Japanese

The following 12 words and the information and definitions come from the martial way.com.  The source or link is at the bottom of this article.

1.       Osu! pronounced Oh’ss.

When you enter or leave the dojo, you bow and then say “Osu”. When you greet a student, it is used even when you respond to your teacher for anything, you say Osu!  It is also used as a sign of respect towards fighters.

押し Oshi means “Push”

忍ぶ Shinobu means “to Endure”

Osu can mean patience, determination, and perseverance.  Pushing yourself to the best of your ability the word Osu can be used too.

2. Sensei – [sen say]. Sensei (先生) is literally translated as “person born before another” or “one who comes before”.  Sensei in Japan is used after someone’s name and means “teacher”.  It’s used to address more then just teachers it is used to address all figures of authority and respect.  Lastly it is used in many arts including musicians for example because they have reached a level of mastery.

3. Seiza (正座 or 正坐) – [say za]  literally means “proper sitting” and is the Japanese term for one of the formal ways of kneeling in Japan. To sit seiza-style in Kyokushin, one must first be kneeling on the floor, folding one’s legs underneath one’s thighs, while resting the buttocks on the heels. The ankles are turned outward as the tops of the feet are lowered so that, in a slight “V” shape, the tops of the feet are flat on the floor and big toes sometimes are overlapped, and the buttocks are finally lowered all the way down. Within Kyokushin the fists are placed on the upper thigh. The back is kept straight, though not unnaturally stiff. Traditionally, women sit with the knees together while men separate them slightly, roughly two fist widths of distance between the knees.

4. Shomen ni rei – [show men nee ray] literally means “bow to the front”, and denotes respect to all the practitioners that came before us (our instructor’s instructor and so forth)  which is usually followed by, “Sensei ni rei” (bow to the teacher), this is followed by “Otagai ni rei” (bow to others), to show respect to all of your training partners. If there is a Shihan present, you will say Shihan ni rei (bow to the master instructor).

From seiza (kneeling), facing the front of the dojo, bow (rei) at the waist kyokushinkai-zareiplacing first your left fist and then your right fist on the floor in front of you. Keep your back straight and avoid raising your hips. Do not duck your head; keep your neck in alignment with your back. After a short pause, and Sensei has completed his/her bow, you raise yourself back to the seiza position, retracting first your right hand and then your left. Place your fists comfortably on your thighs.

At the end of class, the procedure is repeats, however, this time “thank you” is added, to thank for the training. Eg. Sensei ni, arigatou gozaimasu, rei (thank you and bow to the teacher).

5. Mokusō (黙想 pronounced “moh-kso”) is a Japanese term for meditation, especially when practiced in the traditional Japanese martial arts. Mokuso is performed before beginning a training session in order to “clear one’s mind”, very similar to the zen concept of mushin, or “no mind”. The term Mokusō is more formally known to mean, “Warming up the mind for training hard.”

6. Arigatou gozaimasu – [ah-ree-gah-toh goh-zah-ee-mas] means ‘thank you’, and is used for either something that will be done or something that has been done. In Japan, one can never say, “Thank you” or be thanked enough when expressing appreciation and gratitude in any number of situations, especially within the dojo to someone of higher rank.

7. Dōitashimashite – [doe-ee-tah-she-mahssh-tay] means you’re welcome in Japanese. However, it is not recommend to use this phrase in Japanese or martial arts dojos. This is because it doesn’t sound humble, but instead it could sound like you think you deserve some appreciation. It isn’t used the same way as it is in English. In Japanese it can be taken as arrogant. If you actually do think you deserve some appreciation, you’re suppose to hide it in Japanese!

8. Onegaishimasu – [oh-nay-guy-she-mus] translates roughly as “please take care of me” or “I am in your care” or “please have patience with me”. It is a word that isn’t used too much within North American dojos, and when it is it is sometimes misused, but should be used more often to show respect. It is very important within dojos of Japan, when asking of instruction or help from a senior student or teacher. It is essentially a polite way of saying ‘please.’ It isn’t a word used exclusively for martial arts.

Onegaishimasu is a sign of “humbleness”. In north American dojos you might hear it screamed out, like you would Osu!, but this isn’t correct and can be considered rude. Onegaishimasu should always be said with gratitude in a humble way.

9. Senpai (先輩) – [sem pie] is someone who is of a higher social standard, such as an upperclassman or upperclasswoman, someone of a higher age, or senior in rank. Sen or先means early, in advance, first or prior. Hai, 輩 means fellow, person, colleague, or people.

