite Thank you

Dozo （どうぞ） Please　

KYUDO – 7 COORDINATIONS

Kyudo Terms for Beginners

Yumi – Bow

Haya – First Arrow

Otoya – Second Arrow

Honza – Starting Line

Shai – Shooting Line

Torikake – Gripping the String with the Glove Hand

Tenouchi – Gripping the Bow with the Left Hand

Toriyumi no Shisei – Basic posture when Holding Bow and Arrows

Hassetsu

Ashibumi – Footing

Douzukuri – Forming the Body

Yugamae – Readying the Bow

Uchiokoshi – Raising the Bow

Hikiwake – Drawing

Kai – Full Draw

Hanare – Release

Zanshin – Remaining Spirit

YUMI CARE – PART 1

YUMI CARE – PART 2

NAGINATA JIBIKI
(Dictionary of Naginata Terms)

A
ashisabaki: footwork. Examples include okuriashi, ayumiashi, hirakiashi, tsugiashi, mae, and ato.
Atarashii naginata: the "new" style of naginata. It has been formed from the culmination and standardization of all the pre-existing styles.
ato: backward movement.
ayumiashi: footwork used for going forward and backward. When moving forward start with the right foot first and move four steps forward. When moving backward, start with the left foot first and take four steps back.


B
bogu: the protective armor worn by naginataka. It consists of the sune-ate (shin protectors), men (head gear), kote (fencing gloves), do (chest protector), and tare (waist protector).
bokken: see tachi
bokuto: see tachi


C
chikai-ma-ai: the position of the kissaki of opposing naginataka. The kissaki are crossed over and are far apart (more than 25 cm).
chudan-no-kamae: this is the basis for all kamae and is the most suitable for offense and defense. The body faces sideways and the naginata is held essentially horizontal with the kissaki slightly raised and pointed at the opponent's center line.
chui: a warning given by the Chief Referee when a player first commits a foul. When a second violation is committed, however, the player receives a hansoku (foul).


D
datotsu: the accurate strike or thrust made to specified targets on the opponent.
datotsubo: a small staff used as a target for students to practice the various strikes.
datotsu-bui: valid striking points on an opponent.
do: the mid-section of the body. It is a valid target (yuko datotsu) in competitive matches (shiai).
dojo: training hall
do-uchi: a strike to the mid-section of the body.


E
e-bu: the oak staff of the naginata.
e-harai: a blocking technique in which the e-bu is used to sweep away the opponents naginata.
Edo period: 1603-1867. A time of relative peace in feudal Japan.
encho: an extra time period used to break a tied match. Up to three encho may be allowed.
engi: kata (forms) consisting of pre-arranged moves.


F
fukushin: a sub-referee. Two sub-referees assist the chief referee in deciding when points and fouls should be awarded.
fumi-kae-ashi: footwork used for changing the direction that the body is facing on the spot when striking or responding.
furiage-men-uchi: a strike in which the attacker swings the naginata over the head and then brings it straight down onto the center of the opponent's head.
furiage-kote-uchi: a strike in which the attacker swings the naginata over the head (less than that used for men-uchi) and then brings it straight down onto the wrist.
furiage-sune-uchi: a strike to the shin in which the attacker swings the naginata over the head and then brings it down on an angle.
furikaeshi: an overhead strike which starts from chudan-no-kamae. Keeping the blade facing down, change the grip above the head, bringing the naginata down and striking the target. It is a very typical naginata waza.


G
gedan-no-kamae: a kamae used for defense and then counter-attack. The kissaki is lowered and pointed at the opponent's feet. It should be in line with the body's center line and held approximately 10 cm off of the floor. The ha should be facing up. The ishizuki should be ear height.
gogi: a referee's consultation.


