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
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1. [Common Usage]
  1. a long sword, worn slung from the belt or sash with the cutting edge downward
  2. stance, position
2. To stand or remain standing
3. (ta'chee) A Japanese long sword worn slung from a sword-belt. Like the katana, the tachi had a single-edged curved blade. It was slung with the cutting edge down. This was the style when wearing armor and was not common after A.D. 1600.
10. [Karate] stance
tachi waza
1. [Iaido, Judo, Aikido] techniques performed while standing
2. [Judo] Fighting techniques performed in a standing posture, which include hand techniques (Te-waza), hip techniques (Koshi-waza), and leg techniques (Ashi-waza). They are part of the Nage-waza and the Nage-no-kata.
3. (ta'chee wa'za) "standing techniques" A collective name for judo techniques carried out from a standing position.
7. art of throwing in a standing position
9. standing techniques
10. [Judo] standing techniques
2. body; 'Physical posture, or awaiting a contest in a perfect state of alertness'; within the Judo Koshiki-no-Kata: "body"
3. (teye) "ready posture"
  1. The first judo technique of koshiki-no-kata
  2. The "body"
4. body
7. body
9. ready posture
tai otoshi



1. [Judo] body drop; a technique often used in competition
2. [Judo] "Body drop". Tori bends forward, stretching out his or her right leg and drawing Uke forward over the barrier provided by that leg, causing Uke to fall heavily forward.
3. (teye oh-toh'shee) "body drop" A judo hand throwing technique in which the opponent is thrown over an extended leg. To execute this throw, the thrower turns his or her back to the opponent.
4. drop throw
In the basic tai otoshi, as the attacker attempts to strike the defender reaches under his foe's arm and seizes his gi with both arms while moving his left leg in front of his right to prepare for a subsequent move. The defender then pivots in, placing his right leg in front of the opponent's. As the defender snaps his right leg into the attacker's right to begin the momentum, he throws the attacker to the ground.
6. taiotoshi body drop
7. body drop
9. Body Drop
Having broken your opponent's balance to his right front corner or to his right side, you place your right foot past his right foot and throw him over your foot to your right front corner with the action of both hands. Be careful not to put your right foot too far past your opponent's foot. Your right hand should push in the direction your opponent is falling, not pull.
10. Body Drop
[Judo] A technique in which the practitioner extends a leg, and pulls an opponent over the leg and hip to the front. Often used in competition. Counter to ko-soto-gari.
tai sabaki
1. [Common Usage] (lit. Body Movement) methods of entering, turning, and shifting the body while performing techniques.
2. A rotation of the body brought about by the displacement of the feet with Tsugi-ashi steps. This produces a pivoting effect, forward or backward, and is used to avoid an attack or prepare for an attacking or defensive movement. See Tai no Henko.

[Aikido] This is basic to Aikido movement, with Te-hodoki. It consists of three phases:

  • Koshi-sabaki, concentrating on the placing of the hips and pelvis
  • Ashi-sabaki, study of the displacement of the feet and legs
  • Te-sabaki, concentrating on the arms and the hand movements.

See Tenkan-ho.

3. (teye sa-ba'kee) "body movement" The turning action of the body. In judo, the circular motion required to perform certain throws. An important principle in aikido relating to one's position in relation to the opponent.
6. Body positioning
Combat Ju-jutsu utilizes circular motions extensively in meeting an attack. Assuming the attacker is stronger, a weaker defender will always lose if he directly opposes the force. The circular motion allows the Ju-jutsu practitioner to redirect the attacker's force and use it against him. Linear attacks are also utilized, as sometimes it is advantageous to meet an attack head-on. Taisabaki theory combines circular and linear body positioning. Taisabaki involves the defender moving his body out of harm's way and creating an opening for retaliation. Body positioning is an essential element in the art. Taisabaki was designed to encompass any attack from any angle. In its most basic form it consists of ten movements against punching attacks. In more advanced forms, it encompasses defenses against armed attacks and multiple assailants.