The mentor system is found at all levels of education, and in sports clubs, businesses, and informal or social organizations within Japan. The relationship is an essential element of Japanese seniority-based status relationships, similar to the way that family and other relationships are decided based on age, in which even twins may be divided into elder and younger siblings. And the dojo is a family after all.

There is debate on the spelling of Senpai. I cover this in another article. However, it is spelled seNpai, but pronounced seMpai.

10. kōhai (後輩)- [koe hi] is a protégé, one’s junior or underclassman. Ko, 後means later, afterwards, rear or aback. So Kohai is someone that started later than another person.

11. Kata (型 or 形) literally means “form”, the detailed choreographed patterns of movements practised either solo or in pairs. Kata are used in many traditional Japanese arts such as theater forms like kabuki and schools of tea ceremony (chado), but are most commonly known for the presence in the martial arts. Kata are used by most Japanese and Okinawan martial arts, such as aikido, judo, kendo and karate.

For a full breakdown and history of Kata, I have covered it in another article.

12. Kihon (基本, きほん ) – [key hone] is a Japanese term meaning “basics” or “fundamentals.” The term is used to refer to the basic techniques that are taught and practiced as the foundation of most Japanese martial arts.

 Chinese Terminology

*http://the-martial-way.com/12-japanese-words-you-need-to-know-for-karate/

Glossary of Chinese Martial & Internal Arts Terms

Sam Masich 马希奇

Pinyin Wade-Giles Definition ================================================================

Maxiqi 马希奇 Ma Hsi Ch’i ‘Masich’ sinofied. (lit. ‘Strange Horse’)

‘Xiqi’, when applied to an object, means

‘unusual’ or ‘rare’ but when applied to a

person means ‘eccentric’ or ‘strange’.

Oh well, if the horseshoe fits...

Some general terms relating to Chinese Martial Arts

Wushu 武术 Wu Shu ‘Chinese Martial Arts’ (lit. ‘Martial art’ or

‘skill’). Correct name for all styles of

Chinese Martial Arts including modern,

traditional, internal, external, weapons,

competition, military etc. For example

Taijiquan is a school of Wushu.

Gongfu 功夫 Kung Fu ‘Chinese Martial Arts’ (lit. ‘achievement

through time and work’). Often used to

describe traditional Wushu.

Guoshu 国术 Kuo Shu ‘Chinese Martial Arts’ (lit. ‘National Arts’).

Used to describe ‘Wushu’ in China’s

Republican era. Still in use in Taiwan

Wude 武德 Wu Te Martial ethics. Refers to the observance

of customs of respect and courtesy

between members of the martial arts

community. Properly, a virtue to be

embodied rather than merely heeded.

Martial artists lacking this quality are

considered to be mediocre regardless

of their technical skill level.

Neijia 内家 Nei Chia ‘Internal Arts’ (lit. ‘Internal Family’).

Neijiaquan 内家拳 Nei Chia Ch’uan Internal School(s) of Wushu

Maxiqi Neijiaquan Ma Hsi Ch’i Sam Masich Internal Martial Arts School

马希奇内家拳 Nei Chia Ch’uan

Quan 拳 Ch'uan Style of Boxing (lit. ‘Fist’)

Quanfa 拳法 Ch'uan Fa Fist Methods

Shuaijiao 摔交 Shuai Chiao Wrestling (lit. ‘Falling Entangled’)

Qinna 擒拿 Ch'in Na ‘Seizing and Capturing’ skills

Dao 刀 Tao Sabre (lit. ‘Knife’). Single edged sword.

(Not to be confused with ‘Dao’/’Way’)

Jian 剑 Chien Narrow blade straight-sword. Called,

‘King of short weapons’.

Gun 棍 Kun Staff.

Qiang 枪 Ch’iang Spear. Called, ‘King of long weapons’.

Shifu 师傅 Shih Fu Teacher. Master. Highly respectful term

for an instructor used commonly in

reference to Wushu teachers and

experts.

Tudi 徒弟 T’u Ti Follower or apprentice. Usually

refers to the formal disciple of a teacher.

Some Internal Schools of Wushu, or ‘Neijiaquan’

Taijiquan 太极拳 T'ai Chi Ch'uan ‘Great Extremes’ Boxing. The most

famous internal school. Characterized

by slower continuous movement.

Broken into 5 major branches; Chen,

Yang, Wu, Sun, Hao & Fu, styles. Based

on Yin/Yang theory.