H
ha-bu: the outer convex curved surface of the naginata blade.
hachimaki: see tenugui
hajime: "begin". This is called by the referee in order to start a match.
hakama: the divided "skirt" or trousers worn during keiko. It is made of cotton or synthetic fabrics and is navy blue or black in color. The hakama should be ankle length.
hanmi: posture
hansoku: a penalty incurred after committing a foul.
hantei: a decision made by the referee when a tie cannot be broken. The winning point is awarded to the player who exhibited greater skill in offense and defense, posture and manners, and had the least number of fouls.
happoburi: warmup exercises performed at the beginning of class. Examples include jogeburi. nanameburi, yokoburi, nanameburi shitakara, and furikaeshi.
hara: 1) the abdomen. 2) The location of one's soul (in the lower abdomen).
harai-waza: techniques used to ward off an attack. The sori is typically used to sweep the opponent's naginata away, although the e-bu can also be used (see e-harai).
hasso-no-kamae: an offensive stance in which the naginata is held upward and slightly diagonal. The ishizuki is near the mid-thigh and in line with the body's center. The ha faces forward.
hidari: left (direction)
hidari kamae: kamae (postures) in which the left foot is forward.
hikiwake: a draw
himo: cords used to tie the bogu and hakama.
hirakiashi: footwork used when avoiding a strike or responding. When moving to the left, step with the left foot and follow with your right. It can also be used for moving to the right and for changing directions.
hyoji gakari: the person responsible for indicating the head referee's decisions. The hyoji gakari is assisted by two or more sub-indicators.


I
igi: a formal protest.
ippon: one point.
ippon gachi shobu ari: "victory decided by a single point". An announcement made by the judge after a victory has been decided by a single point.
ishizuki: the butt end of the naginata.
ishizuki-tsuki: a strike to the side of the abdomen using the ishizuki.


J
jibiki: dictionary
ji-geiko: free sparring practice
jodan-no-kamae: this kamae is advantageous in aspects of speed, distance, and striking. The naginata is held horizontally over the head with the ishizuki forward and aligned with the body's center line. The ha is facing upward.
jyogai: a foul incurred when a player steps out of bounds.


K
kakari-geiko: attack practice
kamae: fighting postures/stances. Examples include: chudan-no-kamae, jodan-no-kamae, gedan-no-kamae, wakigamae, hasso-no-kamae.
katana: a Japanese (Samurai) sword
keiji gakari: the score recorder, assisted by two or more subrecorders per court, the score recorder keeps track of the score, match time, and the number of valid striking points hit as well as the number of fouls.
keiko (o-keiko): a training session.
keiko-gi: training jacket
kiai: the spirit shout made at the moment of attack
ki ken tai ichi: striking with a unified spirit, naginata, and body.
kihon: basics
kissaki: the tip of the naginata blade.
koshi-ate: the back panel on the hakama.
kote: 1) the wrists. 2) A valid striking point (yuko datotsu) in competitive matches. 3) The protective gloves worn during bogu practice and shiai.


M
ma-ai: the distance between opponents.
mae: forward movement
makiotoshi-waza: use of the naginata's sori to flick an opponent's naginata downward, taking away their power to attack, and then following quickly with a strike.
makoto: 1) truth; sincerity; honesty; faithfulness. 2) one of the virtues of a Samurai. (See "A Warrior's Creed".)
Meiji era: the period of time in Japan's history (1868-1912).
men: 1) the head . It is a valid striking point (yuko datotsu) in shiai. 2) the protective mask worn during bogu practice and shiai.
men-uchi: a strike to the center of the forehead.
migi: right (direction)
migi kamae: kamae in which the right foot is forward.
mochikae: change en guard from one side of the body to the other.
mochikae-soku-men-uchi: alternating between strikes to the left and right of the shomen.
mochikae-sune-uchi: alternating strikes to the left and right shin.
monouchi: the part of the ha just below the kissaki. In battle applications, most of the cutting would be done with the monouchi.
mune: the upper (concave) surface of the blade.


N
naginata: A weapon used in feudal Japan consisting of an ovate wooden shaft measuring approximately 6-8 feet in length with a curved blade on the end of it. The blade measured between 1 and 3 feet, and was sharpened on one side (the convex side).
naginataka: a practitioner of naginata.
nuki-waza: techniques used to avoid (rather than block) an opponent's strikes.


O
obi: the belt or sash worn around the waist underneath the hakama. It measures approximately 2-3 meters in length (enough to wrap around the body twice and tie at the back) and is made of bleached cotton.
okuri-ashi: the footwork used when striking, and for moving in all directions. Advance the foot corresponding to the direction in which you intend to move. Draw the remaining foot to the one that you've just advanced, taking care that the space between the feet is not too narrow.


