Question: What is another term for Waza?
About the article "Judo", section "Judo "waza" (techniques)".

Candidate passages:
The origin of the name "Wazap" has historical relevance to both Japanese and English languages.
"Wazap" is a combination of the word "Waza" and the English word for "up."
In Japanese, "Waza" means "technique."
Judokas, apprentices of the martial art of Judo, may connect the term with another word.
For example, "waza-ari" means "technique existent."
The two words "waza" and "up" were similarly combined to create a new word which means "to improve, to reach/aim higher."
 "waza" (techniques).
There are three basic categories of in judo: , and .
Judo is most known for "nage-waza" and "katame-waza".
Judo practitioners typically devote a portion of each practice session to , in order that "nage-waza" can be practiced without significant risk of injury.
Several distinct types of "ukemi" exist, including ; ; ; and The person who performs a "Waza" is known as and the person to whom it is performed is known as .
This is a list of World Association of Zoos and Aquariums (WAZA) member zoos and aquariums.
The WAZA has two types/levels of membership.
The first is an association member that is through another zoo association such as the Association of Zoos and Aquariums (AZA).
The second is a direct institutional membership of WAZA. 
There are ten kata that are recognized by the Kodokan today: , comprising two kata: * Fifteen throws, practiced both left- and right-handed, three each from the five categories of "nage waza": "te waza", "koshi waza", "ashi waza", "ma sutemi waza" and "yoko sutemi waza".
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Fifteen techniques in three sets of five, illustrating the three categories of "katame waza": "osaekomi waza", "shime waza" and "kansetsu waza".
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Twenty techniques, illustrating the principles of defence in a combat situation, performed from kneeling and standing positions.
Attacks are made unarmed and armed with a dagger and a sword.
This kata utilises "atemi waza", striking techniques, that are forbidden in randori.
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The most recent recognised kata, comprising twenty-one techniques of defence against attack from an unarmed assailant and one armed with a knife, stick and pistol.
This kata incorporates various jujutsu techniques such as wrist locks and "atemi waza".
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Fifteen techniques, arranged in three sets of five, demonstrating the principle of "Jū" and its correct use in offence and defence.
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One of the oldest kata, comprising ten forms that illustrate the efficient use of force and resistance.
Now rarely practiced.
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An advanced kata, illustrating the principle of "seiryoku zen'yō" and the movements of the universe.
Recent research has shown that this kata, unlike what often has been claimed, was not created by Kano, but similar to Koshiki-no-kata, it was merely imported into judo after Kano slightly amended it.
The kata predates the creation of Kodokan and comes from Tenjin Shinyō-ryū.
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Derived from "Kitō-ryū" Jujutsu, this kata was originally intended to be performed wearing armour.
Kano chose to preserve it as it embodied the principles of judo.
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A series of exercises designed to develop the physique for judo.
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An exercise completed in 1943, and of which the development was ordered by Jiro Nango, the second Kodokan president.
In addition, there are a number of commonly practiced kata that are not recognised by the Kodokan.
Some of the more common kata include:  A kata of counter techniques developed at Waseda University in Tokyo, popularised in the West by Mikonosuke Kawaishi.
Another kata of counter techniques, created by Kyuzo Mifune.
Yet another kata of counters, attributed to Yukio Tani  
The old Yoseikan style included mainly jujutsu, aikijujutsu, kobudo and a few karate techniques, such as: foot throws ("ashi waza"), standing throws ("nage waza") and groundwork ("ne waza"); punches, kicking and blocking techniques ("kihon te waza", "kihon uke waza", "kihon geri waza"); escapes ("te hodoki"), joints locks, bending or twisting ("kansetsu waza"), variation techniques ("henka waza"); sword, sticks and knife techniques; counter techniques ("ura waza"), chokes ("shime waza") and exclusive sacrifice techniques ("sutemi waza") as well as a number of solo and paired "katas" with and without weapons.
A curious characteristic of the old style is that it did not support much of the esoteric ways that (some contend) evolved with post-World War II traditional Aikido and some of its offshoots.
At one point Kisshomaru Ueshiba, the headmaster and son of the aikido founder, reputedly asked Mochizuki to refrain from using the name aikido to refer to the aiki portion of his system.
The system although still employing the term aikido is also known to use the term "aiki budo" to refer to this part of the art.
Interestingly Minoru Mochizuki's 1932 licence from Ueshiba was in Daito-ryu aikijujutsu as Ueshiba had not yet renamed the art he was teaching (which would come to be called Aikido).
Still Mochizuki continued to enjoy a warm relationship with Morihei Ueshiba even in his later years.
Although perhaps philosophically most influenced by Ueshiba (in addition to his technical studies), Mochizuk's method of teaching and systematizing his art seems to show a larger debt to the teachings of Jigoro Kano, perhaps due to his own roots in judo.
His method of developing kata and use of a scientific approach to explain the finer parts of his art seems to show the imprint of Kano's early teaching method.
Indeed, it was Kano who originally sent Mochizuki, along with other judo teachers, to study aikido with Ueshiba for the purpose of bringing back the techniques for use in the Kodokan's self-defense program.
Many of these aikido inspired techniques can be seen preserved in Kodokan Goshin Jutsu kata or forms of self-defense which were most likely introduced by Kenji Tomiki, another senior judo teacher, who trained with Mochizuki at Ueshiba's dojo.
In Mochizuki's case perhaps Kano's plan to have judo players learn aikido worked too well, resulting in Minoru becoming a live-in student under Ueshiba and even once being asked to inherit the leadership of the art should Kisshomaru be unable to.
Mochizuki's inclination toward eclecticism can also be seen as part of the influence imparted to him from Kano's teachings.
As Kano had fused the forms of traditional jujutsu he had learned, with elements as different as ground work from the Fusen ryu and Western wrestling tactics so too did Mochizuki strive to learn many different arts in order to expand his overall understanding of fighting methods.
Indeed many of his early explorations in arts such as iaido, jodo and classical forms of jujutsu were at the suggestion of Kano during his time at the Kodokan.
He expanded this to include an investigation of Western boxing, karate and classical Japanese swordsmanship.
Conversely when he made the suggestion to Ueshiba that aikidoka might benefit from a knowledge of the skilled striking techniques of karate practitioners employed his suggestion met with no enthusiasm.
On a technical level the influence of judo great Kyuzo Mifune and classical jujutsu practitioner Sanjuro Oshima of the Gyokushin-ryu cannot be overstated.
One of the specialties of the Yoseikan Budo system under Minoru Mochizuki came to be the use of sutemi-waza or sacrifice techniques, in which these two teachers excelled.
Although the far greater influence was undoubtedly Mifune in whose lessons the youthful Mochizuki found much greater enthusiasm, the teaching of the Gyokushin theory of 'spherical spirit' stayed with Mochizuki over the years, inspiring him to invent new techniques with this art's principles in mind.
Mochizuki also credited his quick mastery of aikido with having learned this style which held many techniques in common with Ueshiba's art.
In the context of contemporary aikido Minoru Mochizuki's art seems much jujutsu and judo based.
Indeed many strong judoka came to visit and train with the master throughout his life.
One such person was Frenchman Patrick Auge who still maintains his own North American based organization.
The type of budo practised by Auge represents very well the practises of Mochizuki Minoru from the 1970s and 1980s when Auge was a live-in student under Minoru at Yoseikan headquarters in Shizuoka.
The senior teachers from the headquarters have now re-christened their school the Seifukan and seek to preserve the original style that they learned under Mochizuki-senior.