Chen shi Taijiquan Ch’en shih TCC Chen style is the earliest known branch

陈式太极拳 to contain forms & methods recognized

as Taijiquan. Characterized by ‘inner

coiling’ movement & abrupt expressions

of power. Derived mainly from Shaolin

sources. One of the 5 major styles.

Originally from mid-17th century.

Yang shi Taijiquan Yang shih TCC Yang style best portrays the most

 扬式太极拳 common conceptions of Taijiquan.

Characterized by slow, even movement

which and open relaxed postures.

Derived from Chen style. One of the 5

major styles. Originally from mid-19th

century. Common variant (Yang Cheng[1]fu style) from early 20th century.

Wu/Hao shi Taijiquan Wu/Hao shih TCC Wu (Yixiang) style was popularized by

武/郝式太极拳 Wu’s descendant Hao Weichen thus the

two names. Characterized by tight,

compact postures and slow, fairly even

transitions. Rarely seen today. Derived

from early Chen and Yang style variants

One of the 5 major styles. Originally

from mid-19th century.

Wu shi Taijiquan Wu shih TCC Wu (Jianquan) style is similar in

吴式太极拳 character to Yang but more compact,

inclining during many postures.

Derived from Yang style. One of the 5

major styles. Originally from late-19th

century.

Sun shi Taijiquan Sun shih TCC Sun style is similar in character to

陈式太极拳 Wu/Hao with additional elements from

Xingyiquan & Baguazhang. Created

by Sun Lutang. Derived from Yang style.

One of the 5 major styles. Originally

from late-19th century.

Fu shi Taijiquan Fu shih TCC Fu style is similar to Sun in that many

傅式太极拳 elements from Xingyi & Bagua influence.

Characterized by large ‘outer coiling’

postures. Created by Fu Zhensong,

colleague of Yang Chengfu. Derived

from Yang Cheng-fu’s style. Early 20th

century.

Zheng Manqing shi Ch’eng Man-ching Actually a variant of Yang shi Taijiquan

Taijiquan shih TCC but widely popular and distinctive

郑曼青太极拳 enough to be considered a separate

system. Zheng Manqing was the first to

popularize Taijiquan in the West via his

37 Posture form. Characterized by very

soft and relaxed postures. Derived from

Yang Cheng-fu’s style. Mid-20th century.

Taoist Tai Chi Society ‘Taoist Tai Chi’ In reality a variant of Yang Style

(not Pinyin) (not Wade-Giles) Taijiquan. The ‘Taoist Tai Chi Society’,

道家太极拳社 founded in 1970 in Toronto, Canada by

Moy Lin Shin, promotes it’s Tai Chi and

other practices around the world.

Characterized by exaggerated leaning,

narrow width stances & comparatively

abrupt transitions. Derived from Yang

Cheng-fu’s style. Mid-20th century.

Baguazhang 八卦掌 Pa Kua Chang ‘Eight Trigram’ Palm. Characterized by

intricate circular footwork & ‘threading’

movements. The only Neijia system

derived from Daoist sources. Originally

created in the early 19th Century by

Dong Haichuan. Based on ‘Bagua’

theory.

Xingyiquan 形意拳 Hsing I Ch'uan ‘Shape of Will’ Boxing. Characterized

by straight lines and abrupt force.

Possibly created in the Song Dynasty

(960-1280 AD). Based on ‘Wuxing’

theory.

Liuhe Bafa 六合八法 Liu He Pa Fa ‘6 Harmonies, 8 Methods’ Boxing.

Combines Taijiquan, Baguazhang,

Xingyiquan elements.

Wudangshanquan Wu Tang Shan Ch’uan ‘Wudang Mountain’ Boxing. Thought by

武当山拳 some to be the place of Taijiquan’s

 origin.

Yiquan 意拳 I Ch'uan ‘Mind’ or ‘Will’ Boxing. Thought by some

to have ‘split off’ from Xingyiquan.

Characterized by still postures and

simple, effective shapes.

Dachengquan 大成拳 Ta Ch'eng Ch'uan ‘Great Perfection’ Boxing. A type of

Yiquan.

Some External Schools of Wushu. ‘Waijiaquan’ or ‘Shaolinquan’

Shaolinquan 小林拳 Shao Lin Ch’uan ‘Shaolin Temple Boxing’. The earliest

known form of systematized Chinese

boxing.

Changquan 长拳 Ch'ang Ch'uan ‘Long Boxing’. Northern school of

Shaolin boxing.