Taisabaki is the heart of the art; technical skill in striking or major techniques is secondary. If you fail to avoid the initial attack, there is little need for countermoves.

7. turning movement
9. body control
Tai-sabaki is the term for body control. This involves primarily turning movements, which must be fluid and fast. The body must be carried lightly and you must maintain your balance at all times. Mastery of tai-sabaki is the key to executing effective throwing techniques.
10. body shifting
1. [Common Usage] the lower abdomen; the center of the body's ki, or vital energy.
2. A point located some two finger-widths below the navel, equivalent to the Hara of Buddhism. It is regarded as the spiritual centre of man, where all physical and psychic forces are centered. This is the spot which must be concentrated upon in order to cause the Ki to act. 'Any art of mastering the Tanden', says Sato Tsuki, 'consists in this: after one has set free all the energies spreading through the entire body, one must direct and concentrate them in the Tanden. This art was taught from time immemorial in all Budo schools, in Geido [arts] and in Sado [the art of sitting]'. The central point of the Tanden is called Seika Tanden, the Japanese translation of a Chinese expression (Dantian) meaning 'cinnabar field'. The substance cinnabar is coloured red, like blood, and symbolizes the vital force. It is also called Kikai, 'sea of Ki', Sika-no-itten. See Hara, Haragei, Ki, Aiki.
3. (tan'dehn) "abdomen" The center of balance, located about two inches below the navel.
7. abdomen
10. see hara

no reference

to beat or thrash

1. [Common Usage] hand
2. hand
3. (tay) "hand" A term used in Okinawa as early as A.D. 1629 to describe a fighting art very similiar to modern karate. Te was used until the mid-1800's when it was replaced by karate-jutsu.
4. hand
7. hand, also trick
te nage


4. hand throw
te no tatake see also: atemi, tsuki, teisho uchi
4. blocking hits
te shimi waza
4. knuckle-press takedown
Your attacker grabs your hair with his right hand. Bring both of your hands up and grab his hand, with his knuckles in the middle of your palms, and your fingers interlocked, trapping his hand on your head. Deliver a front kick with either leg into his groin. Lift his hand off of your head, keeping his knuckles squeezed together. Bend his hand back as you push his arm down to bring the attacker down. Keep your body straight.
te tatake see also: atemi, tsuki, teisho uchi
4. striking technique
'checkbone strike'
'elbow backhand strike'
te waza
2. [Judo, Tae-kwon-do] Hand techniques
3. (tay wa'za) "hand techniques" Standing judo throws effected through hand and arm movements.
5. hand techniques
7. hand technique
9. hand techniques
10. [Judo] hand techniques
1. [Karate] heel of the hand; palm heel
2. Base of the palm of the hand
3. The heel or bottom part of the palm used in karate, both for attacking and defending.
teisho uchi
1. [Karate] palm heel strike
2. [Karate] An attack made with the base of the palm of the hand (the 'heel' of the hand), usually at an opponent's face.
3. [Karate] A technique delivered with the heel of the hand in a thrusting motion, usually to the face or chin.
teisho uke
1. [Karate] palm heel block
2. [Karate] A block using the palm of the hand.
3. [Karate] A blocking technique using the palm heel to block an opponent's forearm or leg.
tekubi see: te and kubi
1. [Common Usage] wrist
2. wrist
7. wrist
tekubi shimi waza


4. wristlock takedown
Your opponent grabs your left wrist with both of his hands. Your left hand remains open and turns clockwise around the outside of his right hand to rest on the outside of his wrist, which should be turned up at this point. His wrist joint should be perpendicular to the ground. Grasp the back of his right hand with your right hand to keep him from taking it away. Push down with your left hand, with your arm and wrist straight, to execute the takedown. If down quickly, it will break your opponent's wrist.