R
rei: a bow of respect. Mental preparedness is required from the start to the finish of the bow. If bowing to the shomen, the bow angle should be 30 degrees. The back should be kept as straight as possible when bowing. If bowing to an opponent, then an angle of 15 degrees should be used; maintaining eye contact at all times. The feeling of respect for one's opponent must be maintained at all times.
ritsu-rei: standing bow
ryu: martial arts schools


S
san-bon-shobu: a three point scoring method used in matches.
sayu-do-uchi: strikes to both the left and right sides of the body.
sayu-sokumen-uchi: strikes to both the left and right sides of the head at 30 degrees.
sayu-sune-uchi: strikes to both the left and right sides of the shin.
seiza: the formal sitting position. The knees should be approximately five inches apart, and the two big toes crossed in the back.
sen-dan-maki: the section of the naginata at which the ha-bu is attached to the e-bu. This joint is held firmly in place by wrapping it several times with plastic tape.
sensei: teacher
senshinin: linesmen
senshu gakari: the person who calls the players out onto the court. The senshu gakari also inspects the player's equipment ahead of time to make sure that all is in order so that no delays occur.
shiai: competitive matches
shikake-ooji: the incorporation of basic movements and waza into pre-arranged moves. The attacker is called shikake, and the defender is ooji. In Engi, both participants face each other 4 m apart in shizentai and bow to each other (15 degree bow). When shikake-ooji has finished, they both return to shizentai and bow again.
shinogi: the side of the naginata blade just above the ha.
shinpan shunin: the court judge. It is the shinpan shunin's responsibility to act as an assistant to the Chief Judge when there are more than two courts in use at the same time.
shinpan-cho: the chief judge. The shinpancho's responsibility is to make sure that the match rules are abided by.
shizentai: natural standing position. Shizentai enables you to react quickly to your opponent's movements, and is a free and stable posture.
shobu-ari: "victory decided". All matches end with the Chief Referee declaring either "shobu-ari" or "hikiwake" (draw).
shomen: 1) The face. 2) The front of the mat (the kamiza, the upper area of the mat where the Sensei sits).
shushin: the chief referee.
soku-men-uchi: a strike 30 degrees to the left or right of Shomen.
sonobade: performing happoburi (warmup exercises) while standing in place.
sori: the curvature of the naginata blade.
soutai: the position held by two opponents who are facing each other in shizentai. The opponents should be 4 meters apart.
striking techniques: various techniques used to strike datotsu-bui on an opponent. Examples include: furiage-men-uchi, furiage-sune-uchi, furiage-kote-uchi, mochikae-soku-men-uchi, mochikae-sune-uchi, do-uchi, furikaeshi-men-uchi, and tsuki.
sune: the shins. They are a valid striking point in competitive matches.
sune-ate: shin protectors worn during bogu practice and shiai.
sune-uchi: a strike to the shin.


T
tachi: a wooden replica used for Tendo Ryu practice. Sometimes referred to as a bokken or bokuto,
taijo: an ejection from a match.
tai-sabaki: the footwork used when moving the body and when striking. One should try to walk with the hips as the center of the body, and movement should cause no sway in the upper body.
tare: the waist protector worn during bogu practice and shiai.
te: the hand
Tendo Ryu: an ancient jutsu form of the naginata versus the katana (bokken) which is taught separately from Atarashii Naginata. Many Atarashii Naginata practitioners also practice Tendo Ryu.
te-no-uchi: grip
tenugui: A protective head wrap worn underneath the bogu. It protects the men and instills good spirits in the wearer. The same head wrap used in Kendo is referred to as a hachimaki.
tokei gakari: the time keeper in a match. The time keeper is assisted by two or more subkeepers.
tsugiashi: footwork used when striking from a distance or when you want to take ma-ai quickly. When moving forward, move your back foot forward first and then step out immediately with the front foot. When moving backward, move the front foot back to the rear foot, then quickly step back with the rear foot.
tsuki: 1) A thrust (strike) with the kissaki or ishizuki. 2) The throat flap on bogu. Striking to the throat is prohibited until age 18, and is done only during bogu practice and shiai by advanced students.


U
uchikaeshi: a basic kihon exercise.


W
waki-gamae: an offensive kamae which enables one to strike quickly. The naginata is held horizontally with the ishizuki forward and in the center line of the body. The ha faces outward.
waza: technique


Y
yame: "stop"
yuko-datotsu: a valid strike.


Z
zanshin: maintaining physical and mental alertness after attacking
zarei: bowing from seizai position
zekken: name patch attached to the front of the tare