Nanquan 南拳 Nan Ch'uan ‘Southern Boxing’. Southern school of

Shaolin boxing.

Jiequandao 接拳道 Chieh Ch'uan Tao ‘Way of Intercepting Fist’, ‘Jeet Kune Do’

A Wushu style created by Bruce Lee.

Some names and terms relating to philosophy, classical literature and

personages in Chinese Martial and Health Arts practice and history

Wuji 无极 Wu Chi ‘No Extremes’ (lit.). 1. Refers to a state

of non-distinction before the

manifestation of qualities or behaviours.

The state prior to the differentiation of

Yin & Yang

Yin Yang 阴阳 Yin Yang The two opposite but complementary

elements in the Taiji philosophy.

Thought to born of Wuji. Often related to

paired characteristics. eg. Dark/Light,

soft/hard, low/high, feminine/masculine.

Taiji 太极 T’ai Chi ‘Great Extremes’ (lit.). 1. Refers to Yin &

Yang, the ‘great extremes’ which

support the material universe. Taiji in

this sense is a conceptual model.

2. Abbreviated form of ‘Taijiquan’, the

internal martial/health heath art.

Taiji Tu 太极图 T’ai Chi T’u Taiji ‘picture’. Proper name for the

famous ‘Yin-Yang’ ‘fishes’ diagram.

Dao 道 Tao (lit. ‘Way’) The prime operative principle

in the universe understood through a

merging of self with Dao’s expression.

Daodejing 道德经 Tao Te Ching Classic of ‘Way and it’s Virtue’. Classic

of 81 verses explaining Dao. Ascribed

to Laozi.

Damo Tamo Bodhidharma. In legend, an early monk

who brought Buddhism and creator of

Shaolin Martial Arts.

Yijing (Zhouyi) 易经 I Ching (Chou I) Classic of Change. Classical text often

ascribed to the Zhou dynasty which

posits an understanding of the Dao

through the transformations of 64 ‘Kua’,

symbols known as ‘hexagrams’.

Laozi Lao Tsu, Lao Tse Author of the Daodejing

Zhang Sanfeng Chang San Feng In legend the creator of Taijiquan.

Historically a Daoist monk living on

Wudang mountain and probable

originator of the ‘Spontaneous School’

of Daoism.

Some famous places associated with Chinese Martial Arts

Zhongguo 中国 Chung Kuo China (lit. ‘Centre Kingdom’)

Wudangshan 武当山 Wu Tang Shan Wudang Mountain. The home of Zhang

Sanfeng reputed creator of Taijiquan.

Shaolin 小林 Shao Lin Shaolin Temple. (lit. ‘Little Forest’)

Emei Shan 峨嵋山 E Mei Shan Emei Mountain. In Sichuan Province. A

melting pot of Shaolin, Wudang and

Tibetan systems of martial and

metaphysical arts. (aka. ‘Ormei’ Shan)

Some Terms Related to Body Energetics in Wushu and Qigong

Qigong 气功 Ch'i Kung ‘Vital energy’ training. May be

practiced with or without association to

internal or external schools of Wushu.

Often practiced to improve personal

health, cultivate healing powers

augment martial arts training or assist in

reaching spiritual enlightenment.

Neigong 内功 Nei Kung ‘Internal training’. Includes all manner of

internal training including qigong and

martial arts practices, use of herbs and

transformative substances, massage

and meditation.

Dantian 丹田 Tan T’ien Physical and energetic centre(s) of the

body. (lit. ‘Elixir Field’). Said to be the

origin place of qi. The three Dantians

are, lower, middle and upper Dantians.

Lower Dantian corresponds to body’s

‘centre of gravity’.

Mingmen 命门 Ming Men ‘Life Gate’ (lit.) point. A major energetic

gate located in the small of the back

between the kidneys. Control of the

Mingmen is a major factor in mastering

many internal arts practices.

Laogong 劳宫 Lao Kung ‘Labour Palace’ (lit.) point. The eighth

point of the pericardium meridian. The

still centre of the palm of the moving

hand. Utilized frequently in directing qi in

internal arts practices.

Yongquan 涌泉 Yung Ch’uan ‘Bubbling Well’ (lit. ‘Gushing’ Well) point.

The first point of the kidney meridian,

found at the centre of the sole of the

moving foot. Energetically comparable

and often paired with Laogong.

Huiyin 会阴 Hui Yin ‘Gathering Yin’ (lit.) point. Connecting

point between the Ren, Du & Chong

Meridians. Located in the perineum

region. A major control point for guiding

qi. Often used in coordination with

breath rhythms.