'wristlock come-along'
'wristlock lift submission'
'wristlock technique'
'wrist-press submission'

2. circle, round, curved line
A decorative comma-shaped motif, often used on the surfaces of drums and the tips of tiles, as well as in the adornment of weapons.
3. (toh-moh'ay) "circular" or "stomach"
tomoe nage

2. [Judo] "Circle throw". Tori lets him(her)self fall backwards to the ground, with one leg bent up and placed in Uke's groin. Tori pulls Uke forward as he or she falls backwards, and with the aid of the raised leg and hands sends Uke up and over to fall beyond Tori's head.
3. (toh-moh'ay na-gay) "circle or comma throw" A judo sacrifice technique in which the thrower falls flat on his or her back and, placing one foot into the opponent's stomach, throws the opponent over his or her head. It is the tenth technique of nage-no-kata.
4. Stomach Throw
When your attacker pushes you, grab your attacker's right sleeve with your left hand and his left lapel with your right hand. As you start to fall back, pulling him toward you, place your right foot in the center of his stomach. Roll onto the ground. To execute the throw, push the attacker with your right foot. If you don't want to submit the attacker let go of his sleeve and lapel as his body passes your head.
9. Circular Throw
Here you bring your opponent onto his toes, drop backward while placing your right foot on his lower abdomen, and throw him back over your head. It is important that your left sole be firmly on the mat when you slide it between your opponent's legs. Your right knee should be bent and your toes pulled back when you place your foot on your opponent's abdomen. The throw is accomplished by the joint action of your hands and your right leg, so it is necessary to keep up a constant pull, first forward, then downward.
10. [Judo] Stomach Throw
A sacrifice throw executed by falling backward and pulling the opponent by using a leg in the opponent's stomach. Also called Circle Throw.


1. [Aikido, Judo, Ju-jutsu] the person performing the technique in a kata.
2. [Judo] This is the name given in training and contests to 'the one who conquiers' as distinct from Uke, who is 'the one who is conquired'. In Aikido Tori is called Shite or Nage.
3. (toh'ree) "taker" In judo, the partner who performs the technique on the other partner.
4. person doing technique
6. Defender
9. taker
10. [Judo] The person who throws.
2. An ancient form of Ju-jutsu.
3. (toh-ree'tay) "taking hands" A Japanese system of unarmed combat similiar to jujutsu and a forerunner of modern judo.
7. "taker" (the partner that effects the throw) in kata or prearranged forms
10. [Aikido, Judo] Restraining techniques.



see also: atemi, te tatake
1. [Common Usage] punch, thrust
2. 'Blow', 'Throat'
3. (tskee) "thrust" An encompassing term for various types of punching techniques. In kendo and other weapons arts, it refers to thrusting techniques using the point of the sword, butt of the naginata, and so forth.
4. attack
7. thrust
9. tsukiage uppercut
tsukidashi hand thrust
tsukkake punch
tsukkomi thrust
tsukkomi-jimi thrust choke
10. punch
see also: Wikipedia


moon, month
2. 'To fish', 'To raise'
3. (tsoo-ree) To pull and lift in a circular motion, often used in judo.
4. lift or pull up
tsuri komi
1. [Judo] lifting-pulling action used in a number of throwing techniques
3. (tsoo-ree-koh-mee) "lift-pull" Hand and arm action leading to the breaking of an opponent's balance in judo.
7. lift-pull on opponent's collar and sleeve
tsuri komi goshi

1. [Judo] lifting-pulling hip throw; this technique is often used by smaller men in competition
2. [Judo] Tori throws Uke by using hips and hands, producing a forward fall. A variation of Tai-otoshi or O-uchi-gari.
3. (tsoo-ree-koh-mee goh-shee) "propping drawing hip throw" The sixth judo technique of nage-no-kata. It is often called tsuro-komi.
9. Lift-Pull Hip Throw
When your opponent's balance has been broken to his front or to his right front corner, you drop your hips to the level of his thighs, then by raising your hips and pulling with both hands, throw him over your hips.
10. Lifting Pulling Hip Throw
The practitioner squats, grips the sleeve and lapel of the opponent and throws the opponent forward over the hip.
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