The peace that comes from balance and flexibility represented by two tongues of fire balancing, surrounded by a flexilbe ring of bamboo.
Arlington Budoshin JuJitsu Dojo: Self Defense for the Rest of Us
Terminology — A
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1. no direct reference
age uchi [Karate] rising strike
age uke [Karate] rising block, usually with the forearm
age tsuki [Karate] rising punch
2. To lift or raise from a low to a high position
age uchi [Karate] rising blow with the fist, similar to an uppercut
age uke [Karate] rising defensive block carried out with the arm or leg
3. no direct reference
age-uke (aw-gay-oo'kay) rising block A karate blocking technique in which the arm is raised in front of the body to nullify a strike directed to the face or head.
age-zuki (aw-gay-zoo'kee) rising punch A karate punch delivered from a lower to a higher plane by way of a semicircle from the hip to the target.
7. rising
8. no direct reference
age-uke rising block
age-zuki rising punch

1. [Common Usage] jaw
4. chin
11. chin; jaw
ago makikomi



4. chin or nose turn
Your attacker sets a headlock with his right arm. Bring your left hand up under your attacker’s chin (or your middle finer under his nose) and turn his head to his left. Be sure to turn your attacker’s head to his left by pushing. Do not pull it back. As he turns and releases his hold, slip your head out of the headlock. Slide your left hand down and around so that your left forearm is under his chin, placing him in a headlock under your armpit.

2. Love, harmony. The fundamental concept of all the martial arts. From a philosophical point of view, it is the basic identity of all human beings and of nature itself. It is the vital force which governs the universe and keeps it in harmony. It always acts in a circle, never in a straight line; very similar to the Chinese theory of the Dao (Tao). In this context, Ai cannot be separated from the idea of Ki or universal breath. In a wider sense it means sympathy, mutual understanding which unites individuals, enabling them to understand one another, even without words, by virtue of the Yomi or reading the thoughts of another. This mutual understanding allows each person to accept the other, just as he or she is; to be open to him or her. Broadly speaking, it is the love between all living beings.

Union, reunion. When one or more individuals are confronting a situation of conflict, opposition or agreement, they find themselves in harmony.

See Aikido, Aiki, Ki, Kiai, Aiki-ho.

3. (eye) harmony The aikido principle of harmony, which, when mastered, enables a practitioner to combine an opponent’s force with his own.
10. Harmony
A basic principle of martial arts, it is the balance of two opposites. The idea of two opposites resting in harmony is called ai. In Asian philosophy, harmony is a principle of the universe. Humans and nature must be in balance. Harmony also means the intuitive connections between the universe, humans and nature. See Yin-Yang.
11. love


1. [Aikido] a state of harmonization of one’s mind and body; the basic principle of aikido.
2. (Meeting of the Ki). The impassive state of mind of the combatant, in which all his or her force is collected in the Hara. Thus his or her mind must be completely free from all intention of injuring anyone and remain alert. This is the static mode of the Kiai of Aiki. The dynamic Kiai may be expressed aloud or not; it is this which gives one the power of overcoming an opponent, morally or spiritually, without the use of weapons. It is that psychological condition which demands win without striking a blow. Finally, Aiki is that form of conduct of being resulting from a coming together in an individual of all that constitutes his life force. [André Protin, Aikidô un art martial, une autre manière d’être (Aikidô, a martial art, another mode of existence) (1970), p. 269]
3. (eye'kee) harmony meeting or spirit meeting The aikido principle of integrating one’s attitude with that of an opponent and thus becoming one with the opponent’s movements in order to control him or her.
10. meeting of the chi
see also: Wikipedia


1. [Common Usage] to sit cross-legged; usually used in a casual, informal setting
7. Sitting cross-legged

1. [Common Usage] leg, foot
2. legs
3. (aw'shee) foot or leg
4. foot or leg
7. foot
  1. foot; leg; foot of an animal
  2. transportation
ashi barai


see also: ashi harai
1. [Karate, Judo] leg sweep
2. [Judo] a sweeping movement in which Tori takes Uke’s legs or feet from under him or her using his or her own legs or feet, and throws him or her on to his side.
3. see ashi-harai.
ashi guruma


1. [Judo] (lit. Leg Wheel) a leg throw in which the opponent is thrown over the attacker’s leg, similar to harai goshi.
2. ‘Leg wheel’. By turning his or her hips, Tori places his or her right leg in front of Uke and pulls downwards on Uke’s sleeve with the left hand. Uke loses balance in a forward direction and falls over Tori’s outstretched leg in a circular or wheel-like shape.
3. (aw-shee guh-roo'maw) leg wheel A judo leg throw in which the user extends his or her leg across the opponent’s at knee level and throws the opponent in a large arc over his or her own leg.
4. Figure-4 Leg Lock
[submit following an Ashi Yoko Nage]...Once the opponent is down, you can go into a figure-4 leg lock submission by bringing your left foot forward as you keep hold of his right foot with both hands. Keep the attacker’s leg off the ground as you step over it with your right foot. Bring your right foot down in between the attacker’s legs, on the right side of your foot, with your toes toward the attacker’s crotch. Bend his leg as you go down. Once down, bring his right foot over to your right side. Bring your left foot up to the left side of the attacker’s waist and lean forward to separate his kneecap.
9. Leg Wheel
Having broken your opponet’s balance to his right fromt corner, you pivot and extend your right leg across his right knee and throw him over your leg in a large circle. In the placement of the leg above the opponet’s knee, the throw resembles hiza-guruma.
10. [Judo] Leg Wheel
A leg throw in which the opponent is thrown forward in a circle over the practitioner’s extended leg. This technique is similar to harai-goshi.
Wikipedia description
ashi harai


see also: ashi barai
3. (aw-shee haw-raw-ee) foot sweeping A judo leg throw in which the user extends his or her leg across the opponent’s at knee level and throws the opponent in a large arc over his or her own leg.
10. [Judo, Karate] a sweep technique in which the practitioner sweeps the opponent’s leading foot out by using his or her own foot or feet. Also called ashi-barai.