Baihui 百会 Pai Hui ‘100 Gathering’ (lit.) point. The

gathering of the Yang energies in the

body. Located near the top of the head,

usually in the ‘hair whorl’. Energetically

comparable and often paired with

Baihui.

©Sam Masich 2004

http://sammasich.com/pdf/neijia_terms_w_chinese.pdf

“Filipino Martial Arts Terminology

This list is by no means a complete list of the terminology found within the

martial arts of the Philippines but will, hopefully give some understanding of

many of the terms found.

The systems and styles of the FMA are as diverse and numerous as the Islands

that make up the Philippine Islands (1,500 +) and most of these Islands have

developed their own indigenous languages and dialects. The Philippine Islands of

the North and Central regions were ruled by the Spanish for a period of 333

years, so some Spanish and Spanish type terminology is also found in many

systems, especially those from the Northern regions.

This huge diversity goes some way in explaining why there is no unifying

terminology to describe many of the techniques, concepts and principles of the

FMA and why many modern day schools resort to the use of English as a simple

generic terminology.

Abang to wait defensively

Abanico fan; also spelled "abaniko"

Abanico sa Itaas upper flywheel

Abecedario "ABC's"; the basics

Abierta open position

Agaw to grab, seize, disarm or take away

Agaw-Sandata disarming & retrieval of the weapon

Aldabis diagonal cut, strike or uppercut

Alpabeto alphabet; the basics

Anim six

Anino shadow

Antas level or degree

Antaw long range

Apat four

Araw sun or day

Arnis harness; northern philippine martial art

Arnisador stick fighter

Arnis de Mano "Armor of the Hand"; system

Atras retreat or backward

Avante forward

Babag worry; trouble

Bago new or before

Bagong-Pasok entry level student

Bagsak to drop; overhead strike with down weighing

Baguhan beginner

Bahi a Philipine hardwood used for sticks

Baitang level or stages

Bakbakan a rumble or free-for-all fight

Balaraw dagger

Baligtad reverse or inside out

Bali break

Balik return or retreat

Balisong "butterfly knife"

Balitok tumble

Banatan full-contact fighting

Bansay-bansay training or drills

Bantay guard or watch

Bantay-Kamay support or "alive" hand

Bara-bara wild or formless technique

Baraw dagger

Bartikal vertical cut/strike

Basag broken

Baston stick

Bati-Bati using the butt of the stick

Batikan noteworthy; certified expert

Baywang the hip

Bigay to give

Bigay-bali lock release technique

Bigay-galang salutation

Bihasa expert

Binahagi cut into parts

Binali break or reverse

Binti trip

Bisig the arm

Bothan Martial Arts school

Braso the arm

Buah combination of footwork and form; application

 of technique

Buhat from or lift

Buhat Araw an overhead strike

Bukas open position

Buklis upward figure 8

Bulusok powerful overhead or diagonal strike

Buno takedown or throws

Bunot to draw a sword; to pluck out

Bunot Kaluban an upward slash followed by a downward

 Slash; a drawing and slashing technique

Caballero techniques from Grandmaster Caballero

Carera cycling movement or spin

Cadena de Mano chain of hands

Centro center

Centro Baston holding the stick in the middle

Cerrada close; closed fighting position

Cinco five

Cinco Teros "5 strikes"

Contra counter

Contrada opposite or counter

Corto close range

Cruzada cross-block and strike

Crossada to cross

Cuatro four

Daga dagger or short stick

Dakop to catch

Dakot to scoop

Dalawa two

Dalawampu twenty

Dalawampu't Isa twenty-one

Dalawang double

Dakip capture

Dakip-Diwa mind-set

Damdam feel or sensitivity

Damdam-Diwa sensitivity; being aware

de Cadena "the chain"

de Cuerdas "to chord"; system

Defundo stationary

Delikado dangerous

Depensa defense; person taking defensive role in

 training

Dib-dib the chest

Diin to put pressure on

Dikitan very close or close quarters

Diwa mind

Djuru form

Doble double

Doble Baston double stick training

Doblete double or repeat

Doce Pares "12 pairs or 12 strikes"; system

Dos two

Dos Labahas two blades

Dos Manos two hands

Dos Manos Largos two hands with long stick

Dukop to catch

Dukot to snatch or seize unexpectedly

Dukot to reach out

Dulo the tip of the stick

Dumog filipino grappling art

Dungab to strike with the fist

Dungab "heaven" or "hammer" grip

Duslak thrust

Elastico "rubber band art"; system

Enganyo fake or feint

Entrada entry

Equis "X" or "X" shaped strike

Eskrima "skirmish"; filipino martial art

Eskrimador stick fighter

Espada sword or long stick

Espada y Daga sword & dagger or long & short stick

Estrilla star

Floreti twirling of the stick

Frail stickfighting

Galang respect

Galing skillfull

Gantihan exchange of blows

Garote stick; usually flat to simulate a blade

Garote'ng itak flat stick

Gitna center

Gunting "scissors" or passing block with a limb

 destruction

Guro teacher

Habang while; in the meantime

Hagad-Hubad strikes & counters

Hagis to throw; a throwing technique

Hagibis whirlwind; throwing & grappling techniques

Hakbang to step; footwork

Hakbang-Paiwas full side step/step to avoid strike

Halo-Halo combination; free flow sparring

Hanay row or line

Han-ay form

Handa "Get ready !"

Hapos strike or slash

Hapsanay free sparring

Hatak to pull

Hataw a full power strike

Hawak to hold

Hawak-Gitna holding the stick in the middle

Hawak-Pakal reverse or ice-pick grip

Hawak-Punyo regular hold on weapon with punyo

Hawak-Sagad regular grip with no punyo

Hawak-Saksak regular or hammer grip

Hawak-Sandata methods of holding a weapon

Hawak-Susi reverse grip; holding at tip of stick

Higot to tie

Hindi no or negative

Hintay wait or pause

Hiwa to slash or cut

Hubad to untie or undress; name of a flow drill

Hulagpos to escape from capture or restraint

Ibaba down or below

Ibabaw above or on-top

Ikot turn or about-face

Ikot-Hantaw spinning strike

Ilag to evade

Ilalim under or underneath

Ilustrisimo techniques from Grandmaster Anotio

Insayo'ng training

Ipit to lock, trap or jam

Ipit-Hagis a sacrifice throwing technique

Isang single

Itaas above, upper or to the front

Itak long sword or bolo

Isa one

Isa-pa once more; again; one more time

Iwas to avoid, dodge or duck

Juego Todo anything goes or free-for-all fight

Kaayusan order or organisation

Kabakas partner or assistant

Kadena chain or series of movements

Kadyot a shallow, snap thrust

Kalahati half

Kalas disengage, release or disarm

Kalas-Sandata disarming technique

Kalasag to shield

Kali a southern Philippine martial art

Kalis oldest of the Philippino style kris swords

Kaliwa left side

Kamagoong Philipine iron wood

Kamay the hand

Kamayan empty-hand training

Kamot to punch; hand

Kanan right side

Kapatid brother

Kasa to cock or chamber; to accept a challenge

Kasama companion/friends

Karunungan knowledge

Katapatan loyalty

Katawan body or torso

Katipunan organisation, association or brotherhood

Kenkoy derogatory term used for unrealistic or

 Impractical fighting style

Kilat "Lightning Blow"

Kilos movement

Kilos-Paa footwork

Kina-Iya natural

Kris serpentine blade knife or sword

Kunsi grappling techniques

Kuntao "fist way"; system

Labaha blade

Labahas blades

Laban to fight

Laban-Handa ready-stance

Laban-Laro combat drills or "play fights"

Labanang to fight

Labanang-Dikitan close quarters combat

Labanang-Malapitan medium range combat

Labanang-Malayuan long range combat

Laban-Paluan free-fighting

Laban-Sanay combat-skills training

Labas the outside

Labing-Isa eleven

Labo-labo anything-goes fight

La Contra to meet a strike

Lakan an instructor rank equivalent to black belt

Langka footwork

Lansi to confuse or misdirect

Lansing-Tadyak spinning thrust kick

Lansing-Sikad spinning snap kick

Largo long

Largo Mano long range

Largos long

Laro to play

Laro-laro give and take drills or training

Larong to play

La Seguida to follow a strike

Laslas to cut to shreds

Lastiko a style of arnis that emphasizes bobbing &

 weaving to avoid strikes

Lengua de Fuego a fast series of thrust & slash techniques

Lihim secret

Lihis to the side or side-step

Likos twirl

Lima five

Liyad to lean away

Lock & Block training drill from Serrada Eskrima

Loob the inside

Lubud to blend

Luma old

Lusob attack or partner taking offensive role

Lutangto float; the unique forward and backward

 footwork of the Ilustrisimo system

Mabilis fast or speedy

Magaling highly skilled

Magisa alone

Mag-Olisi one who practices stick-fighting

Magulang parents; shrewd or sly

Mahina weak or of poor skills

Maharlika noble or nobility

Mahusay skillful

Malakas strong, powerful or influential

Malapitan near or close

Malayuan far or distant

Mandirigma warrior

Mano hand

Mano y Mano hand to hand

Marami many or numerous

Maraming Salamat Po "Many thanks"