[Judo] Any of a variety of foot sweeps, which entail sweeping the opponent’s feet out from under him or her, using one’s own foot or feet. Also called ashi-barai.

ashi tatake


4. Leg-Strike Rear Takedown
reversal of Tai Otoshi
As your opponent sets up the throw, grab the back of his collar, and place your right kneecap just behind your opponent’s right knee joint. Then, bend your opponent’s knee joint with a slight push with your kneecap, thus breaking his balance and technique. Pull back his collar, and step back with your left foot to execute a rear takedown.
ashi waza


1. [Judo, Ju-jutsu] foot or leg techniques
2. [Karate] the name given to all leg and foot techniques
[Judo] a section of the Tachi-waza (standing) techniques consisting of three fundamental movements: Okuri Ashi-barai, Sasae Tsurikomi Ashi, Uchi-mata
5. foot techniques, footsweep
7. foot or leg techniques
9. foot or leg techniques
10. [Karate] used to denote any foot or leg technique.


  • All forms of throwing, grappling and vital point attack. In prearranged formal routines, Judo practitioners apply such techniques. The only armlocks allowed in contest are those that apply pressure to the elbow joint.
  • Sweeping Loin. This term means foot and leg techniques when they are used to sweep or hook the opponent’s foot or leg. Generally, these are the easiest techniques to master and for this reason are taught to beginners.
11. footwork (in judo and sumo)
ashi yoko nage


4. Foot-Twist Side Throw
Assume a ready position. As your opponent attempts a front kick, deflect and hook the kick to your right by blocking out (with a closed hand) and then moving your right forearm up, opening your hand after the block is completed. Reach over with your left hand, and grab the heel of your opponent’s foot. Grab at the ball of his foot with your right hand. Pivot your left foot back, as you turn the attacker’s foot counterclockwise.

1. [Common Usage] head
2. head
3. (aw-taw'maw) head or top of the head
4. head
  1. head; face; hair
  2. brain; intelligence
  3. beginning
atama makikomi


4. Head Winding Throw
Bring your left hand up around the side of the uke’s head and grab his hair on the opposite side. Cup your right hand at the base of the attacker’s chin. Pull his hair toward you from the left and push chin away in a counterclockwise motion to your left. Pivot your left foot back and continue turning the attacker’s head counterclockwise. Bring your opponent down.
atama otosh


4. Hair-Grab Knee-Drop Throw
From a Ready position, your attacker brings his arms up in between yours to go into a full nelson. Bring your hands up as you step your right foot back. Grab the hair on the back of his head with both hands. Pull his hair and drop to your knee, bringing the opponent over your right shoulder as you turn to your left.


1. [Common Usage] a strike to a weak or vital point on the body
2. Body blows (from Ateru, to strike, and Mi, body). Atemi are blows aimed at the vital or weak points of an opponent’s body in order to paralyse, by means of intense pain. Such blows can prduce loss of consciousness, severe trauma and even death; according to which point is struck. A good, all-round knowledge of these vital points is necessary to avoid accidents during training. Knowledge of the location of such points and the way of striking them is generally reserved for Budoka of black belt standard or higher, in the empty-hand martial arts. The smaller the striking surface used in Atemi, the greater the power of penetration and thus the greater the effectiveness of the blow. Atemi technique, or Atemi-waza, is very ancient and almost entirely based on knowledge of anatomy and the points and meridians used in acupuncture. See Weapons, Kyusho
3. (a-teh'mee) body strikes A method of attacking an opponent’s pressure points, and one of the bases for the original empty hand combat systems that came to be classified as jujutsu. The term is also used by contemporary martial artists to refer to any and all techniques of ate-waza (striking techniques).
10. Vital points. Areas on the body that are especially vulnerable to injury. These often include areas near joints, which is why joint locks can be extremely painful and very effective. Acupressure and acupuncture techniques manipulate these points to improve the flow of chi, life energy. Martial artists, by attacking these points, can cause serious harm and even death. See kyusho.
see also: Wikipedia
atemi waza


1. [Common Usage] techniques used for striking an opponent’s anatomically weak or vital points
3. (a-teh-mee-waw-zuh) body striking techniques or techniques for attacking vital points One of the three basic groups of techniques constituting judo. Known also as ate-waza, they are somewhat similar to the striking and kicking techniques of karate and are prohibited in judo competition.
5. Striking techniques aimed at vital points of the body.
6. Striking techniques
7. Atemi Waza or Ate Waza: art of attacking vital spots in the body
9. Striking Techniques
  • Ude-ate
  • Ashi-ate
10. Techniques based on a knowledge of vital points and acupressure. The goal is to attack the vital points, which are the most vulnerable areas in the body.


1. [Common Usage] to hit, strike, touch
  1. hit
  2. touch (by hand)
  3. guess correctly
  4. expose (to the sun)
  5. win (lottery or prize)

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