Marunong knowledgeable

Masipag earnest or hard working

Masugid dedicated or loyal

Matibay strong, durable or lasting

Matira to be left or to be the last

Matira Matibay survival of the Fittest

Matulis sharply pointed; a style of bolo

Mayto have

May-Alam to posses the seeds of knowledge

Medio medium range

Meteorica meteoric strike from Grandmaster Caballero

Mukha the face

Muli again or one more time

Nakahanda ready

Naka-Upo seated

Nakaw to steal

Ng of

Olisi stick

Olisi-hay sparring with sticks

Opo respectful form of saying "yes"

Oracion a prayer for protection

Ordabis backhand strike

Paa foot

Paayon going with the force

Paawas to parry

Pababa downward

Pag-Galang salutation or show of respect

Pagsasanay training

Pagsilang birth or sunrise

Pagsisisi atonement or repentance

Pahimsug exercises or calisthenics

Pahisa a slashing motion

Paikot rotate

Paikot circular strike

Paiwas to avoid

Paka "ice pick" grip

Palad palm of the hand

Palakas strengthening

Palakas-Pulso wrist-strengthening exercises

Palis sweep or sweeping parry

Palis-Patid a sweeping throw

Palisut to scoop

Palisut-sut skipping strike

Palit change or exchange

Palit-Kamay change or exchange grip

Palitan alternating

Palo to strike

Paluan exchange of strikes

Palusut to pass through; technique of evading and

 Passing through

Pama-a footwork

Panabas ax style weapon

Panandata study of the weapons of the Philippines

Panastas to slash

Panata a devotion

Pangamot empty-hand defense

Pangandam on-guard or ready position

Pang-Ikyas evasion or dodge

Pangilog disarming

Pang-Olisi stick fighting

Pang-Ubot hold or grip

Panibago new or a revival

Pani-il footwork

Panimban balance

Panipis to skim or cut thinly

Panukad fighting stance

Parusa punishment

Pasada de Contra pass and hit

Pasok to enter, inside or on target

Pasulong forward

Pasungkit to thrust upward

Pataas upward

Patalim dagger or blade weapon

Patalon jumping or multi-level strikes

Patibong to trap

Patid to trip

Patusok in a thrusting motion

Paulit-ulit repetitive

Pa-upo half side step/sitting down

Pauyon go-with-the force technique

Payong umbrella

Payong sa Itaas upper umbrella block

Pekiti close range

Piga to squeeze or wring

Piglas to struggle or resist

Pikon one who is easily upset

Piktos a snap strike

Pilay sprain or dislocation; lame or crippled at the

 legs

Pinahandog diagonal downward strike

Pinatag horizontal strike

Pinasaka diagonal upward strike

Pinasaka Tuhod rising knee strike

Pinatindog vertical downward strike

Pingga a long staff fighting system

Pinid closed position

Pintok a wrist snap strike

Pinuti long Visayan sword

Pito seven

Planchada a horizontal strike

Plansada horizontal cut/strike

Pluma pen

Po a suffix denoting respect

Prakcion to react faster than the opponent

Pukpok to hammer or pummel

Pulso pulse or wrist

Puluhan handle or butt

Punong Guro head teacher & founder of system

Punyo butt of stick or any weapon

Redonda continuous double stick technique

Redondo circular power strike

Retirada to retreat

Rompida an upward and downward slash

Ronda circular movement of the hands or weapon

Ropillon a double stick technique or movement

Sa to or of

Sabayan simultaneous; to attack or counter at the

 same time

Sablay incomplete or imperfect; a low right to left

 horizontal strike

Saboy to throw or scatter; an upward right to left

 diagonal strike

Sadang reverse position

Sagang defence

Sagasa to charge or to overrun

Sakay to ride or go with the force

Sakay-Salag eskrima sticky hands; to follow the motion of

 the blocked/ checked weapon or attack

Sakong heel

Sakong-Palad palm-heel

Saksak to thrust

Sasak Hatak a technique using fast withdrawal and twisting

 of the weapon to inflict a cut on the opponents

 checking or blocking hand

Salag block or parry

Salagba downward block

Salagbas outside dodging and parrying

Salag-Bisig forearm block

Salagsok inside dodging and parrying

Salagtas upward block

Salakay to charge or attack

Salamat to thank

Salamin mirror or reaction drill

Salisi opposing or opposite direction

Salok an upward strike with the edge or point

Saltik a snap strike

Salubong to meet head-on

Sama to join or go with

Sambut combination of footwork & form; application

 of technique

Sampu ten

Sanay training or exposure

Sandata weapon

Sangga to block

Saplet quick disarm

Sawali interwoven slats of wood use for walls

Serada closed

Serrada close quarters or "closing"

Sibat staff

Sibog retreat or backward

Sikad side kick

Sikad-Gilid side snap kick

Sikad-Hataw snap roundhouse kick

Sikad-Sungkite snap hook kick

Sikad-Tusok front snap kick

Sikaran a Philippine martial art emphasising kicking

Siklod to kiss the hand of an elder; a wrist lock

Siklod Bangga a wrist lock that uses the shoulder as a

 leverage point

Sikmura solar plexus

Siko the elbow

Sikot push kick

Sikwat to pry; an upward strike with the punyo

Sikwat-Siko a come-along lock with the elbow as the

 primary lock or center of pressure

Silat to outmaneuver or overpower; an Indonesian

 Malaysian & Southern Philipine martial art

Silak open-hand system used against a blade

 (Sayoc Kali)

Sinawalli to weave; a continuous double stick technique

Sinigurato make doubly sure; a follow-up trapping or

 jamming technique (Lameco Eskrima)

Sipa to kick; also a game

Sipalit a training drill for alternating kicks

Sipang-Hataw roundhouse kick

Siyam nine

Sogo finger-tip thrust

Solo single

Songab finger jab

Songkiti a hooking movement used to parry or thrust

Suklian an exchange of strikes

Suko to surrender or give-up

Sulod to enter

Sulong to go forward or go ahead

Suliwa pass or deflect

Sumbalik counter

Sumbrada upper umbrella block; name of a flow drill

Sumpa a vow or oath

Sungkite a technique that emphasizes thrusts

Sundot a jab or quick thrust

Suntok to punch

Suplete quick disarm

Suwag head-butt

Suyop a go with the force technique

Tabas Talahib a horizontal strike

Tabak-Toyok nunchaku

Tadtad full of or multiples of

Tadyak thrust kick

Tadyak-Gilid side thrust kick

Tadyak-Sakong back thrust kick

Tadyak-Tusok front thrust kick

Taga to strike or cut

Tagang Alanganin an outwards horizontal strike aimed at the

 upper torso region

Tagang Buhat Araw an overhead strike aimed at the top of the

 head

Tagang Pasumala primarily a parry, a sweeping upward diagonal

 strike used to deflect a weapon

Tagang San Miguel a diagonal downward and inward strike aimed

 at the upper torso

Tagapagsanay trainer or assistant instructor

Tagapagturo senior assistant instructor

Tala star

Talang Bartikal vertical block

Talas sharp or to sharpen

Talas Damdam sensitivity training

Tapa to step on the foot

Tapi to parry or deflect

Tapik to nudge, deflect or parry

Tapi-on to block, parry, deflect or check

Tapi-Tapi checking; a series of parries & blocks

Tapos finished or the end

Tatlo three

Tatlumpu thirty

Tatlumpu't Isa thirty one

Tatsulok triangle

Taub facing downward

Tayo stance

Teka wait, halt or pause

Tiempo timing

Tigil stop or cease

Tigpas a horizontal strike directed at the knees

Tihaya facing upward

Tiniklink footwork drill

Tisod to stumble

Totsada to thrust

Totsar to thrust

Trancada to lock or locks

Tuhod the knee

Tulisan the knife-fighting art of Kali Illustrisimo

Tuloy-tuloy continuous

Tunga-tunga medium range

Tuo to the right

Tusok to thrust

Tuyok cycling movement or to spin

Ulo the head

Upo seat

Wala to the left; nothing; lost

Walis to sweep

Walo eight

Warwok a weapon hand capture that rebounds the

 weapon into the attackers body

Witik wrist snap strike

Yabag the sound of footsteps

Yabang show-off

Yakap hug, hold, embrace or clinch

Yantoc rattan stick

Yukbo salutation

Yuko to duck or bow”

https://www.monosi-arnis-system.com/fma_terms